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The Progressive Aspect as a Polarity Item(Non-)Licenser:A Crosslinguistic Study

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外国语 2019年第3期42卷 38-46页

作者： XIE Zhiguo department of East Asian languages and literatures Ohio State University

By drawing on the most recent literature, I discuss the phenomenon that the progressive aspect in Mandarin Chinese can license *** observation stands in sharp contrast to the fact that the progressive aspect cannot license negative polarity items in such languages as English and Greek.A key difference between the progressive aspect in English/Greek and that in Mandarin Chinese is the former draws on the occurrence of the associated event, and the latter draws on the non-occurrence of the associated *** difference determines whether the progressive in a language is veridical or non-veridical, and whether it can license negative polarity items in that language.

关键词： progressive wh-indefinites polarity items non-veridicality event realization

Circulating Smallness on Weibo： The Dialectics of Microfiction

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Frontiers of Literary Studies in China-Selected Publications from Chinese Universities 2014年第1期8卷 181-202页

作者： Haomin Gong Xin Yang department of Modern languages and literatures Case Western Reserve UniversityCleveland OH 44106 USA department of Asian languages and Cultures Macalester College Saint Paul MN 55105USA

The focus of this essay is microfiction （wei xiaoshuo）, a form of Weibo-based fiction writing. From the perspective of its most prominent feature--microness--the authors investigate the dialectical relationship between microness and largeness embodied in its form, the context of its emergence, the conditions of its existence, as well as the issues reflected in its content. Studying three disparate cases of microfiction writing, namely microfiction selected from contests hosted by Sina, Chen Peng＇s personal Weibo posts, and Wen Huanjian＇s Weibo novel, Love in the Age of Microblogging （Weibo shiqi de aiqing）, we explore the cultural status of microfiction as a reflection of the combination of literary writing and online activities; and its aesthetic, literary, and cultural characteristics. Reading microfiction in both a literary and a sociocultural text, we argue that the smallness is an intrusion upon the largeness and hegemony of grand narratives on the one hand, and a reflection of a boradly changing reality on the other.

关键词： Weibo microfiction microblog internet writing fiction literary text cultural text

Unfinished Revolution： A Paradox of Mourning Subjectivity in Su Manshu＇s The Lone Swan

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Frontiers of Literary Studies in China-Selected Publications from Chinese Universities 2015年第1期9卷 104-130页

作者： Makiko MORI department of Foreign languages & literatures Auburn University AL 36849 USA

Su Manshu＇s 苏曼殊（1884-1918） The Lone Swan （Duanhong lingyanji 断鸿零雁记, 1911, 1912） is best known for a sustained use of subjective voice and a thematic emphasis on tragic love. Critics have often credited the novella＇s intensely tragic narrative for spearheading a new kind of literary subjectivity that became a cornerstone of modern Chinese literature as heralded by the May Fourth critics in the late 1910s and the 1920s. However, very few have examined this new subjectivity as an effect of Su＇s critical engagement with a late Qing nationalist narrative. Su＇s novella was an appropriation of the anti-Manchu revolutionary narrative of a nation, which hinged on a paradoxical mode of envisaging a new China through a temporal return to the past and by means of a tragic sacrifice of the individual. Following a brief analysis of Su＇s early piece published in The People＇s Journal （Minbao 民报）, this article demonstrates how The Lone Swan elaborated on an excess of individual sacrifice, while developing the new, mourning subjectivity as a witness to the unfinished revolutionary enterprise of forging a powerful nation. Su＇s narrative of cultural devastation resonates with Lu Xun＇s （1881-1936） late Qing work, but, in the May Fourth period that immediately followed, this sense of despair would become an unequivocal obiect for overcoming.

关键词： Su Manshu anti-Manchu revolution mourning martyrdom literarymodernity

The traumatic narratives of sexuality in Chinese writer Shao-Lin Chu’s trilogy

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Language and Semiotic Studies 2024年第1期10卷 106-131页

作者： Hsiu-Chih Tsai department of Foreign languages and literatures National Taiwan UniversityTaipeiTaiwan

This paper explores the narratives of the Chinese woman novelist Shao-Lin Chu’s trilogy to see how the problem of female sexuality and resistance to parental wedlock tragedy becomes a traumatic *** traumatic symptoms in the narratives are taken as Peircean signs for tracing the negative influences of traumatic experiences on the formation of personal identity and the associated depressive *** scenes portrayed in Chu’s traumatic narratives of female and male sexuality are implications and representations of how sexuality is conceptualized and confined by the traumatic events while backgrounded with regulations and restrictions of a traditional *** stories of Chu’s female narrators reveal the persistent and resisting feminine *** paper adopts the concept of feminist narrative to analyze the traumatic and sexual events in Chu’s *** decoding and re-encoding of resistance and sexuality in the traumatic narratives prove that the narratological textual analysis and semiotic reading strategy together offer a solid approach to the discovery of the persistent traumatic impacts of the secret veiled in the narratives and reveal the probable strength of compassion that has its roots derived from deplorable trauma but later transforms itself to stimulate a positive reconstruction of the traumatic survivors’identity.

关键词： traumatic narrative sexuality resistance textual analysis Peirce’s semiosis Shao-Lin Chu

Screening Torture in The Message： The Body and Soul of a Genre Film

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Frontiers of Literary Studies in China-Selected Publications from Chinese Universities 2018年第1期12卷 102-126页

作者： Li YANG department of Foreign languages and literatures Lafayette College Easton PA 18042USA

The 2009 hit espionage thriller The Message （Fengsheng 风声） was widely regarded as a milestone in Chinese genre filmmaking in the new millennium. Differing from Socialist espionage films, contemporaneous espionage TV series as well as its literary original, the film is first and foremost characterized by its plenitude of torture scenes. A textual critique on these torture scenes reveals the generic elements from both Socialist revolutionary classics and American horror films. The genre mixing in The Message produces the sensorial pleasure of a body genre film while being safeguarded by its revolutionary packaging. As a specimen of the Chinese private film sector＇s aggressive dual commercial and political campaign, The Message illustrates the strategies of Chinese genre filmmaking and manifests the splitting logic in the Chinese film industry.

