By Carolyn FitzGerald
In Fragmenting Modernisms, Carolyn FitzGerald strains the evolution of chinese language modernism in the course of the conflict of Resistance opposed to Japan (1937-45) and chinese language Civil struggle (1945-49) via a chain of shut readings of works of fiction, poetry, movie, and visible artwork, produced in quite a few destinations all through wartime China.
Showing that the tradition of this era used to be characterised through a excessive measure of formal looseness, she argues that such aesthetic fluidity was once created in line with ancient stipulations of violence and frequent displacement. in addition, she illustrates how the leading edge formal experiments of uprooted writers and artists increased the geographic and aesthetic barriers of chinese language modernism a long way past the coastal towns of Shanghai and Beijing.
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Additional info for Fragmenting Modernisms: Chinese Wartime Literature, Art, and Film, 1937-49
In the first section, I analyze Mu Dan’s oratorical-style poem “Walking in the Wilderness—Traversing Three Thousand Li on Foot, Part II” (Yuanye shang zoulu-sanqianli buxing zhi er 原野上走路三千里步行之二; 1940), which deals with his displacement and journey on foot to the interior. D. Dissertation, University of California, San Diego, 1984. For a study in Chinese, see Xie Zhixi 解志熙, “Baofengyu zhong de hangyin: Kangzhan ji 40 niandai xinshichao xulun 暴风雨中的行吟抗战及 40 年代新诗潮叙论 (Chanting in the Wind and Rain: A Discussion of a Collection of New Poetry from the War of Resistance and the 40s), in his Modeng yu xiandai: Zhongguo xiandai wenxue de shicun fenxi 摩登与现代中国现代文学 的实存分析 (The Modern and the Modern Era: An Analysis of Existentialism in Modern Literature; Beijing: Qinghua daxue, 2006), pp.
Chapter Four provides a close reading of Fei Mu’s 1948 modernist classic Spring in a Small Town. Hailed by many critics as the best Chinese film of all time, Fei Mu’s postwar film is characterized by experimentation with long takes, dissolves, low camera angles, voiceover narration, and play with light and shadow. In this chapter, my interpretation of the film is contextualized within a discussion of Fei Mu’s theoretical writings on film, the memoir of the film’s script-writer Li Tianji, and Su Shi’s 苏轼 (1037–1101) song lyric (ci 词), “A Spring Scene” (Chun jing 春景), which Fei Mu recited to Li Tianji after reading his script.
9–10; cited in Israel, Lianda, p. 35. 22 Ibid. 23 See Du Yunxie 杜运燮, “Mu Dan zhuyi de beihou” 穆旦著译的背后 (Behind Mu Dan, the Translator), in Yige minzu yijing qilai, p. 112. Cai Xiaomin, “Jiu lai xingchu hao zhuixun” 久来兴初好追寻 (Fond of Pursuing the Early Excitement of Long Ago), Qinghua xiaoyou tongxun 清华校友通讯 (Communications from Tsing-hua Alumni) 62 (January 1978): 17; cited in Israel, Lianda, p. 48. , Renditions 21 (1984): 252. , Mu Dan shi quanji, pp. 134–36, 39, 41, 45, 81, and 83. Three thousand li 里 is roughly equivalent to 1200 miles.