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THE VICISSITUDES OF SATIRE IN CONTEM...

DECKER, MARGARET HOLMES.

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THE VICISSITUDES OF SATIRE IN CONTEMPORARY CHINESE FICTION: GAO XIAOSHENG.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	THE VICISSITUDES OF SATIRE IN CONTEMPORARY CHINESE FICTION: GAO XIAOSHENG./
作者:	DECKER, MARGARET HOLMES.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 1987,
面頁冊數:	263 p.
附註:	Source: Dissertation Abstracts International, Volume: 48-11, Section: A, page: 2875.
Contained By:	Dissertation Abstracts International48-11A.
標題:	Asian literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8800921

THE VICISSITUDES OF SATIRE IN CONTEMPORARY CHINESE FICTION: GAO XIAOSHENG.
DECKER, MARGARET HOLMES.

THE VICISSITUDES OF SATIRE IN CONTEMPORARY CHINESE FICTION: GAO XIAOSHENG. - Ann Arbor : ProQuest Dissertations & Theses, 1987 - 263 p.

Source: Dissertation Abstracts International, Volume: 48-11, Section: A, page: 2875.

Thesis (Ph.D.)--Stanford University, 1987.

My dissertation is a study of satire in the works of a contemporary Chinese writer, Gao Xiaosheng, against the broader background of modern and contemporary Chinese letters. By following the development of what has been a controversial form of literature, it offers a perspective for appreciating an important juncture in China's literary history under the liberalizing trend since the late 1970s. The study also presents a critical appreciation of an individual writer's works, and some theoretical insights and reflections on literature and the art of satire.Subjects--Topical Terms:

2122707
Asian literature.

THE VICISSITUDES OF SATIRE IN CONTEMPORARY CHINESE FICTION: GAO XIAOSHENG.
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300 $a 263 p.
500 $a Source: Dissertation Abstracts International, Volume: 48-11, Section: A, page: 2875.
502 $a Thesis (Ph.D.)--Stanford University, 1987.
520 $a My dissertation is a study of satire in the works of a contemporary Chinese writer, Gao Xiaosheng, against the broader background of modern and contemporary Chinese letters. By following the development of what has been a controversial form of literature, it offers a perspective for appreciating an important juncture in China's literary history under the liberalizing trend since the late 1970s. The study also presents a critical appreciation of an individual writer's works, and some theoretical insights and reflections on literature and the art of satire.
520 $a Satire makes a particularly satisfying subject of research for understanding the contemporary Chinese literary scene. Since satire takes real and immediate targets as objects for ridicule or criticism, it announces itself as a socially involved form of literature. At the same time, as a literary style, it may be a highly refined and intellectual art, making clever use of devices such as irony, understatement, allusion, plot organization, and characterization to achieve its effect. Satire is, therefore, a form of literature where the demands of art and life or individual and society meet. For the past fifty years, the central issues in the development of a socialist literature in China have revolved around the proper balance of just these conflicting elements. Thus, satire has acted as a form which incorporates important issues of literary theory for that country.
520 $a My dissertation begins with one chapter presenting issues central to satire. The second chapter offers an historical overview of satire in modern (1919-1949) and contemporary (1949 to the present) Chinese literature. My purpose here is to remind readers of the relativity of norms and parameters set for a literary style within specific cultural and historical circumstances and familiarize them with those norms and parameters associated with recent Chinese satire.
520 $a The remaining three chapters of my dissertation are a discussion of Gao Xiaosheng's use of satire. In the first, I discuss a series of stories which take a peasant as a naive central character. The next concerns stories with an allegorical flavor. The last is an analysis of a story with a highly intrusive narrator. Each of these allows for a different kind of satire and, in particular, a different degree of humor. In the conclusion to my study I emphasize the role of humor and other devices of indirection employed by Gao Xiaosheng in his satire as devices which seem to be essential to the continued presence of satire in contemporary Chinese literature.
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792 $a 1987
793 $a English
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