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Revenge and Its Implications: Literati Discourse of Justice in Late Qing and Modern Chinese Fiction.

机译:复仇及其启示:清末文人的文学正义话语与中国现代小说。

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My dissertation explores literati criticism of injustice embedded in revenge narratives. Ranging from the late Qing to modern China, this research project elaborates on the existing scholarship regarding historical and cultural meanings of revenge to demonstrate the use of earlier textual sources by intellectual writers to embody their ideas and strategies. The literati community inherited a keen sense of injustice in society from previous writing practice and passed it down to later generations. Revenge narratives were able to reinforce this intellectual tradition because the authors of social criticism could use fiction to express their anger and frustration over injustices suffered by the people. Despite differing political ideals, authors of revenge narratives all deliberated on the problems out of which social injustice originated; thus, they claimed for themselves a timeless mission: criticism of all manner of violence along the routes of historical events.;The frequent usage of implications is the focus of my textual analysis. In particular, I discover that illustrations of violence are rich sources of implied messages. Works of revenge have multiple layers of narrative structure. In order to carry out their moral criticism, the intellectuals wrote indirectly about political questions, usually through stylistic control of tone and diction. Embedded meanings often appear to contradict the authors' political backgrounds. This arrangement, however, is essential in overcoming reductionist political meanings of their revenge narratives. My textual examples promote different political perspectives: Confucianism, nationalism, May Fourth cultural criticism and anarchism. The literati criticism of injustice also varies in pointing out physical and psychological violence. Nevertheless, this stylistic elaboration enabled these authors to sympathize equally with the victims of social injustice.;I arrange my four major chapters in the chronological order of the works discussed. Following the trajectories of historical events, I examine applications of the revenge theme with special attention to descriptions of violence. Yu Wanchun (1794-1849) wrote Dangkou zhi (Quelling the Bandits, 1851) in order to oppose banditry. His illustrations of lingchi (death by slicing), on the other hand, envision the triumph of legal justice against abusive ministers. Wu Jianren's (1866-1910) Tongshi (A History of Pain, 1903-06) draws on the Mongol invasion of the Southern Song in order to protect the Qing empire. His conventional descriptions of tucheng (massacre of a whole city), nevertheless, transcend the anti-Manchu discourse and further indict the repeated violence of dynastic change. Lu Xun (1881-1936) manipulates multiple editions of the Meijianchi tale in compiling his "Zhujian" (Forging the Swords, 1926). Because his criticism of filial revenge implicates the victims of abusive power, Lu Xun slips into self-criticism, insinuated in the psychology of zhanshou (decapitation). Ba Jin's (1904-2005) Miewang (Destruction, 1929) explores the political impotence of an anarchist. The merciless warlord rule is to blame for the public execution; but its psychological impact prompts the youth to assert their moral responsibility through assassination. I conclude my dissertation with Cao Yu's (1910-96) Yuanye (The Wilderness, 1937). The literature of revenge, however implied the messages were, allowed intellectuals to carry on the perennial exposure and criticism of injustice.
机译:我的论文探讨了复仇叙事中对文学不公的文学批评。从清末到近代中国,这项研究项目详细阐述了关于复仇的历史和文化含义的现有学术研究,以证明知识分子作家利用较早的文字资料来体现其思想和策略。文人社区从以前的写作实践中继承了社会的一种强烈的不公正感,并将其传给了后代。复仇叙事能够加强这种知识传统,因为社会批评的作者可以用小说来表达他们对人民遭受的不公正待遇的愤怒和沮丧。尽管有不同的政治理想,复仇叙事的作者都在思考社会不公正起源的问题。因此,他们为自己宣称了一个永恒的使命:对历史事件沿途的一切形式的暴力行为的批评。特别是,我发现暴力插图是暗含信息的丰富来源。复仇作品具有多层叙事结构。为了进行道德批评,知识分子通常通过语气和口语的风格控制来间接地撰写有关政治问题的文章。内在的含义常常似乎与作者的政治背景相矛盾。但是,这种安排对于克服其复仇叙事的还原主义政治意义至关重要。我的文字示例促进了不同的政治观点:儒家,民族主义,五四文化批评和无政府主义。文盲对不公正现象的批评在指出身心暴力方面也有所不同。尽管如此,这种风格上的阐述使这些作者能够同情社会不公正的受害者。我按所讨论作品的时间顺序排列了我的四个主要章节。沿着历史事件的轨迹,我研究复仇主题的应用,并特别注意暴力的描述。于万春(1794-1849)撰写了《党口之志》(Quelling the Bandits,1851年),以反对强盗。另一方面,他对lingchi(切片致死)的插图预示了对虐待部长的法律正义的胜利。吴建仁(1866-1910)的通史(《痛苦的历史》,1903-06)借鉴蒙古人对南宋的入侵,以保护清帝国。然而,他对土城(整个城市的大屠杀)的常规描述超越了反满族的话语,并进一步指示了朝代变迁的反复暴力。鲁迅(1881-1936年)在编着《竹剑》(《锻剑》,1926年)的过程中操纵了梅剑奇故事的多个版本。因为鲁迅对孝子复仇的批评牵涉到滥用权力的受害者,所以鲁迅陷入自我批评,被斩首的斩首心理所暗示。巴金(1904-2005)的Miewang(《毁灭》,1929年)探讨了无政府主义者的政治无能。无情的军阀规则应归咎于公众处决;但是它的心理影响促使青少年通过暗杀来维护自己的道德责任。我的论文以曹Yu(1910-96)的《野野》(原版,1937年)结束。复仇的文学,无论暗示了什么信息,都使知识分子对不公正现象进行了长期的曝光和批评。

著录项

  • 作者

    Soh, Yoojin.;

  • 作者单位

    Washington University in St. Louis.;

  • 授予单位 Washington University in St. Louis.;
  • 学科 Literature Comparative.;Asian Studies.;Literature Asian.
  • 学位 Ph.D.
  • 年度 2012
  • 页码 252 p.
  • 总页数 252
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

  • 入库时间 2022-08-17 11:42:55

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