New textual forms, the magazine and the canon anthology, reveal new ways of considering the spectacle of revolution, modernity and nation-building in China. The concept of the paratext is applied in the analysis of the early modern Chinese periodical and the first modern literary canon anthology. The paratext of a book consists of textual “thresholds” (including the title and table of contents, prefaces, other commentary, as well as publishing details) that provide entry to the main text and determine reader reception. From the late-Qing through the May Fourth era, the paratext of the Chinese magazine operated to make the main texts more open to time and audience. In the magazine, periodic production, beginning texts like the manifesto and fakanci, miscellaneous or “za” editorial organization, the zagan or suiganlu essay, and readers' contributions, all point to a new porous dynamic between text, audience and time that defined the Chinese periodical's modernity and constituted a new literary technology.; In contrast, when we turn to the Zhongguo Xinwenxue Daxi (Anthology of Modern Chinese Literature), the ordering practices of collection, the ten daoyan prefaces, and the marketing of the series, comprise a different kind of print language, one which deconstructed the open texts of the magazines and applied traditional museumifying practices to the recent past in order to assign a new beginning to history.; An architectural model is developed to analyze both kinds of texts as social space, as structural homologies are explored between the magazine and the department store, and between the canon and museum. Both text and architecture comprise narrative strategies, chronotopes which structure time and space in new ways, changing the nature of reading and writing, and of production and consumption in China. The magazine and the department store manufacture the immediacies of the latest time, while the canon and museum push the present back into a premature past, static and utopian. At their heart lies the deep tension between belief and chance, between ideology and the exigencies of real time. This conflict continues in China, and can be seen in the various reconstructions of the paratext since 1949 to the present.
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机译：杂志和佳能选集等新的文字形式揭示了考虑中国革命，现代性和国家建设的新方式。副语的概念被用于分析中国近代早期期刊和第一个现代文学经典选集。一本书的副词由文字“阈值”（包括标题和目录，序言，其他注释以及出版细节）组成，这些词条为正文提供了入口并决定了读者的接受程度。从清末到五四时代，《中国》杂志的抛物面使主要文本对时间和观众更加开放。在杂志中，定期制作，开始文本，例如宣言和 fakanci ，其他或“ za ”编辑组织， zagan 或随笔录的文章和读者的贡献，都指出了文本，受众和时间之间的一种新的多孔动力，它定义了中国期刊的现代性，并构成了一种新的文学技术。相比之下，当我们转向《中国现代文学选集》时，馆藏的订购方式，十个《道言》序言以及该系列的市场营销。 ，包括另一种印刷语言，一种解构杂志的公开文本，并将传统的博物馆化做法应用到最近的过去，以便为历史赋予新的起点。开发了一种建筑模型来分析两种文本作为社会空间，因为在杂志和百货商店之间以及佳能和博物馆之间探索了结构上的同质性。文本和建筑都包含叙事策略，以新方式构造时间和空间，改变阅读和写作以及中国生产和消费性质的记时表。该杂志和百货商店制造了最新时间的即时信息，而佳能和博物馆则将当下推回到一个过早的过去，静态和乌托邦式的时代。他们的核心在于信念与机会之间，意识形态与实时需求之间的深层张力。这场冲突在中国仍在继续，从1949年至今的各种寄生虫重建中都可以看到。
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