Lexington Books
Pages: 210
Trim: 6½ x 9½
978-0-7391-2362-1 • Hardback • April 2010 • $120.00 • (£92.00)
978-1-4616-3395-2 • eBook • April 2010 • $114.00 • (£88.00)
G. Andrew Stuckey is assistant professor of Asian languages and civilizations at University of Colorado, Boulder.
Chapter 1 1 Introduction: History, Memory, and Phantasmal Pasts
Part 2 Part I Parody: Traditional Narrative Revamped
Chapter 3 2 Tradition Redux: Parody and Pathology
Chapter 4 3 Return to the Primitive: De-Civilized Origins in Han Shaogong's Fiction
Chapter 5 4 Interlude: The Maoist (Anti)Tradition and the Nationalist (Neo)Tradition
Part 6 Part II Citation: Strategies of Intertextual Connection
Chapter 7 5 The Lyrical and the Local: Shen Congwen, Roots, and Temporality in the Lyrical Tradition
Chapter 8 6 Tradition in Exile: Allusion and Quotation in Bai Xianyong's Taipei People
Chapter 9 7 Back to the Future: Temporality and Cliché in Wang Anyi's Song of Everlasting Sorrow
Chapter 10 8 Globalized Traditions: Zhu Tianxin's The Ancient Capital
Chapter 11 Conclusion
G. Andrew Stuckey has done magnificent work in rethinking the meaning and function of writing, memory and history. In Old Stories Retold he looks into sources drawn from both modern and premodern Chinese writings and teases out the radical elements in the contemporary debate about cultural identities, historical authenticities, and literary imaginaries. His book is an important source for anyone interested in Chinese and comparative literary and cultural studies.
— David Der-wei Wang, Harvard University
This book represents an entirely new look at the writing produced in China following the cultural upheavals of the late 1910s. It questions the very basis on which most prior studies have been based, namely the idea that the "new literature" that began to be written in China after c. 1919 represents a total and iconoclastic break with the Chinese literary tradition. Through precise and insightful readings of a number of modern classics, G. Andrew Stuckey shows persuasively how motifs and literary forms from the past continually intrude upon all attempts at iconoclasm. This elegantly written and carefully argued piece of scholarship will be an enduring contribution to the study of Chinese literature.
— Theodore Huters, The Chinese University of Hong Kong