Geling Yan is an award-winning Chinese novelist and screenwriter. Born in Shanghai, she served with the People's Liberation Army during the Cultural Revolution, starting aged 12 as a dancer in an entertainment troupe. She published her first novel in 1985. Since then she has written numerous short stories, essays, scripts and novels including, in English, The Uninvited (published as The Banquet Bug in the US) and The Lost Daughter of Happiness. A collection of her short fiction originally written in Chinese was published in English as White Snake and Other Stories. Geling Yan's works have been translated into over a dozen languages, and several have been adapted for the screen, the latest being The Flowers of War. The film of this book, made by acclaimed Chinese director Zhang Yimou (Raise the Red Lantern, House of Flying Dangers) stars Christian Bale and is China's entry for the 2011 Academy Awards. Geling Yan holds a Master's in Fine Arts in Creative Writing from Columbia College Chicago. She currently divides her time between China and Berlin.
December 1937. The Japanese have taken Nanking. A group of terrified schoolgirls hides in the compound of an American church. Among them is Shujuan, through whose thirteen-year-old eyes we witness the shocking events that follow.
Run by Father Engelmann, an American priest who has been in China for many years, the church is supposedly neutral ground in the war between China and Japan. But it becomes clear the Japanese are not obeying international rules of engagement. As they pour through the streets of Nanking, raping and pillaging the civilian population, the girls are in increasing danger. And their safety is further compromised when prostitutes from the nearby brothel climb over the wall into the compound seeking refuge.
Short, powerful, vivid, this beautiful novel transports the reader to 1930s China. Full of wonderful characters, from the austere priest to the irreverent prostitutes, it is a story about how war upsets all prejudices and how love can flourish amidst death.
如果把“侠/妓”作为一种写作模式来考察,那么在当下时代,它所携带的强烈性别救赎意味将不可避免地被解构。举一个例子:在《虬髯客传》中,红拂投奔李靖时曾慷慨陈词:“丝罗非独生,原托乔木,故来奔耳。”杜光庭无法想到,在一千多年之后,王小波竟以其对“消极自由”的信...
评分过去女性因为依附于男性,她们收入渠道很大程度上并没有不同,唯一不同的是,看她们能附庸上怎样的男性,通过男性的社会经济地位的支撑来确保自己的生活运转,同时为了维持既得利益,不得不严谨的设置各种障碍,来驱逐同性竞争者。 书中,不论是扶桑与国外白人妇女,还是金陵十...
评分 评分第一部让我深刻体会到南京大屠杀的作品,一个个小小的教堂,漂浮着的是卑贱却美好的灵魂,她们都撒在那段血迹斑斑的历史上,严歌苓的文笔就像里面有着玻璃片的蛋糕,美味但刺心,她借着外国人的口像我们揭示真相:为什么三十万中国人,就没有一个人站起来反抗?为什么一百个人...
评分才知道这部是有长篇、中篇之分的,难怪印象中读过不止一个版本的中文原著。值得称道的是译者把序章和尾声调了个顺序,于是不像中文版那样从一开始就知道谁活着谁死了
评分才知道这部是有长篇、中篇之分的,难怪印象中读过不止一个版本的中文原著。值得称道的是译者把序章和尾声调了个顺序,于是不像中文版那样从一开始就知道谁活着谁死了
评分比电影丰富
评分最初的中篇比后来修订的长篇精妙,留下了悬念,令人浮想联翩
评分才知道这部是有长篇、中篇之分的,难怪印象中读过不止一个版本的中文原著。值得称道的是译者把序章和尾声调了个顺序,于是不像中文版那样从一开始就知道谁活着谁死了
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