Futabatei Shimei (1864-1909) is widely regarded as the founder of the modern Japanese novel. His novel Floating Clouds (1887-1889) was written in a colloquial narrative style that was unprecedented in Japanese literature, as was its negative hero. Futabatei was also a pioneer translator of Russian literature, translating works by Turgenev, Gogol, Tolstoy, Gorky and others - his translations had an enormous impact (perhaps even greater than his novels) on the development of Japanese literature. In this groundbreaking work, Hiroko Cockerill analyses the development of Futabatei's translation style and the influence of his work as a translator on his own writing. She takes us on a journey through Russian and Japanese literature, throwing light on the development of Japanese literary language, particularly in its use of verb forms to convey notions of tense and aspect that were embedded in European languages. Cockerill finds that Futabatei developed not one, but two distinctive styles, based on the influences of Turgenev and Gogol. While the influence of his translations from Turgenev was immediate and far-reaching, his more Gogolian translations are fascinating in their own right, and contemporary translators would do well to revisit them.
With a generous selection of new translations commissioned for this book, readers will find the best short fiction, poetry, and essays from mainland China, Taiwan, and Hong Kong in this first comprehensive collection of twentieth-century Chinese literature, which includes a lucid introduction by the editors and short biographies of the writers and poets.
VIE Festival was founded in 2005 with the goal of crossing the contemporary world, of intercepting new identities and subjectivities which stand out in the field of live performance. It takes place yearly every October in Emilia-Romagna Region, and it is organized by Emilia Romagna Teatro Fondazione, National Theatre based in Modena. The project spring from the ten-year lucky experience of Le vie dei festival that, from 1994 to 2004, has hosted some of the most interesting proposals of Italian and international summer festivals. Mixing languages and genres, showing foreign great theatrical experiences without forgetting the important Italian experimental theatre scene, Le vie dei festival proposed the works of several artists (Carmelo Bene, Thierry Salmon, Lev Dodin, Peter Brook, Maguy Marin, Joseph Chaikin, Philip Glass, Robert Wilson e Peter Stein …). VIE Festival focuses on the contemporary creation, wants to give to the look the responsibility of finding, of searching where the strength of the new is hiding today, the artists who are able to explore the areas of contact between the performing arts, the expressive areas where leaving the theatre interacting with dance, music, visual arts and cinema. The idea of modernity is combined immediately with that of complexity, something that is in constant motion and fast in its indefiniteness. The artistic research acts vertically, digging in depth. It does not indicate solutions, but rather raises some doubts. It is inclined to the “uncertain”. At the base of the research for new languages there is always an urgent reflection on the contemporary world, a need for new contents. The festival aims to offer a wide range of artists who will confront themselves with a plurality of spaces, aiming at showing layers of artwork, poetry and looks which arouse the curiosity and urgencies, including the less codified. The plurality of languages will involve different audiences, aiming at erasing the prejudice on that contemporary is equivalent to incomprehensible and elitist. The Festival also stands out as a place of production or co-production of original works that will be created on purpose and then will enter the international circuit. This 11th edition take place in Modena, Bologna, Carpi and Vignola, and hosts the creations directed by Levan Tsuladze, Berardi Casolari, Anna Peschke, Virgilio Sieni, Gabriella Salvaterra, Nanfang Song And Dance Company, Mathurin Bolze, Nelson Valente, Pascal Rambert, Maguy Marin, Cuocolo / Bosetti, Michele Abbondanza, Snejanka Mihaylova, Motus, Giovanna Marini, Big Action Money, Marco Martinelli / Ermanna Montanari, Romeo Castellucci, Frank Van Laecke / Alain Platel / Steven Prengels. VIE Events section gives the opportunity to take part in some in-depht analisys moments, such as the study meeting “The scandal of the theatre” organized by the Department of Arts of the University of Bologna and by Paris–Sorbonne University. And then, a meeting about contemporary circus, and the public talk to introduce two theatrical books.
Xun (or Hsun) is the master (inventor?) of the modern Chinese short story. Some of his stories were translated into American English in 1941, but more recent translations have been into a British English. Lyell provides an introduction, notes on pronunciation and further notes on the text, intending to win as wide an audience as possible beyond those already familiar with Chinese history and culture. Annotation(c) 2003 Book News, Inc., Portland, OR (booknews.com)
In her first psychological thriller, Vivian A Valasco weaves a tale of obsession, and demented desire leading to murder. Anna, a talented art student faces her worst nightmare, discovering all too late the depth of Matthew Warner's psyche and where she fits into his collection.
