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AESTHETICS OF OPPOSITION: A STUDY O...

LEUNG, PING-KWAN.

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AESTHETICS OF OPPOSITION: A STUDY OF THE MODERNIST GENERATION OF CHINESE POETS, 1936-1949 (CHINA, WESTERN MODERNISM).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	AESTHETICS OF OPPOSITION: A STUDY OF THE MODERNIST GENERATION OF CHINESE POETS, 1936-1949 (CHINA, WESTERN MODERNISM)./
作者:	LEUNG, PING-KWAN.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 1984,
面頁冊數:	193 p.
附註:	Source: Dissertation Abstracts International, Volume: 45-07, Section: A, page: 2093.
Contained By:	Dissertation Abstracts International45-07A.
標題:	Comparative literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8423918

AESTHETICS OF OPPOSITION: A STUDY OF THE MODERNIST GENERATION OF CHINESE POETS, 1936-1949 (CHINA, WESTERN MODERNISM).
LEUNG, PING-KWAN.

AESTHETICS OF OPPOSITION: A STUDY OF THE MODERNIST GENERATION OF CHINESE POETS, 1936-1949 (CHINA, WESTERN MODERNISM). - Ann Arbor : ProQuest Dissertations & Theses, 1984 - 193 p.

Source: Dissertation Abstracts International, Volume: 45-07, Section: A, page: 2093.

Thesis (Ph.D.)--University of California, San Diego, 1984.

In the Nineteen thirties and forties, there emerged in China a generation of poets with distinct modernist outlook. This generation followed the innovation of the first generation of Chinese New Poets in its foregrounding of classical language and regulated form. The modernity of their work resides in their break with traditional value judgement and representational emphasis, their adversary stance to bourgeois and commercial culture, and their deviation from familiar codes of communication.Subjects--Topical Terms:

570001
Comparative literature.

AESTHETICS OF OPPOSITION: A STUDY OF THE MODERNIST GENERATION OF CHINESE POETS, 1936-1949 (CHINA, WESTERN MODERNISM).
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245 1 0 $a AESTHETICS OF OPPOSITION: A STUDY OF THE MODERNIST GENERATION OF CHINESE POETS, 1936-1949 (CHINA, WESTERN MODERNISM).
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 1984
300 $a 193 p.
500 $a Source: Dissertation Abstracts International, Volume: 45-07, Section: A, page: 2093.
502 $a Thesis (Ph.D.)--University of California, San Diego, 1984.
520 $a In the Nineteen thirties and forties, there emerged in China a generation of poets with distinct modernist outlook. This generation followed the innovation of the first generation of Chinese New Poets in its foregrounding of classical language and regulated form. The modernity of their work resides in their break with traditional value judgement and representational emphasis, their adversary stance to bourgeois and commercial culture, and their deviation from familiar codes of communication.
520 $a Various theories on modernism, such as the discussion of literary modernism by M. Calinescu, E. Wilson, I. Howe, L. Trilling, and S. Spender, the aesthetics of negativity by T. Adorno, the aesthetics of opposition by J. Lotman, the discussion of the language of the modernist texts by R. Barthes, help us understand various literary, socio-cultural as well as linguistic characteristics of the Chinese modernist poets. But while the Chinese poets shared with their western counterparts certain similar concerns, there were particular social and historical contexts, such as the Sino-Japanese War (1937-1945), and the post-war period of social and economic instability, which shaped the particular morphology of the Chinese modernist poetry.
520 $a In the thirties and forties, which China entered the second phase of modernization, the cities rose as industrial and economic centers. The city is a recurring theme in the poetry of the forties. But while for some western modernists the objective reality of the city is not as important as their subjective feelings toward it, the Chinese modernists never undermine the referentiality in their poetry. Even in the more private mode of poetry, the lyric, the poets are conscious of the threatening forces of the public world. Hence the lyric is used as a negation of public belief, rather than as a solipsistic self-reflection.
520 $a The particular qualities of the Chinese language provide constraints as well as advantages for the Chinese modernists. For poets with more obvious western links such as Mu Tan, or for poets who have developed from strong influence of classical poetry such as Hsin-ti, we find examples of their manipulation of the particular quality of the Chinese language to arrive at the modernity in their poetry.
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710 2 $a University of California, San Diego. $3 1018093
773 0 $t Dissertation Abstracts International $g 45-07A.
790 $a 0033
791 $a Ph.D.
792 $a 1984
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