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Creation Society Fiction and the Subjective Quality of May Fourth Literature

  • Christopher T. Keaveney
Chapter
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Part of the Comparative Perspectives on Modern Asia book series (CPMA)

Abstract

In attempting to address matters pertaining to self-referentiality in fiction, this study begins from the premise that all fiction can be considered self-referential insofar as, by necessity, it reflects the interests and biases of the author. Patricia Meyer Spacks offers the following succinct statement about the fundamental self-referentiality at work in all fiction:

It can be argued that all fiction ultimately constitutes autobiography, the artist inventing whatever the purported aim of his creation, only a series of metaphors for the self. Conversely, one can maintain that all autobiography is fiction, the imposition of form and discovery of meaning automatically converting life into its imitation1

The second part of Spackss statement correctly acknowledges the essential kinship of fiction and autobiography and recognizes the fact that the attempt to separate them into discrete forms offers a number of serious obstacles.

Keywords

Chinese Student Chinese Literature Exchange Student Fourth Period Chinese Writer 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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Notes

  1. 1.
    Patricia Ann Meyer Spacks, Imagining a Self: Autobiography and the Novel in Eighteenth-Century England (Cambridge, Mass.: Harvard University Press, 1976), 26CrossRefGoogle Scholar
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    Yi-tsi Mei Feuerwerker, “Text, Intertext and the Representation of the Writing Self,” in From May Fourth to June Fourth: Fiction and Film in Twentieth Century China, ed. Ellen Widmer and David Der-wei Wang (Cambridge, Mass.: Harvard University Press, 1993), 172Google Scholar
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    Bonnie S. McDougall, The Introduction of Western Literary Theories into Modern China: 1919–1923 (Tokyo: Centre for East Asian Cultural Studies, 1971), 145Google Scholar
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    Leo Ou-fan Lee, The Romantic Generation of Modern Chinese Writers (Cambridge, Mass.: Harvard University Press, 1973), 65CrossRefGoogle Scholar
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    Mariân Gâlik, The Genesis of Modern Chinese Literary Criticism (1917–1930) (London: Curzan Press, 1980), 35Google Scholar
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    Reprinted in Chen Huangmei, ed., Chuangzao ziliao, vol. 1 (Fuzhou: Fujian chubanshe, 1985), 11Google Scholar
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    Yu Dafu, “Endless Nights” (Mangmang ye, 1921) in Itô Toramaru, ed., Sôzôsha no shiryô, 1: 86Google Scholar
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    Guo Moruo, “Halfway” (Weiyang) from Chuangzao Jikan 1:3 (1922). Reprinted in Itô Toramaru, ed., Sôzôsha, 13Google Scholar

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© Christopher T. Keaveney 2004

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  • Christopher T. Keaveney

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