A Course on the History of Contemporary Chinese Literature

Chapter List (94) Free

• 1: foreword
• 2: Introduction: The Origin, Stages and Development of Contemporary Chinese Literature
• 3: Section 1 The Transformation of the New Literary Tradition of the "May 4th Movement"
• 4: The political lyric of the victor in the second quarter: "The time has begun"
• 5: The third section looks for the matching point of the times: "The Story of Auschwitz Concentration Camp"
• 6: The beginning of the fourth section of potential writing: "Peking Dormitory at 10 o'clock on May 30th"
• 7: Section 1 Folk Culture Form and Rural Theme Creation
• 8: Section 2 Exploration of Folk Art Space: "Great Changes in Mountains and Villages"
• 9: The third section is the tortuous expression of the folk standpoint: "Exercising and exercising"
• 10: Section 4 The Invisible Structure of Folk Art: "Li Shuangshuang"
• 11: Section 1 War Culture Norms and Novel Creation
• 12: Section 2 Exploring the Megastructure of War Novels: "Red Sun"
• 13: Section 3 The Legendary Character of War Novels: "Lin Hai Xue Yuan"
• 14: Section 4 War Novels and the Beauty of Human Nature: "Lily"
• 15: The first section establishes the modern historical narrative mode
• 16: Section 2 The Destiny Combination of Family and History: "Three Families Alley"
• 17: Section 3 Ukiyo-e of folk life in the old era: "Tea House"
• 18: Section 4: A Glimpse of Intellectuals' Spiritual Struggle: "Red Bean"
• 19: Section 1: Ideological Conflicts in the Literary and Art Circles Before and after the "Double Hundred Policy"
• 20: Section 2 New Contradictions and Confusions: "New Young People from the Organization Department"
• 21: Section 3 The Distress of a Thinker: "Looking at the Starry Sky"
• 22: Section 4 The Purgatory Song of the Victims: "Another Columbus" and "A Gift"
• 23: Section 1 The Prosperity of Historical Theme Creation
• 24: Section 2 The Reappearance of the Heroic Image of Intellectuals: "Guan Hanqing"
• 25: The third section reveals the twists and turns of the intellectuals' aspirations: "Tao Yuanming's Written"
• 26: Section Four Theory and Creation of the Image of Honest Officials: "Fifteen Guans" and "Kuang Zhong's Pen"
• 27: Section 1 Multi-Ethnic Literature Entering the Chinese-speaking World
• 28: Section 2 Collation and Adaptation of Folk Literature: "Ashima"
• 29: Section 3 Memory and Poetry of Ethnic Customs: "Red Flag"
• 30: Section 4: Literati Creations Drawing on Folk Nutrition: "Song of Zhou Lu, Paddlers"
• 31: Lyrics and personal reflections of the first section
• 32: Section 2 Lyrics of the Times: "Songs of Guilin Landscape" and "Three Days on the Yangtze River"
• 33: Section 3 The Allegory of Reality: "Evening Talks at Yanshan" and Others
• 34: Section 4 Private Discourse: "An Essay on No Dream Tower"
• 35: Section 1 The destruction of literature by the "Cultural Revolution" and the underground literary activities during the "Cultural Revolution"
• 36: Section 2 The Secret Creation of an Old Writer: "Yuanyuantang Continuation"
• 37: Section 3 The Eruption of Life in Repression and Modern Wisdom: "Half Tree" and "The Metamorphosis of God"
• 38: Section 4 Awakening of the Young Generation: "This is Beijing at 4:08" and "Waves"
• 39: Section 1 The Recovery of the New Literary Tradition of the "May 4th Movement"
• 40: Section 2 Self-Confession After Learning from the Pain: "Capricious Thoughts"
• 41: Section 3 Awareness and Reflection of the Young Generation: "Death"
• 42: Section 4 Conscious commitment to the destiny of the nation: "One Generation" "The night gave me black eyes, but I used them to find light."
