This book positions the lyrical as key to rethinking the dynamics of Chinese modernity and emphasizes Chinese lyricism's deep roots in its own native traditions, along with Western influences. Although the lyrical may seem like an unusual form for representing China's social and political crises in the mid-twentieth century, David Der-wei Wang contends that national cataclysm and mass movements intensified Chinese lyricism in extraordinary ways. He calls attention to not only the vigor and variety of Chinese lyricism at an unlikely historical juncture but also the precarious consequences it brought about: betrayal, self-abjuration, suicide, and silence. Above all, his study ponders the relevance of such a lyrical calling of the past century to our time.
Despite their divergent backgrounds and commitments, the writers, artists, and intellectuals discussed in this book all took lyricism as a way to explore selfhood in relation to solidarity, the role of the artist in history, and the potential for poetry to illuminate crisis. They experimented with a variety of media, including poetry, fiction, intellectual treatise, political manifesto, film, theater, painting, calligraphy, and music. Wang's expansive research also traces the invocation of the lyrical in the work of contemporary Western critics. From their contested theoretical and ideological stances, Martin Heidegger, Theodor Adorno, Cleanth Brooks, Paul de Man, and many others used lyricism to critique their perilous, epic time. The Chinese case only further intensifies the permeable nature of lyrical discourse, forcing us to reengage with the dominant role of revolution and enlightenment in shaping Chinese -- and global -- modernity.
David Der-wei Wang is Edward C. Henderson Professor of Chinese and Comparative Literature at Harvard University. His works include The Monster That Is History: History, Violence, and Fictional Writing in Twentieth-Century China; Fin-de-siècle Splendor: Repressed Modernity in Late Qing Fiction, 1849-1911; and Fictional Realism in Twentieth-Century China.
本文原载于《中国图书评论》2016年第6期“书界观察”栏目。 作者,韩晗,深圳大学文化产业研究院。 哈佛大学东亚系讲座教授王德威先生将近年来的研究成果积累整理出版,命名为《史诗时代的抒情声音:1949年前后的中国现代文人》(下文简称《声音》,TheLyrical in Epic Time: ...
评分自古『抒情』好比鎮邪的『催淚彈』、調情的『趕馬鞭』。 王德威的存在,是為史上因『抒情』而引發的『冤案』做了個體制內的『平反』,恰正彌合了古典美學與今天傳統敘事間的牆裂破摺。 沈從文的『抒情』恰似今天韓劇的悲曲,何其芳的『抒情』還原了迷幻電音的『少年派』⋯...
评分一 近十余年来,伴随着陈国球、王德威两位教授持续不断的努力,《美典——中国文学研究论集》、《抒情之现代性——“抒情传统”论述与中国文学研究》、《中国文学的抒情传统——陈世骧古典文学论集》等著作相继在国内出版,使得“抒情传统”这个原本在海外汉学界使用的概念逐渐...
评分for research,第六章。切入点非常有启发性,虽然visual analysis并不十分有说服力,但method和整个chapter的构成、写作方法都值得学习。
评分当我还在创造三元结构来突破关于当代文学缘起的二元论时,德威已经用抒情大船瞒天过海地将1949化解为天地玄黄。当年看《抒情传统四论》犹有不满足之感,现在想想,姜还是老的辣。尼玛剩下的内容在这里……20170111,坐标1949,我们的征途是星辰大海
评分刚读完讲何其芳的那一章,虽然没有什么新意,但是实在是对王德威的exquisite precision of rhetoric and keen perception of human psychology 叹为观止。读来就像读诗,就像读心理小说。值得学习,值得玩味。对冯至了解不多,但是王的解读真心赞,并且把冯和何其芳并置,讨论如波涛一浪推怂一浪,直至最后的高潮。王这样的学识和技巧,不去写小说,不去写哲学著作真是可惜了
评分for research,第六章。切入点非常有启发性,虽然visual analysis并不十分有说服力,但method和整个chapter的构成、写作方法都值得学习。
评分for research,第六章。切入点非常有启发性,虽然visual analysis并不十分有说服力,但method和整个chapter的构成、写作方法都值得学习。
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