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Time, space and language in contempo...

Lu, Jie.

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Time, space and language in contemporary Chinese avant-garde fiction.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Time, space and language in contemporary Chinese avant-garde fiction./
作者:	Lu, Jie.
面頁冊數:	208 p.
附註:	Adviser: William Lyell.
Contained By:	Dissertation Abstracts International57-05A.
標題:	Literature, Asian. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9630347

Time, space and language in contemporary Chinese avant-garde fiction.
Lu, Jie.

Time, space and language in contemporary Chinese avant-garde fiction. - 208 p.

Adviser: William Lyell.

Thesis (Ph.D.)--Stanford University, 1996.

This dissertation analyzes the narrative structures of Chinese avant-garde fiction (1986-now) as reflecting changes in the consciousness of time.Subjects--Topical Terms:

1017599
Literature, Asian.

Time, space and language in contemporary Chinese avant-garde fiction.
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245 1 0 $a Time, space and language in contemporary Chinese avant-garde fiction.
300 $a 208 p.
500 $a Adviser: William Lyell.
500 $a Source: Dissertation Abstracts International, Volume: 57-05, Section: A, page: 2043.
502 $a Thesis (Ph.D.)--Stanford University, 1996.
520 $a This dissertation analyzes the narrative structures of Chinese avant-garde fiction (1986-now) as reflecting changes in the consciousness of time.
520 $a The introduction briefly outlines social and literary backgrounds from which Chinese avant-garde fiction came into being, so as to bring out its political and ideological significance. Then it argues that historical discourse with its linear temporality has dominated Chinese contemporary literature since 1949, and to a lesser degree, still now.
520 $a Chapter one examines the avant-garde historical fiction in the larger context of a new awareness of private time as opposed to public time. Through the close reading of Su Tong's "1934 Escape," "Flying Over My Maple Tree Village," "The Family of Opium Poppy," Qiao Liang's "The Mourning Flag," Li Xiao's "Meeting in the K City," and Ge Fei's "The Lost Boat," it shows how avant-garde writers use mnemonic representation of the first person narrator to reconstruct various temporal configurations outside official linear time, and thereby offer us alternative ways of looking at history.
520 $a Chapter two shows how avant-garde writers use spatial form to refute time as the only way of perception. Avant-garde texts such as Ye Zhaoyan's "That Evening in May," "The Story of the Date Tree," and Ge Fei's "The Richly Painted Zither" deploy spatial techniques of multiple perspectives and fragmentation of narrative time to subvert narrative chronology and progression, so as to replace temporal logic of linearity by spatial logic of juxtaposition as the epistemological paradigm.
520 $a Chapter three discusses the language experimentation engaged by avant-garde writers such as Su Tong, Ye Zhaoyan, Yu Hua and Wang Meng. The use of poetic imagery, parody, obscure metaphors, and linguistic disruption aims at creating a literary language as opposed to the colloquial language and Mao-speak. This preoccupation with language is examined in the light of post-structuralist theory.
520 $a The conclusion briefly examines new realist writings that coexisted, in part, with avant-garde writings. The appearance of New Realism is believed not so much to mark the death of avant-garde fiction as to show the coexistence of two equally plausible yet mutually contradictory literary views in contemporary Chinese literature.
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773 0 $t Dissertation Abstracts International $g 57-05A.
790 $a 0212
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791 $a Ph.D.
792 $a 1996
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9630347