Changing stories in the Chinese world
著者
書誌事項
Changing stories in the Chinese world
Stanford University Press, c1997
- : cloth
- : pbk
大学図書館所蔵 全14件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references
内容説明・目次
内容説明
This book is an innovative attempt to convey something of how it has felt since the early nineteenth century to be Chinese. It is based on the assumption that people live their lives in stories, or as if they themselves were in stories-stories that are largely a social inheritance but are also in some measure self-created or at least continually adapted, edited, or extended.
The author describes and interprets some of the most important stories through which the Chinese have lived their lives in the last two hundred years and their understanding of them. He shows how largely forgotten works of popular literature, novels and poems in particular, can admit the reader to a number of different emotional worlds. Together they suggest that there is no such thing as the Chinese story, let alone mind, but rather a historical palimpsest of extraordinary and often internally contradictory complexity.
The book begins with an examination of Li Ruzhen's Destinies of the Flowers in the Mirror, which reveals a microcosm of the educated Chinese world predating major Western influences. Balancing this emphasis on the elite are the poems collected by Zhang Yingchang in Our Dynasty's Bell of Poesy, which portray the universe of peasants, women, artisans, soldiers, and prisoners.
A bestseller of the 1930's, Tides in the Human Sea, shows the 'crisis of absurdity' that arises when feelings no longer coincide with inherited patterns of behavior as modernization begins to take hold. Hao Ran's Children of the Western Sands, a popular Communist work of the early 1970's, allows us to be drawn into at least a momentary empathy with the idealism of the Maoist faithful.
Almost as different as can be imagined is The Bastard, by Sima Zhongyuan, one of Taiwan's most widely read writers. Its characters interpret the Communist revolution in terms derived from traditional Chinese religion, as a deserved punishment inflicted on the Chinese for the filthy impropriety of their sexual conduct.
The final work considered is a book of essays, A Commonplace Fellow, by Yuan Ze'nan, a Chinese-American writer who has reached the point where his Chineseness has all but vanished, and who is consciously exploring its disappearance.
目次
Contents 1. Ruzhen Li 2. Yingchang Zhang 3. Jinya Ping 4. Ran Hao 5. Zhongyuan Sima 6. Ze'nan Yuan
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