Wai-yee Li is Professor of Chinese Literature at Harvard University.
In a famous episode of the eighteenth-century masterpiece The Dream of the Red Chamber, the goddess Disenchantment introduces the hero, Pao-yü, to the splendors and dangers of the Illusory Realm of Great Void. The goddess, one of the divine women in Chinese literature who inspire contradictory impulses of attachment and detachment, tells Pao-yü that the purpose of his dream visit is "disenchantment through enchantment," or "enlightenment through love." Examining a range of genres from different periods, Wai-yee Li reveals the persistence of the dialectic embodied by the goddess: while illusion originates in love and desire, it is only through love and desire that illusion can be transcended.
Li begins by defining the context of these issues through the study of an entire poetic tradition, placing special emphasis on the role of language and of the feminine element. Then, focusing on the "dream plays" by T'ang Hsien-tsu, she turns to the late Ming, an age which discovers radical subjectivity, and goes on to explore a seventeenth-century collection of classical tales, Records of the Strange from the Liao-chai Studio by P'u Sung-ling. The latter half of the book is devoted to a thorough analysis of The Dream of the Red Chamber, the most profound treatment of the dialectic of enchantment and disenchantment, love and enlightenment, illusion and reality.
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佶屈聱牙,不過close reading做得很棒
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评分我其實很想提一個問題,為啥disenchantment翻譯過來要叫“警幻”而不叫“祛魅”呢?但是這個標題無意中道破瞭現代文學和當代文學中的一個問題,對於傳統,是應該懷舊還是祛魅?
评分對late premodern敘事研究一嚮隔膜,卻依然逐字句讀瞭下來,其文法語彙是非母語學術寫作者少有的典雅。鼕天聊起這本書的再版與中譯,李老師略羞澀地沉吟道第一本書就像初戀。想來應格外珍重又情怯於再次安置。然而這本書本身,綺幻與警幻、煙霞與殘雪,也正是初戀吧。
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