• 43: Section 1 Historical Reflection on "Returners"
• 44: The second section reflects on history from the standpoint of "fellow travelers": "The Traitor"
• 45: Section Three Reflections on Idealism and Its Practice: "Dream of the Sea"
• 46: Section 4 Reflections on National Disasters: "Hey, Big Forest"
• 47: Section 1 The Prosperity of Humanitarian Thought in Literary Creation
• 48: Section 2 The friendship between the suffering refugees: "The Story of Old Man Xing and the Dog"
• 49: Section 3 Longing for a Beautiful Ideal: "Oh, Xiangxue"
• 50: Section 4 Women's angry voices: "The Ark"
• 51: Section 1 Social and Literary Responsibilities under the Reform and Opening Policy
• 52: The second section calls for the ideal public servant of the people: "If I am real"
• 53: The third section is the tragedy and comedy of the fate of the little people: "Chen Huansheng Goes to the City"
• 54: Section 4 Choice and Thinking of Life Path: "Life"
• 55: Section 1 Rural Novels and Market Novels
• 56: Section 2 The Joy of Life Surging on the Earth: "Being Precepted"
• 57: Section 3 Depiction and Reflection of Market Culture: "Smoke Bottle"
• 58: The fourth section comes from the singing of the Northwest style: "The Horse of Gongnaisi" and "Inland Gaojiu"
• 59: Section 1 Introduction and Influence of Western Modernist Literature
• 60: Section Two: The New Aesthetic Pursuit of "Misty Poetry": "To the Oak" and "The Brig"
• 61: Modern Art Attempts on Stage 3: "Absolute Signal"
• 62: Modern Consciousness in Section IV Fiction: "The Cabin on the Hill"
• 63: Section 1 Cultural Root-seeking Awareness and Literary Experiments
• 64: Section 2 The North-South Echo of Root-seeking Literature: "The King of Chess" and "Papa"
• 65: The third section comes from the beautiful poetry of the folk: "Shangzhou Chulu"
• 66: Section 4: Cultural Reflection on "Exploring Movies": "Yellow Earth"
• 67: Section 1 The Cultural Background and Cultural Significance of Pioneer Novels
• 68: The Exploration of the Narrative Aesthetics of the Second Section: "The Temptation of Gangdise"
• 69: The third section is an experiment of language aesthetics in novels: "I am a juvenile wine jar"
• 70: Section 4 Cruel and Indifferent Discovery of Human Nature: "A Kind of Reality"
• 71: Section 1 New Realistic Fiction and New Historical Fiction
• 72: Section 2 Classic Text of Contemporary Survival Consciousness: "Landscape"
• 73: Section 3 The Poetic Deconstruction of Daily Life: "Chicken Feathers All Over the Place"
• 74: Section 4: Folk Examination of War History: "Red Sorghum"
• 75: Section 1 The Literature Characteristics of the Social Transition Period
• 76: Section 2 Personality Consciousness in Rock: "Nothing"
• 77: Section 3 Rebellious Consciousness in Business Writing: "Animals Are Fierce"
• 78: Section 4 From Novel to Movie: "Wives and Concubines in Groups" and "Raise the Red Lantern"
• 79: Section 1 Personal writing position in the anonymous state
• 80: Section 2 Personal meditation on life: "I and the Temple of Earth"
• 81: Section 3 Personal Reflection on the Times: "Uncle's Story"
• 82: Section 4 Personal Commitment to the Times: "Pasternak"
• 83: Section 1 Expansion of new writing space
• 84: Section 2 The space of women's self-world: "Women's Poems"
• 85: The third section is the space where Chinese and foreign cultures collide: "Girl Xiaoyu"
• 86: Section 4 The Space of Deep Personality Psychology: "Birth of Despair"
• 87: Section 1 Literary Creation Upholding Folk Ideals
• 88: Section 2 Folk Religion and the Establishment of Ideals: "The Crescent Moon"
• 89: Section 3 The Folk World Covered by Language: "Maqiao Dictionary"
• 90: Section Four Seeking Ideals on the Folk Land: "September Fables"
• 91: The main books referenced in this textbook
• 92: Brief information on contemporary writers (1)
• 93: Brief information on contemporary writers (2)
• 94: Endless Epilogue (Postscript)