Chinese Justice, the Fiction


Book Description

This is a full-length study of Chinese crime fiction in all eras: ancient, modern, and contemporary. It is also the first book to apply legal scholars law and literature inquiry to the rich field of Chinese legal and literary culture.




Chinese Justice, the Fiction


Book Description

During the first thirty years under communism, China completely banned crime fiction. After Mao, however, crime genres of all kinds--old and new, Chinese and Western--sprang up in profusion. Crime narrative again became one of the most prolific and best-loved forms of Chinese popular culture, and it often embodied the Chinese people's most trenchant and open critiques of their newly restored socialist legal system. This is the first full-length study in any language of Chinese crime fiction in all eras: ancient, modern, and contemporary. It is also the first book to apply legal scholars' "law and literature" inquiry to the rich field of Chinese legal and literary culture. Familiar Holmesian, quintessentially Chinese, and bizarre East-West hybrids of plots, crimes, detectives, judges, suspects, and ideas of law and corruption emerge from the pages of China's new crime fiction, which is alternately embraced and condemned by the Chinese establishment as it lurches uncertainly toward post-communist society. Informed by contemporary comparative and theoretical perspectives on popular culture and the fiction of crime and detection, this book is based on extensive readings of Chinese crime fiction and interviews--in China and abroad--with the communist regime's exiled and still-in-power security and judicial officers. It was in the Orwellian year of 1984 that the authorities set out to control China's crime fiction and even to manufacture it themselves--only to find that fiction, like the social phenomena it depicts, seems destined to remain one step ahead of the law.




Visions of Dystopia in China’s New Historical Novels


Book Description

The depiction of personal and collective suffering in modern Chinese novels differs significantly from standard Communist accounts and many Eastern and Western historical narratives. Writers such as Yu Hua, Su Tong, Wang Anyi, Mo Yan, Han Shaogong, Ge Fei, Li Rui, and Zhang Wei skew and scramble common conceptions of China's modern development, deploying avant-garde narrative techniques from Latin American and Euro-American modernism to project a surprisingly "un-Chinese" dystopian vision and critical view of human culture and ethics. The epic narratives of modern Chinese fiction make rich use of magical realism, surrealism, and unusual treatments of historical time. Also featuring graphic depictions of sex and violence, as well as dark, raunchy comedy, these novels reflect China's recent history re-presenting the overthrow of the monarchy in the early twentieth century and the resulting chaos of revolution and war; the recurring miseries perpetrated by class warfare during the dictatorship of Mao Zedong; and the social dislocations caused by China's industrialization and rise as a global power. This book casts China's highbrow historical novels from the late 1980s to the first decade of the twenty-first century as a distinctively Chinese contribution to the form of the global dystopian novel and, consequently, to global thinking about the interrelations of utopia and dystopia.




Writing and Law in Late Imperial China


Book Description

In this fascinating, multidisciplinary volume, scholars of Chinese history, law, literature, and religions explore the intersections of legal practice with writing in many different social contexts. They consider the overlapping concerns of legal culture and the arts of crafting persuasive texts in a range of documents including crime reports, legislation, novels, prayers, and law suits. Their focus is the late Ming and Qing periods (c. 1550-1911); their documents range from plaints filed at the local level by commoners, through various texts produced by the well-to-do, to the legal opinions penned by China's emperors. Writing and Law in Late Imperial China explores works of crime-case fiction, judicial handbooks for magistrates and legal secretaries, popular attitudes toward clergy and merchants as reflected in legal plaints, and the belief in a parallel, otherworldly judicial system that supports earthly justice.




Ruined City


Book Description

When originally published in 1993, Ruined City (Fei Du) was promptly banned by China’s State Publishing Administration, ostensibly for its explicit sexual content. Since then, award-winning author Jia Pingwa’s vivid portrayal of contemporary China’s social and economic transformation has become a classic, viewed by critics and scholars of Chinese literature as one of the most important novels of the twentieth century. Howard Goldblatt’s deft translation now gives English-speaking readers their first chance to enjoy this masterpiece of social satire by one of China’s most provocative writers. While eroticism, exoticism, and esoteric minutiae—the “pornography” that earned the opprobrium of Chinese officials—pervade Ruined City, this tale of a famous contemporary writer’s sexual and legal imbroglios is an incisive portrait of politics and culture in a rapidly changing China. In a narrative that ranges from political allegory to parody, Jia Pingwa tracks his antihero Zhuang Zhidie through progressively more involved and inevitably disappointing sexual liaisons. Set in a modern metropolis rife with power politics, corruption, and capitalist schemes, the novel evokes an unrequited romantic longing for China’s premodern, rural past, even as unfolding events caution against the trap of nostalgia. Amid comedy and chaos, the author subtly injects his concerns about the place of intellectual seriousness, censorship, and artistic integrity in the changing conditions of Chinese society. Rich with detailed description and vivid imagery, Ruined City transports readers into a world abounding with the absurdities and harshness of modern life.




Traditional Chinese Fiction and Fiction Commentary


Book Description

In the Ming and Qing periods, the Chinese read fiction in editions with commentary printed on the same page. This book investigates the influence of traditional Chinese commentary on fiction and on the way Chinese fiction was written.




The Transculturation of Judge Dee Stories


Book Description

This book views the Dutch sinologist, Robert van Gulik’s Judge Dee mysteries as a hybrid East–West form of detective fiction and uses the concept of transculturation to discuss their hybrid nature with respect to their sources, production, and influence. The Judge Dee mysteries authored by Robert van Gulik (1910–1967) were the first detective stories to be set in ancient China. These hybrid narratives combine Chinese historical figures, traditional Chinese crime literature, and Chinese history and material culture with ratiocinative methods and psychoanalytic themes familiar from Western detective fiction. This new subject and detective image won a global readership, and the book discusses the innovations that van Gulik’s Judge Dee mysteries brought to both Chinese gong’an literature and Western detective fiction. Furthermore, it introduces contemporary writers from different countries who specialize in writing detective fiction or gong’an novels set in ancient China. The book will meet the interest of fans of Judge Dee stories throughout the world and will also appeal to both students and researchers of comparative literature, Chinese literature, and crime novels studies.




Detecting Chinese Modernities


Book Description

In Detecting Chinese Modernities: Rupture and Continuity in Modern Chinese Detective Fiction (1896–1949), Yan Wei historicizes the two stages in the development of Chinese detective fiction and discusses the rupture and continuity in the cultural transactions, mediation, and appropriation that occurred when the genre of detective fiction traveled to China during the first half of the twentieth century. Wei identifies two divergent, or even opposite strategies for appropriating Western detective fiction during the late Qing and the Republican periods. She further argues that these two periods in the domestication of detective fiction were also connected by shared emotions. Both periods expressed ambivalent and sometimes contradictory views regarding Chinese tradition and Western modernity.




A Companion to Modern Chinese Literature


Book Description

This wide-ranging Companion provides a vital overview of modern Chinese literature in different geopolitical areas, from the 1840s to now. It reviews major accomplishments of Chinese literary scholarship published in Chinese and English and brings attention to previously neglected, important areas. Offers the most thorough and concise coverage of modern Chinese literature to date, drawing attention to previously neglected areas such as late Qing, Sinophone, and ethnic minority literature Several chapters explore literature in relation to Sinophone geopolitics, regional culture, urban culture, visual culture, print media, and new media The introduction and two chapters furnish overviews of the institutional development of modern Chinese literature in Chinese and English scholarship since the mid-twentieth century Contributions from leading literary scholars in mainland China and Hong Kong add their voices to international scholarship




Chinese Literature in the Second Half of a Modern Century


Book Description

"... an important contribution to the study of recent Chinese literature." -- Choice "This fine, scholarly survey of Chinese literature since 1949... discusses such trends as modernism, nativism, realism, root-seeking and 'scar' literature, 'misty' poets, and political, feminist, and societal issues in modern Chinese literature." -- Library Journal This volume is a survey of modern Chinese literature in the second half of the twentieth century. It has three goals: (1) to introduce figures, works, movements, and debates that constitute the dynamics of Chinese literature from 1949 to the end of the century; (2) to depict the enunciative endeavors, ranging from ideological treatises to avant-garde experiments, that inform the polyphonic discourse of Chinese cultural politics; (3) to observe the historical factors that enacted the interplay of literary (post)modernities across the Chinese communities in the Mainland, Taiwan, Hong Kong, and overseas.