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This volume presents a historical-textual study about transformations of the aesthetics of the sublime—the literary and aesthetic quality of greatness under duress—from early English Romanticism to the New Poetry Movement in twentieth-century China. Zheng sets up the former and the latter as distinct but historically analogous moments and argues that both the European Romantic reinvention of the sublime and its later Chinese transformation represent cultural movements built on the excessive and capacious nature of the sublime to counter their shared sense of historical crisis.
Contemporary Japanese Fairy-Tale Adaptations in Conversation with the West
As in the United States, fairy-tale characters, motifs, and patterns (many from the Western canon) have pervaded recent Japanese culture. Like their Western counterparts, these contemporary adaptations tend to have a more female-oriented perspective than traditional tales and feature female characters with independent spirits.In From Dog Bridegroom to Wolf Girl: Contemporary Japanese Fairy-Tale Adaptations in Conversation with the West, Mayako Murai examines the uses of fairy tales in the works of Japanese women writers and artists since the 1990s in the light of Euro-American feminist fairy-tale re-creation and scholarship.
After giving a sketch of the history of the reception of European fairy tales in Japan since the late nineteenth century, Murai outlines the development of fairy-tale retellings and criticism in Japan since the 1970s. Chapters that follow examine the uses of fairy-tale intertexts in the works of four contemporary writers and artists that resist and disrupt the dominant fairy-tale discourses in both Japan and the West. Murai considers Tawada Yoko's reworking of the animal bride and bridegroom tale, Ogawa Yoko's feminist treatment of the Bluebeard story, Yanagi Miwa's visual restaging of familiar fairy-tale scenes, and Konoike Tomoko's visual representations of the motif of the girl's encounter with the wolf in the woods in different media and contexts. Forty illustrations round out Murai's criticism, showing how fairy tales have helped artists reconfigure oppositions between male and female, human and animal, and culture and nature.
From Dog Bridegroom to Wolf Girl invites readers to trace the threads of the fairy-tale web with eyes that are both transcultural and culturally sensitive in order to unravel the intricate ways in which different traditions intersect and clash in today's globalising world. Fairy-tale scholars and readers interested in issues of literary and artistic adaptation will enjoy this volume.
Tales of Wonder from Early Medieval China
Between 300 and 600 CE, Chinese writers compiled thousands of accounts of the strange and the extraordinary. Some described weird spirits, customs, and flora and fauna in distant lands. Some depicted individuals of unusual spiritual or moral achievement. But most told of ordinary people's encounters with ghosts, demons, or gods; sojourns in the land of the dead; eerily significant dreams; and uncannily accurate premonitions. The selection of such stories presented here provides an alluring introduction to early medieval Chinese storytelling and opens a doorway to the enchanted world of thought, culture, and religious belief of that era. Known as zhiguai, or "accounts of anomalies," they convey a great deal about how people saw the cosmos and their place in it. The tales were circulated because they were entertaining but also because their compilers meant to document the mysterious workings of spirits, the wonders of exotic places, and the nature of the afterlife. A collection of more than two hundred tales, A Garden of Marvels offers an authoritative yet accessible introduction to zhiguai writings, particularly those never before translated or adequately researched. This volume will likely find its way to bedside tables as well as into classrooms and libraries, just as collections of zhiguai did in early medieval times.
A Collection of Modern Chinese Essays, 1919–1949
This authoritative collection contains writings by some thirty of the most significant Chinese writers of the period between 1919 and 1949. The three decades from which these pieces are drawn encompass most of the Republican period, a tumultuous era in Chinese history in which modernization and republicanism coexisted with classical culture. Thematically, these xiaopin wen, or modern Chinese essays, differ significantly from the more social and political fiction of the May Fourth movement. Their scope varies, from ruminations on broader existential issues to more personal contemplations on everyday life, often delving into issues of morality and interpersonal relations. Although described as “essays,” they are not restrained by the formal, expository connotations of this English term; rather, their tone is more intimate, reflective, and at times witty or tinged with melancholy.
Studies on the Leftist Literary Movement
As one of the few foundational texts to provide a critical overview of the aesthetics and politics of the leftist literary movement in China, The Gate of Darkness was previously published by the University of Washington Press in 1968 to great critical acclaim. Posthumously edited by the author’s brother Professor C. T. Hsia, this book critiques the works of leftist Chinese writers including Lu Hsün, Chiang Kuang-tz’u, and the “Five Martyrs.” As one of the few foundational texts to provide a critical overview of the aesthetics and politics of China’s leftist literary movement, The Gate of Darkness examines the conflicting dilemmas between leftist authors’ own ideals and the strict ideological frameworks imposed by the propaganda policies of the Chinese Communist Party in the early twentieth century. Numerous reviews appearing in the leading East Asian studies journals have acknowledged the historical importance of the book which has few comparisons. The cultural critic Leo Ou-fan Lee believes that this book gives one of the most significant scholarly analyses of Lu Xun’s work towards the end of his life, revealing the “darkness” that pervaded his later works such as “Wild Grass.” He calls Tsi-an Hsia “a creative and compassionate scholar” who has opened Lu Hsün’s inner “gate of darkness” to unveil “a fascinating world of demons and ghosts as dramatized in village operas and popular superstitions.”
Gender and Story in South India presents exciting ethnographic research by Indian women scholars on Hindu and Muslim women-centered oral narratives. The book is unique for its geographic and linguistic focus on South India, for its inclusion of urban and rural locales of narration, and for its exploration of shared Hindu and Muslim female space. Drawing on the worldviews of South Indian female narrators in both everyday and performative settings, the contributors lead readers away from customary and comfortable assumptions about gender distinctions in India to experience a more dialogical, poetically ordered moral universe that is sensitive to women’s material and spiritual lives.
Issues in Mainland China, Taiwan, and Hong Kong
As a Cultural construct, gender is fictional and imagined, yet its ideological and representational effects on the formation of self and identity are quite real. The fiction behind the fictional, which many accepts as truth, is at the core of what is most intriguing about the problem of gender. Critiquing this narrative, Gender, Discourse, and the Self in Literature unravels the strategies that writers and filmmakers adopt in their (de)construction of the gendered self in three Chinese communities: mainland China, Taiwan, and Hong Kong. Writing from the vantage points of film, literature, and gender studies, contributors make an innovative marriage to Western gender discourse and the construction and representation of self and identity in contemporary China.
The 171 extant plays of the Yuan period (1279-1368) are the oldest and most brilliant examples of Chinese dramatic literature. In this first comprehensive study, Chung-wen Shih systematically explores the riches of Yuan drama, from its unexcelled lyric poetry to its colorful characterization. After tracing the popular genres that contributed to the flowering of Yuan drama, the author describes conventional features of dramatic construction, methods of characterization, and recurring themes. The central focus is on the use of language: prose passages and lyrics are cited to show how innovative use of spoken language invests the prose with a remarkable strength and suppleness, and how imaginative use of figurative language endows the poetry with an incomparable richness of texture. Attention is also given to the use of music and physical aspects of staging.
Originally published in 1976.
The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.