What do the Chinese literature and film inspired by the Cultural Revolution (1966-1976) have in common with the Chinese literature and film of the May Fourth movement (1918-1930)? This new book demonstrates that these two periods of the highest literary and cinematic creativity in twentieth-century China share several aims: to liberate these narrative arts from previous aesthetic orthodoxies, to draw on foreign sources for inspiration, and to free individuals from social conformity. Although these consistencies seem readily apparent, with a sharper focus the distinguished contributors to this volume reveal that in many ways discontinuity, not continuity, prevails. Their analysis illuminates the powerful meeting place of language, imagery, and narrative with politics, history, and ideology in twentieth-century China. Drawing on a wide range of methodologies, from formal analysis to feminist criticism, from deconstruction to cultural critique, the authors demonstrate that the scholarship of modern Chinese literature and film has become integral to contemporary critical discourse. They respond to Eurocentric theories, but their ultimate concern is literature and film in China's unique historical context. The volume illustrates three general issues preoccupying this century's scholars: the conflict of the rural search for roots and the native soil movement versus the new strains of urban exoticism; the diacritics of voice, narrative mode, and intertextuality; and the reintroduction of issues surrounding gender and subjectivity. Table of Contents: Preface Acknowledgments Introduction David Der-wei Wang part:1 Country and City 1. Visitation of the Past in Han Shaogong's Post-1985 Fiction Joseph S. M. Lau 2. Past, Present, and Future in Mo Yan's Fiction of the 1980s Michael S. Duke 3. Shen Congwen's Legacy in Chinese Literature of the 1980s Jeffrey C. Kinkley 4. Imaginary Nostalgia: Shen Congwen, Song Zelai, Mo Yan, and Li Yongping David Der-wei Wang 5. Urban Exoticism in Modern and Contemporary Chinese Literature Heinrich Fruehauf part: 2 Subjectivity and Gender 6. Text, Intertext, and the Representation of the Writing Self in Lu Yun, Dafu,and Wang Meng Yi-tsi Mei Feuerwerker 7. Invention and Intervention: The Making of a Female Tradition in Modern Chinese Literature Lydia H. Liu 8. Living in Sin: From May Fourth via the Antirightist Movement to the Present Margaret H. Decker part: 3 Narrative Voice and Cinematic Vision 9. Lu Xun's Facetious Muse: The Creative Imperative in Modern Chinese Fiction Marston Anderson 10. Lives in Profile: On the Authorial Voice in Modern and Contemporary Chinese Literature Theodore Huters 11. Melodramatic Representation and the "May Fourth" Tradition of Chinese Cinema Paul G. Pickowicz 12. Male Narcissism and National Culture: Subjectivity in Chen Kaige's King of the Children Rey Chow Afterword: Reflections on Change and Continuity in Modern Chinese Fiction Leo Ou-fan Lee Notes Contributors From May Fourth to June Fourth will he warmly welcomed. It should be of great interest to all concerned with literary developments in the contemporary world on the one hand, and on the other with the enigmas surrounding China's alternating attempts to develop and to destroy herself as a civilization. --Cyril Birch, University of California, Berkeley
Existential Psychology East-West presents a dialogue between leading Eastern and Western Scholars on existential psychology and psychotherapy. This unique book places emphasis on dialogue and mutual growth instead of merely applying existential psychology in an Eastern context. The book begins with an thorough overview of existential psychology as it has been developed in the West, particularly the tradition of Rollo May and James F. T. Bugental. The second section of the book immerses the reader in a dialogue between East and West that include many important historical and contemporary Chinese scholars. This section has chapters by many leading existential scholars including Kirk Schneider and Erik Craig. The final section of the book explores a varietyof myths, which are understood as being cultural specific responses to the existential givens. Drawing on Rollo May's theory in the book The Cry for Myth, these stories provide an in depth analysis on how various cultural myths can illuminate ways individual cultures have faced the existential givens. -- From Publisher
"All narratives undergo some form of narrative transmission. Narratives of Transmission examines the storytelling process structured between the fictional universe of the text and the reader. By focusing on narratives that dramatize the medium of their telling--letters, diaries, memoirs, transcribed oral narrations, and the editorial prefaces that enframe them--the present volume uncovers dynamics of textuality that have long been overlooked by critics who have pursued the interpretation of narrative works at the expense of the processes of signification operations in narration. By studying these special cases of narrative transfer, Bernard Duyfhuizen brings the reader to a clearer understanding of how the acts of transmission and framing within the literary text can affect the production of meaning." "Drawing on the theories of Gerard Genette, Roland Barthes, Mikhail Bakhtin, Seymour Chatman, Susan Lanser, and Peter Brooks, Duyfhuizen develops the first extended reading of the code of communication in narrative poetics and of the force exerted by the medium of transmission on the reader's structuration of the literary text. This provocative study of the different acts and conditions of narrative transmission establishes a new ontological plane for the study and interpretation of prose fiction." "By examining the various narrational filters through which a story must pass, Narratives of Transmission uncovers the interpretively rich problematics of narrative textuality." "Duyfhuizen's study goes beyond narratological description to provide interpretive readings that engage the mirrored play of transmission metaphors and metonymies in both the stories and the discourses of narrative fiction from the classical epic to the postmodern. These exemplary readings reveal, on the one hand, the power of transmission devices in the production of a particular version of the narrated events and the inescapable gap between the object of representation and its textual representation; while on the other hand, these readings display the negotiation of the different acts of reading encoded in the text and engaged at the outer frame by the actual reader." "After an introductory chapter detailing the theory of narrative transmission, Duyfhuizen explores the dynamics of transmission and transgression in epistolary fiction, the problematics of transmitting the "self" in diary fiction, and the inclusion of letters, diaries, and other documents in hybrid narratives of transmission. He then turns to the questions surrounding the framing devices of editorial prefaces and notes paratextually included in the fiction. Lastly, Duyfhuizen considers the textual dynamics of dialogism in narratives of transcribed oral narrations."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved