A Myth of Violet读书介绍
| 类别 | 页数 | 译者 | 网友评分 | 年代 | 出版社 |
|---|---|---|---|---|---|
| 书籍 | 349页 | 2020 | Harvard University |
| 定价 | 出版日期 | 最近访问 | 访问指数 |
|---|---|---|---|
| 2020-02-20 … | 2021-09-19 … | 44 |
This thesis is an inquiry into a phenomenon unique to the literary culture in 1920s Shanghai: the “violet” as a symbol of modern woman was favored by popular print media for its power sustainably arousing urban sensation and imagination. The symbol of violet was rooted in Zhou Shoujuan's early tragic love, developed by his Saturday colleagues in diverse genres, and finally blossomed as an elegant commodity through the publication of Zhou's best-selling magazine The Violet. By historicizing the Violet phenomenon during two decades, I reveal the trajectory of how the figure of the violet was fantasmagorically transformed from Zhou's self-representation to the self-representation of the city. In numerous verbal and visual representations, the Violet phenomenon became a complex semiotic web denoting a flower cult from the West, a rhetorical novelty, an icon of modern femininity, a site of popular communications, and a new mode of production. Through the web I explore the inner mechanisms of popular imagination and production, across the boundaries of literature and culture, aesthetics and politics, gender and visuality, urban physiognomy and perception, circulation and consumption. The violet saga was like a prism mirroring the rise and fall of the literary public and intimate spaces, a process in which the traditional literati world of flower, women, and poetry was reinvented in the modern era, inscribed with the agenda of the Saturday writers to reform urban mentality and culture in favor of the bourgeois ideal of the autonomous individual, domesticity, and civil society. Their literary practices demonstrated the characteristics of diversity and dynamics in using linguistic, literary, and cultural sources. While excavating the repressed history of the popular, popularity, and popular subjectivity in the context of literary modernity, I reconstruct a “structure of feeling”—the literary culture in early Republican period, whose investigatory scopes are broader than those in the current scholarship on modern Chinese popular literature. Methodologically, by focusing on the 1920s controversy between new and old literature, this thesis confronts the canon formation in the historiography of modern Chinese literature, questioning the dichotomous premises of tradition/modern, old/new, and high/low, underlying the current view that modern Chinese literature originates with the 1917 May Fourth New Literary Movement.
作者简介陈建华，生于上海。复旦大学、哈佛大学文学博士。曾任教于美国欧柏林学院、香港科技大学、上海交通大学，为美国伯克利加州大学与台湾中研院访问学者。现任复旦大学特聘讲座教授。著作有Revolution and Form: Mao Dun’s Early Fiction and Chinese Literary Modernity (Brill, 2018)、From Revolution to the Republic: Chen Jianhua on Vernacular Chinese Modernity (M. E. Sharpe, 2013)、《中国江浙地区十四世纪至十七世纪社会意识与文学》《“革命”的现代性——中国革命话语考论》《革命与形式——茅盾早期小说的现代性展开，1927-1930》《从革命到共和──清末至民国时期文学、电影与文化的转型》《帝...
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