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Jianhua Chen

Volume-editor Carlos Rojas

Translator Max Bohnenkamp, Todd Foley, Poshek Fu, Nga Li Lam, Meng Li and Carlos Rojas

wanted by Chiang Kai-shek and had no choice but to live an underground life. I couldn’t get a job either, of course, and therefore had to resort to writing in order to make a living.” 8 Based on these excerpts, one might imagine that Mao Dun’s life at the time must have been quite distant from

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Jianhua Chen

Volume-editor Carlos Rojas

Translator Max Bohnenkamp, Todd Foley, Poshek Fu, Nga Li Lam, Meng Li and Carlos Rojas

1920s a basic understanding of the novel had been formed. According to Xie Liuyi 謝六逸, “the novel is about the vertical aspect of human living and hence is characterized by a temporal continuity. The short story is about the horizontal aspect of life and hence is more about the spatial aspect and is

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Jianhua Chen

Volume-editor Carlos Rojas

Translator Max Bohnenkamp, Todd Foley, Poshek Fu, Nga Li Lam, Meng Li and Carlos Rojas

and was displaced onto the literary market—which partly explains the rise of revolution-plus-love novels. In these works, the Noras are motivated by, long for, or are involved with the revolution. Therefore, a basic characteristic of these novels is their representation of how new women imagined the

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Xudong Zhang

formation. By reconciliation, I do not intend the vulgar sense of reconciliation that entails living together without quarreling, but rather the sense of reconciliation that is the negation of the negation: I want to see my own historicity within your everyday life; I want to catch sight of a substantial

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Mingwei Song

, and very likely the best-known foreign literary character for people living through Mao’s era. In the story, Pawel Korchagin is a Ukrainian youth who devotes his life to the cause of the Russian revolution, subjects himself to the disciplines of the Party, and goes through all kinds of imaginable (and

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Krista Van Fleit Hang

this early stage, she fantasizes about a relationship with him and allows him to kiss her. Her first outing with him is narrated with an exuberance that ties the feelings of passion with the experience of living the life of a true New Yorker: She was so happy, so happy, so happy…. And how blue the

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Dennitza Gabrakova

strategically psychoanalytic access to such wound, as elaborated by Ukai in Chapter 2, one can also think of the archipelagic dimension as echoing “[Goethe’s] idea that the cultural life of the nation is ‘unconsciously’ lived,” and therefore, in Bhabha’s estimation “there may be a sense in which world

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Dennitza Gabrakova

homogenized postwar Japan divided between the recognition of itself in the reflections of the peripheral islands and a sense of superiority. On these islands the motif of reproductive sexuality reemerges, this time in response to questions of sustaining the life of a political community. According to

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Dennitza Gabrakova

devoted to the cult of the sword and the top prestige of the warrior” writes Benedict, 5 negatively embedding The Chrysanthemum and the Sword within a structural incongruence. The wartime realities that motivated this study of the U.S. enemy are abstracted in the “cult of the sword” and refracted in

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Yao Xinzhong

.g., the customs in ancient Egypt relating to the pharaohs). A dead tradition refers to the beliefs, values, and practices that can be found only in museums, archaeological excavations, or forgotten texts that are no longer meaningful in contemporary life. In contrast, aliving tradition” is transmitted