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MANDARIN DUCKS AND BUTTERFLIES: TOWARD A REWRITING OF MODERN CHINESE LITERARY HISTORY (LITERATURE, EAST-WEST STUDIES).

机译：D子和蝴蝶：走向现代中国文学史（文学，东西方研究）的重写。

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"Mandarin Ducks and Butterflies," the Chinese expression that never fails to amuse someone not acquainted with its origins, is a pejorative generic label that refers to a huge corpus of popular literature written in the first few decades of the twentieth century. In spite of its tremendous popularity, Mandarin Duck and Butterfly (hereafter abbreviated to "Butterfly") fiction has either been disparaged as unworthy of scholarly study, or, in more recent investigations, reappropriated into the homogeneity of a literary or socialist "tradition." By reviewing the problematical reception of Butterfly fiction in modern Chinese literary history, this dissertation interprets the appearance of Butterfly fiction as a feminization of the predominant Confucian culture whose power still lingered in early twentieth-century Chinese society. As examples, two outstanding Butterfly subgenres--the love story of the 1910s and the social novel of the 1920s and 1930s--are examined in close detail. In both cases, sentimental, didactic, and often conflicting narrative structures demonstrate Butterfly fiction to be a complex response to modern Chinese history rather than mere "fiction for comfort." This rereading of Butterfly fiction also provides a way of rereading "canonical" Chinese literature of the "May Fourth" period, which has been upheld as representative of the "revolutionary" modern China. In the light of the melodramatic modes of subversion we find in Butterfly fiction, the "revolutionary" narratives of major May Fourth authors are revealed to be partaking of a traditional scholastic elitism that is preoccupied with "truth," which explains recurrent intellectual dilemmas in the authors' relation to writing. The rewriting of modern Chinese literary history thus proposed is finally used to contest contemporary western theories of Postmodernism, whose reliance on the concepts of "difference" and "totality" for narrating cultural history is shown to be implicitly imperialistic despite the theories' ostensibly liberating intentions.

机译：“普通话鸭子和蝴蝶”是一个永不消逝的有趣的中文表达，是一种贬义的通用标签，指的是二十世纪前几十年撰写的大量大众文学作品。尽管小说鸭和蝴蝶（以下简称“蝴蝶”）广受欢迎，但由于不值得进行学术研究而被贬低，或者在最近的调查中，又被改编为文学或社会主义“传统”的同质性。通过回顾蝴蝶小说在中国近现代文学史上的问题性接受，本文将蝴蝶小说的出现解释为儒家文化的女性化，儒家文化的力量仍然在二十世纪初的中国社会中徘徊。例如，我们仔细研究了两个杰出的Butterfly子类型-1910年代的爱情故事以及1920年代和1930年代的社会小说。在这两种情况下，感性的，说教的，常常是相互矛盾的叙述结构都表明，蝴蝶小说是对现代中国历史的复杂反应，而不仅仅是“舒适的小说”。蝴蝶小说的这种重读也提供了一种重读“五四”时期的“规范”中国文学的方式，该文学一直被认为是“革命”现代中国的代表。根据我们在蝴蝶小说中发现的颠覆性的叙事方式，五四主要作家的“革命性”叙述被揭示为传统的学术精英主义的精髓，而这种精英主义则以“真相”为中心，这解释了反复出现的思想困境。作者与写作的关系。如此提出的对中国现代文学史的重写最终被用来与当代的后现代主义西方理论抗衡，尽管这些理论表面上是意图解放的，但它们对“差异”和“全面”概念的叙述对文化史的叙述却被隐含为帝国主义。。

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作者
CHOW, REY.;
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作者单位

Stanford University.;

展开▼
授予单位 Stanford University.;
学科 Literature Comparative.
学位 Ph.D.
年度 1986
页码 235 p.
总页数 235
原文格式 PDF
正文语种 eng
中图分类文学理论;
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MANDARIN DUCKS AND BUTTERFLIES: TOWARD A REWRITING OF MODERN CHINESE LITERARY HISTORY (LITERATURE, EAST-WEST STUDIES).

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