This study - bridging contemporary theory, Chinese history, comparative literature, and culture studies - analyzes the historical interactions among China, Japan, and the West in terms of "translingual practice". By this term, the author refers to the process by which new words, meanings...

This study - bridging contemporary theory, Chinese history, comparative literature, and culture studies - analyzes the historical interactions among China, Japan, and the West in terms of "translingual practice". By this term, the author refers to the process by which new words, meanings, discourses, and modes of representation arose, circulated, and acquired legitimacy in early modern China as it contacted/collided with European/Japanese languages and literatures. In reexamining the rise of modern Chinese literature in this context, the book asks three central questions: How did "modernity" and "the West" become legitimized in May Fourth literary discourse? What happened to native agency in this complex process of legitimation? How did the Chinese national culture imagine and interpret its own moment of unfolding? After the first chapter, which deals with the theoretical issues, ensuing chapters treat particular instances of translingual practice such as national character, individualism, stylistic innovations, first-person narration, and canon formation.

The division between the scholar-gentry class and the "people" was an enduring theme of the traditional Chinese agrarian-bureaucratic state. Twentieth-century elites recast this as a division between intellectuals and peasants and made the confrontation between the writing/intellectual self and the...

The division between the scholar-gentry class and the "people" was an enduring theme of the traditional Chinese agrarian-bureaucratic state. Twentieth-century elites recast this as a division between intellectuals and peasants and made the confrontation between the writing/intellectual self and the peasant "other" a central concern of literature. The author argues that, in the process, they created the "peasantry", the downtrodden rural masses represented as proper objects of political action and shifting ideological agendas.

Throughout this transition, language or discourse has been not only a weapon of struggle but the center of controversy and contention. Because of this primacy of language, the author's main approach is the close reading or, rather, re-reading of significant narrative fictions from four literary generations to demonstrate how historical, ideological, and cultural issues are absorbed, articulated, and debated within the text.

Three chapters each focus on one representativeauthor. The fiction of Lu Xun (1881-1936), which initiated the literary preoccupation with the victimized peasant, is also about the identity crisis of the intellectual. Zhao Shuli (1906-1970), upheld by the Communist Party as a model "peasant writer", tragically exemplifies in his career the inherent contradictions of such an assigned role. In the post-Mao era, Gao Xiaosheng (1928-) uses the ironic play of language to present a more ambiguous peasant while deflating intellectual pretensions. The chapter on the last of the four "generations" examines several texts by Mo Yan (1956-), Hah Shaogong (1952-), and Wang Anyi (1954-) as examples of "root-searching" fiction from the mid-1980's. Whilereaching back into the past, this fiction is paradoxically also experimental in technique: the encounter with the peasant leads to questions about the self-construction of the intellectual and the nature of narrative representa

Although Chinese Marxism -- primarily represented by Maoism -- is generally seen by Western intellectuals as monolithic, Liu Kang argues that its practices and projects are as diverse as those in Western Marxism, particularly in the area of aesthetics. In this comparative study of European and...

Although Chinese Marxism -- primarily represented by Maoism -- is generally seen by Western intellectuals as monolithic, Liu Kang argues that its practices and projects are as diverse as those in Western Marxism, particularly in the area of aesthetics. In this comparative study of European and Chinese Marxist traditions, Liu reveals the extent to which Chinese Marxists incorporate ideas about aesthetics and culture in their theories and practices. In doing so, he constructs a wholly new understanding of Chinese Marxism.

Far from being secondary considerations in Chinese Marxism, aesthetics and culture are in fact principal concerns. In this respect, such Marxists are similar to their Western counterparts, although Europeans have had little understanding of the Chinese experience. Liu traces the genealogy of aesthetic discourse in both modern China and the West since the era of classical German thought, showing where conceptual modifications and divergences have occurred in the two traditions. He examines the work of Mao Zedong, Lu Xun, Li Zehou, Qu Qiubai, and others in China, and from the West he discusses Kant, Schiller, Schopenhauer, and Marxist theorists including Horkheimer, Adorno, Benjamin, and Marcuse. While stressing the diversity of Marxist positions within China as well as in the West, Liu explains how ideas of culture and aesthetics have offered a constructive vision for a postrevolutionary society and have affected a wide field of issues involving the problems of modernity.

Forcefully argued and theoretically sophisticated, this book will appeal to students and scholars of contemporary Marxism, cultural studies, aesthetics, and modern Chinese culture, politics, andideology.