关键词： Chinese commercial cinema espionage thriller The Message,Chinese genre film torture body

Records of a Minor Historian： Lu Xun on Zhang Taiyan

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Frontiers of Literary Studies in China-Selected Publications from Chinese Universities 2013年第3期7卷 367-395页

作者： Eileen J. Cheng department of Asian languages and literatures Pomona College Claremont CA 91711USA

Lu Xun, nearing his death, wrote two essays commemorating Zhang Taiyan. Both are rather unconventional eulogies, which engage the style, themes, and conventions of traditional biographies. Keenly aware of the depictions of his teacher as a conservative Confucian scholar and a political reactionary, Lu Xun provides a counter image. By associating his teacher with prominent revolutionaries and framing his idiosyncratic behaviors and political choices in later life as the product of failed ambition, Lu Xun harks back to the figure of the ＂mad genius＂ lauded as exemplars in the classical literary tradition, an image that resonates as well with the gallery of ＂modem＂ misanthropes and madmen in his short stories. Cast within a lineage of awakened eccentrics often deemed insane in their own times, Zhang emerges in Lu Xun＇s essays as a revolutionary par excellence： an outspoken rebel who, after the founding of the Republic, remained a fearless critic of the establishment; an uncompromising radical at heart, who remained committed to the ideals of a true social transformation long since forgotten by those around him. In making the ＂worthiness＂ and relevance of Zhang Taiyan as a historical figure legible to modem readers through his engagement with traditional biographical conventions, Lu Xun also affirms the value of a traditional literati culture which continued to structure his worldview as a modem intellectual and writer. For his portrait of the ＂master of classical studies＂ as a radical revolutionary, however partial, was an attempt to ensure that Zhang＇s name would remain relevant to posterity, leaving open the possibility that his teacher＇s ＂precious records＂ might also be transmitted and still find knowing readers in later ages.

关键词： Lu Xtm Zhang Taiyan teacher-disciple relations revolutionary,eccentrics madness biography

Carrying on Memories of Dignified Labor： Reading Na＇er, Heroes Everywhere, and The Piano in a Factory

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Frontiers of Literary Studies in China-Selected Publications from Chinese Universities 2016年第2期10卷 234-254页

作者： Zhen ZHANG department of Modem languages and literatures Union College Schenectady NY 12308 USA

In the context of a global subcontracting system that pushes workers toward a race to the bottom, the present article explores assertions for dignified labor in the Foxconn workers＇ actions and in the literary texts Na＇ar （2004） and Heroes Everywhere （2005）, as well as in the film The Piano in a Factory（2011）. By tracing the dialectical relationship between memories of dignified labor during the high socialist era, and critical expressions of present day degradation, the article finds a shift from the critique of global capital to proactive nostalgia for the previous era. Proactive nostalgia goes beyond the perception of China＇s high socialist era as traumatic. What is absent in the Foxconn labor experience, but still alive in workers＇ unconscious, is a world of dignified labor. By documenting how labor was once imbued with dignity in the recent past, these texts function as prosthetic memories for the next generation of workers, and a cultural resource for overcoming the current trauma of dehumanizing working conditions.

关键词： The Piano in a Factory Na'er Heroes Everywhere Foxconn,dignified labor proactive nostalgia prosthetic memory socialist legacy

Disease and Humanity： Ba Jin and His Ward Four： A Wartime Novel of China

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Frontiers of Literary Studies in China-Selected Publications from Chinese Universities 2012年第2期6卷 198-207页

作者： Haili Kong department of Modem languages and literatures Swarthrnore College Philadelphia 19081-1397 USA

＂Family＂ as Ba Jin＇s intense concern seems to be a central icon of his literary works, carrying through from his Family （1933） to Cold Nights （1947）. After briefly reassessing Ba Jin＇s literary contribution in his early phase, this essay will focus more on Ba Jin＇s novels written in the 1940s, particularly his Ward Four, which rarely attracts critical attention. For Lu Xun, mental disease in China was more crucial than physical disease. Ba Jin uses both mental and physical diseases to explore humanity in a wartime hospital. Ba Jin＇s early novels were infused with more radical ideas, but as a more mature writer in the 1940s he provided readers with a new perspective to explore and understand society.

关键词： Ba Jin humanity disease family trauma

From Reflection to Desire： Fifth- through Ninth-Century Poetry on ＂Observing Female Entertainers＂

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Frontiers of Literary Studies in China-Selected Publications from Chinese Universities 2016年第2期10卷 287-317页

作者： Jinghua WANGLING department of Modern languages and literatures Loyola University Maryland Baltimore MD 21210 USA

In extant Chinese poetry, there are a considerable number of poems composed on the theme of ＂Observing Female Entertainers＂ from the fifth through ninth centuries. Through an examination of such poems, this paper traces the changes in male poets＇ views of female entertainers： from placing female entertainers and their performances in a broader context of a pleasant moment, to focusing on the details of female entertainers and their performances, as well as from treating female entertainers as a medium for poets＇ self-reflection to desiring intimate relationships with them. This paper shows how this change in perception and representation of female entertainers by male poets not only indicates the development of the entertainment system, but also evidences a new function of this subgenre of poetry.

关键词： entertainer observation entertainment pleasure desire reflection