第9期 Modern Chinese Literature and Culture, 29(2), 2017 (上)
编者按:CCSA新设“外刊汇”栏目,收集汇总近年外文世界中以东亚或中国为研究范围的重要文史类期刊上刊载的、与中国有关的研究论文摘要。我们欢迎熟悉各语种的中国研究状况的老师与同学们加入我们(请发邮件到ccsasso@gmail.com或在后台留言),扩大选刊范围,促进学术交流。(本期翻译 / 金雯)
Modern Chinese Literature and Culture
中国现代文学与文化
Volume 29, No. 2, Fall 2017
Estranging Realism in Chinese Science Fiction: Hybridity and Environmentalism in Chen Qiufan's The Waste Tide
中国科幻小说远离现实主义:陈楸帆小说《荒潮》中的杂合与环境主义
Cara Healey
In this essay, Healey considers Chinese science fiction author Chen Qiufan's (陈楸帆 b. 1981) 2013 novel The Waste Tide (荒潮) from the perspective of generic hybridity, the way it combines, subverts, and reinterprets conventions of twentieth-century Chinese realism and the science fiction subgenre of cyberpunk. Specifically, The Waste Tidecombines thematic and stylistic elements characteristic of modern Chinese realism (the returned-intellectual narrator, tensions between the loner and the crowd, and the use of the female body as a site for exploring national issues) with the cognitive estrangement of cyberpunk (body modification, focus on global capitalism as unknowable totality, and multiply-positioned subjectivity), maintaining continuity with both mainstream Chinese literary tradition and Western science fiction alike. Healey argues that this generic hybridity, reinforced by the novel's focus on human/machine hybridity, allows The Waste Tide to explore the enormity of ecological destruction in China in a way that acknowledges humanity's ambiguous relationship with nature and tensions between the local and the global in environmental consciousness. As a result, the novel calls on readers to explore alternatives to anthropocentric approaches to environmentalism.
Ghostly Haunting and Moral Interrogation in Wang Xiaoshuai's Red Amnesia
王小帅《闯入者》中的幽灵复现与道德质询
Yanjie Wang
The essay analyzes Wang Xiaoshuai's recent film Red Amnesia (2014) with a focus on how the film recounts repressed memories associated with the Cultural Revolution and, in particular, the Third Front Movement. Attending to the ghostly haunting that permeates Red Amnesia, this paper elucidates Wang's use of this trope to critique the prevailing culture of forgetting in today's China. The return of the ghostly is both a symptom of the hegemonic discourse and a means of contesting it, urging that unresolved historical issues be addressed. The first section draws attention to the film's engagement with the politics of inheritance. By showing the hereditary effect of the past on its characters, Red Amnesia stresses the continuity of past and present, effacing the line between past memory and today's reality. The second section highlights the image of the ghost as a sign of haunting, which brings unwanted memories into the light of consciousness, confronting the guilty with their past misdeeds. The last part examines Wang's probe into the deep roots of the ghostly haunting. The essay suggests that this film goes beyond the general criticism of the Cultural Revolution as a national calamity. Rather, the film compels us to interrogate the moral responsibility of ordinary individuals for instigating and sustaining historical violence.
Fictional Dictionaries: Power and Philosophy of Language in Contemporary Chinese Fiction
虚构的词典:当代中国小说中的权力与语言哲学
Astrid Møller-Olsen
This essay compares Han Shaogong's A Dictionary of Maqiao, Yu Hua's China in Ten Words, and Xiaolu Guo's A Concise Chinese-English Dictionary for Lovers from the perspective of philosophy of language. Drawing on Ludwig Wittgenstein's concept of language games, Zhuangzi's therapeutic skepticism and J. L. Austin's theory of speech acts, the essay includes analyses of propaganda as linguistic magic, relexicalization as subversive activism, and human relationships as acts of translation. It argues that the dictionary format is used experimentally to probe and tickle the prejudices and preconceived ideas that dwell in language, as well as to create an explicit awareness of language as a historically conditioned and culturally varying human construct.
Modern Chinese Literature and Culture
中国现代文学与文化
Volume 29, No. 2, Fall 2017
Estranging Realism in Chinese Science Fiction: Hybridity and Environmentalism in Chen Qiufan's The Waste Tide
中国科幻小说远离现实主义:陈楸帆小说《荒潮》中的杂合与环境主义
Cara Healey
In this essay, Healey considers Chinese science fiction author Chen Qiufan's (陈楸帆 b. 1981) 2013 novel The Waste Tide (荒潮) from the perspective of generic hybridity, the way it combines, subverts, and reinterprets conventions of twentieth-century Chinese realism and the science fiction subgenre of cyberpunk. Specifically, The Waste Tidecombines thematic and stylistic elements characteristic of modern Chinese realism (the returned-intellectual narrator, tensions between the loner and the crowd, and the use of the female body as a site for exploring national issues) with the cognitive estrangement of cyberpunk (body modification, focus on global capitalism as unknowable totality, and multiply-positioned subjectivity), maintaining continuity with both mainstream Chinese literary tradition and Western science fiction alike. Healey argues that this generic hybridity, reinforced by the novel's focus on human/machine hybridity, allows The Waste Tide to explore the enormity of ecological destruction in China in a way that acknowledges humanity's ambiguous relationship with nature and tensions between the local and the global in environmental consciousness. As a result, the novel calls on readers to explore alternatives to anthropocentric approaches to environmentalism.
Ghostly Haunting and Moral Interrogation in Wang Xiaoshuai's Red Amnesia
王小帅《闯入者》中的幽灵复现与道德质询
Yanjie Wang
The essay analyzes Wang Xiaoshuai's recent film Red Amnesia (2014) with a focus on how the film recounts repressed memories associated with the Cultural Revolution and, in particular, the Third Front Movement. Attending to the ghostly haunting that permeates Red Amnesia, this paper elucidates Wang's use of this trope to critique the prevailing culture of forgetting in today's China. The return of the ghostly is both a symptom of the hegemonic discourse and a means of contesting it, urging that unresolved historical issues be addressed. The first section draws attention to the film's engagement with the politics of inheritance. By showing the hereditary effect of the past on its characters, Red Amnesia stresses the continuity of past and present, effacing the line between past memory and today's reality. The second section highlights the image of the ghost as a sign of haunting, which brings unwanted memories into the light of consciousness, confronting the guilty with their past misdeeds. The last part examines Wang's probe into the deep roots of the ghostly haunting. The essay suggests that this film goes beyond the general criticism of the Cultural Revolution as a national calamity. Rather, the film compels us to interrogate the moral responsibility of ordinary individuals for instigating and sustaining historical violence.
Fictional Dictionaries: Power and Philosophy of Language in Contemporary Chinese Fiction
虚构的词典:当代中国小说中的权力与语言哲学
Astrid Møller-Olsen
This essay compares Han Shaogong's A Dictionary of Maqiao, Yu Hua's China in Ten Words, and Xiaolu Guo's A Concise Chinese-English Dictionary for Lovers from the perspective of philosophy of language. Drawing on Ludwig Wittgenstein's concept of language games, Zhuangzi's therapeutic skepticism and J. L. Austin's theory of speech acts, the essay includes analyses of propaganda as linguistic magic, relexicalization as subversive activism, and human relationships as acts of translation. It argues that the dictionary format is used experimentally to probe and tickle the prejudices and preconceived ideas that dwell in language, as well as to create an explicit awareness of language as a historically conditioned and culturally varying human construct.
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