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AESTHETICS OF OPPOSITION : = A STUDY OF THE MODERNIST GENERATION OF CHINESE POETS, 1936-1949 (CHINA, WESTERN MODERNISM).

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	AESTHETICS OF OPPOSITION :/
其他題名:	A STUDY OF THE MODERNIST GENERATION OF CHINESE POETS, 1936-1949 (CHINA, WESTERN MODERNISM).
作者:	LEUNG, PING-KWAN.
面頁冊數:	1 online resource (193 pages)
附註:	Source: Dissertation Abstracts International, Volume: 45-07, Section: A, page: 2093.
標題:	Comparative literature. -
電子資源:	click for full text (PQDT)

AESTHETICS OF OPPOSITION : = A STUDY OF THE MODERNIST GENERATION OF CHINESE POETS, 1936-1949 (CHINA, WESTERN MODERNISM).
LEUNG, PING-KWAN.

AESTHETICS OF OPPOSITION :A STUDY OF THE MODERNIST GENERATION OF CHINESE POETS, 1936-1949 (CHINA, WESTERN MODERNISM). - 1 online resource (193 pages)

Source: Dissertation Abstracts International, Volume: 45-07, Section: A, page: 2093.

Thesis (Ph.D.)--University of California, San Diego, 1984.

Includes bibliographical references

In the Nineteen thirties and forties, there emerged in China a generation of poets with distinct modernist outlook. This generation followed the innovation of the first generation of Chinese New Poets in its foregrounding of classical language and regulated form. The modernity of their work resides in their break with traditional value judgement and representational emphasis, their adversary stance to bourgeois and commercial culture, and their deviation from familiar codes of communication.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

Subjects--Topical Terms:

835159
Comparative literature.
Index Terms--Genre/Form:

554714
Electronic books.

AESTHETICS OF OPPOSITION : = A STUDY OF THE MODERNIST GENERATION OF CHINESE POETS, 1936-1949 (CHINA, WESTERN MODERNISM).
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245 1 0 $a AESTHETICS OF OPPOSITION : $b A STUDY OF THE MODERNIST GENERATION OF CHINESE POETS, 1936-1949 (CHINA, WESTERN MODERNISM).
264 0 $c 1984
300 $a 1 online resource (193 pages)
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500 $a Source: Dissertation Abstracts International, Volume: 45-07, Section: A, page: 2093.
502 $a Thesis (Ph.D.)--University of California, San Diego, 1984.
504 $a Includes bibliographical references
520 $a In the Nineteen thirties and forties, there emerged in China a generation of poets with distinct modernist outlook. This generation followed the innovation of the first generation of Chinese New Poets in its foregrounding of classical language and regulated form. The modernity of their work resides in their break with traditional value judgement and representational emphasis, their adversary stance to bourgeois and commercial culture, and their deviation from familiar codes of communication.
520 $a Various theories on modernism, such as the discussion of literary modernism by M. Calinescu, E. Wilson, I. Howe, L. Trilling, and S. Spender, the aesthetics of negativity by T. Adorno, the aesthetics of opposition by J. Lotman, the discussion of the language of the modernist texts by R. Barthes, help us understand various literary, socio-cultural as well as linguistic characteristics of the Chinese modernist poets. But while the Chinese poets shared with their western counterparts certain similar concerns, there were particular social and historical contexts, such as the Sino-Japanese War (1937-1945), and the post-war period of social and economic instability, which shaped the particular morphology of the Chinese modernist poetry.
520 $a In the thirties and forties, which China entered the second phase of modernization, the cities rose as industrial and economic centers. The city is a recurring theme in the poetry of the forties. But while for some western modernists the objective reality of the city is not as important as their subjective feelings toward it, the Chinese modernists never undermine the referentiality in their poetry. Even in the more private mode of poetry, the lyric, the poets are conscious of the threatening forces of the public world. Hence the lyric is used as a negation of public belief, rather than as a solipsistic self-reflection.
520 $a The particular qualities of the Chinese language provide constraints as well as advantages for the Chinese modernists. For poets with more obvious western links such as Mu Tan, or for poets who have developed from strong influence of classical poetry such as Hsin-ti, we find examples of their manipulation of the particular quality of the Chinese language to arrive at the modernity in their poetry.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2018
538 $a Mode of access: World Wide Web
650 4 $a Comparative literature. $3 835159
650 4 $a Asian literature. $3 1183555
650 4 $a Modern literature. $3 1148444
655 7 $a Electronic books. $2 local $3 554714
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690 $a 0305
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710 2 $a ProQuest Information and Learning Co. $3 1178819
710 2 $a University of California, San Diego. $3 1187935
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