Innovation and convention in Zhang Henshui's novels.

摘要

This dissertation investigates the integration of innovative and conventional formal and ideological elements in seven representative works (six novels and one short story collection) of Zhang Henshui (1895-1967), a Chinese writer of popular fiction. Since the success of popular literature hinges to a large extent on its ability to appeal to a wide readership across social lines, it is the contention here that precisely because of this syncretic quality, Zhang Henshui remains as widely read now by the general public as during his lifetime.;Chapter 2 expounds on the concept of integration by bringing together Chinese and Western criticism on popular literature. Although the foci of various critics remain different, they overlap in that they all agree on the presence of divergent formal and ideological voices in popular literature. Based on this preliminary finding, Chapter 3 presents a close reading of Danfengjie and Bashiyi meng, focusing respectively on the changing concept of heroism in the former and the changing use of the dream motif in the latter.;From the study of single works, the last two chapters of this dissertation then turn to an examination of the same literary features in a number of works. Chapter 4 highlights the evolution of the traditional zhanghui form in two of Zhang's novels, Jinfenshijia and Yeshenchen. Zhang adheres to this form by and large only to depart from it in significant ways, answering in the process the criticism levelled against its outmoded morality by some of Zhang's contemporaries.;Chapter 5 focuses on the transformation of the character-type of intellectuals in Sirenji, Yanguilai, and Bashan yeyu. The differences in the portrayal of intellectuals in the three novels are significant, which can be explained by Zhang's sensitivity to the demands of his readers at different historical moments.;Chapter 1 reviews previous scholarship on Zhang Henshui, and suggests new directions for future studies. Earlier critics demonstrated a certain uneasiness about Zhang's literary contributions, and sought to endow respectability to the study of Zhang by alluding to his patriotism and "correct" political stances. By contrast, the new directions suggested here are more literary, and two are taken up in combination in this dissertation.