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Rhetoric of fantasy and rhetoric of ...

Li, Wai-yee.

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Rhetoric of fantasy and rhetoric of irony: Studies in "Liao-chai chih-i" and "Hung-lou meng".

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Rhetoric of fantasy and rhetoric of irony: Studies in "Liao-chai chih-i" and "Hung-lou meng"./
作者:	Li, Wai-yee.
面頁冊數:	281 p.
附註:	Source: Dissertation Abstracts International, Volume: 49-02, Section: A, page: 0249.
Contained By:	Dissertation Abstracts International49-02A.
標題:	Literature, Asian. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8804851

Rhetoric of fantasy and rhetoric of irony: Studies in "Liao-chai chih-i" and "Hung-lou meng".
Li, Wai-yee.

Rhetoric of fantasy and rhetoric of irony: Studies in "Liao-chai chih-i" and "Hung-lou meng". - 281 p.

Source: Dissertation Abstracts International, Volume: 49-02, Section: A, page: 0249.

Thesis (Ph.D.)--Princeton University, 1988.

I begin by exploring some of the implications involved in linking fantasy to irony. The fantastic, the grotesque or the strange in Romantic and Symbolist aesthetics often involve two contradictory urges--the striving for transcendence (which is expressed as absolute claims for the imagination), and the anxiety over death (or the doubts about the potency of art in confronting reality). I call this dividedness irony. This will be a point of reference in my discussion of the truth-fiction (chen-chia sk12) dialectic and the status of illusion (huan sk8) in Liao-chai chin-i$\scriptstyle\ll\sk{20}\gg$ and Hung-lou meng$\scriptstyle\ll\sk{20}\gg$, which will form the major focus of this study. In both examples the ontological status of reality hardly matters. Instead a comparison of the rhetorical devices that lend authority to historical writing and analogous devices in Liao-chai chih-i shows that lyrical vision and irony (both define the limits of subjectivity) chart the continuity and divergence between the rhetoric of history and the rhetoric of fantasy. The attempted reconciliation between two levels of causality (governed by historical destiny and individual endeavor respectively) constitutes the center from which irony operates in a historical narrative like Shih-chi$\scriptstyle\ll\sk{14}\gg$. This underlying dialectic between fate and human freedom is transformed into tensions between a pattern of desire and forms of order in both Liao-chai chih-i and Hung-lou meng. In Liao-chai ironic reflectiveness is expressed as a double focus--the urge to revel in the expansiveness of desire, and the parallel urge to keep it within bounds. In this sense the rhetoric of fantasy here recontains desire by harmonizing differences. In Hung-lou meng (the first eighty chapters), on the other hand, structures of order (be they based on Confucian morality or Buddhist-Taoist renunciation), are finally presented as inadequate to the task of keeping within bounds the expansion of desire. The fantastic-mythic frame in this work is the source of both irony and a kind of emblematic stasis. This ambivalence arises out of a simultaneous nostalgia for and skepticism about the ideal of lyrical self-containment in the Chinese tradition.Subjects--Topical Terms:

1017599
Literature, Asian.

Rhetoric of fantasy and rhetoric of irony: Studies in "Liao-chai chih-i" and "Hung-lou meng".
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520 $a I begin by exploring some of the implications involved in linking fantasy to irony. The fantastic, the grotesque or the strange in Romantic and Symbolist aesthetics often involve two contradictory urges--the striving for transcendence (which is expressed as absolute claims for the imagination), and the anxiety over death (or the doubts about the potency of art in confronting reality). I call this dividedness irony. This will be a point of reference in my discussion of the truth-fiction (chen-chia sk12) dialectic and the status of illusion (huan sk8) in Liao-chai chin-i$\scriptstyle\ll\sk{20}\gg$ and Hung-lou meng$\scriptstyle\ll\sk{20}\gg$, which will form the major focus of this study. In both examples the ontological status of reality hardly matters. Instead a comparison of the rhetorical devices that lend authority to historical writing and analogous devices in Liao-chai chih-i shows that lyrical vision and irony (both define the limits of subjectivity) chart the continuity and divergence between the rhetoric of history and the rhetoric of fantasy. The attempted reconciliation between two levels of causality (governed by historical destiny and individual endeavor respectively) constitutes the center from which irony operates in a historical narrative like Shih-chi$\scriptstyle\ll\sk{14}\gg$. This underlying dialectic between fate and human freedom is transformed into tensions between a pattern of desire and forms of order in both Liao-chai chih-i and Hung-lou meng. In Liao-chai ironic reflectiveness is expressed as a double focus--the urge to revel in the expansiveness of desire, and the parallel urge to keep it within bounds. In this sense the rhetoric of fantasy here recontains desire by harmonizing differences. In Hung-lou meng (the first eighty chapters), on the other hand, structures of order (be they based on Confucian morality or Buddhist-Taoist renunciation), are finally presented as inadequate to the task of keeping within bounds the expansion of desire. The fantastic-mythic frame in this work is the source of both irony and a kind of emblematic stasis. This ambivalence arises out of a simultaneous nostalgia for and skepticism about the ideal of lyrical self-containment in the Chinese tradition.
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