Suchergebnisse

Abstract
Some sixty authenticated poems written by Mao Zedong were the subject of studies that highlight the relationship between the statesman and his literary talent, through rather socio-political or psychological approaches. The present paper intends to focus on his poetic creation, by scrutinizing from the inside the textual and scriptural tension that animates the process of reappropriation and reinvention in relation to classical Chinese poetry, in particular to the "heroic and free" or fiery style (haofang 豪放). Thematic and rhetorical analyses aim to show how the Promethean sublime nourishes a virile poetics in Mao Zedong's work and an unusual verbal dynamic, which has the potential to transform conventions into speech, and poetry into a principle of action.

La propagande que la Chine met en œuvre en vue de légitimer sa volonté de puissance s'avère d'une efficience à la fois coercitive et démagogique. Contrairement à des tentations de compromission constatées jusqu'en Occident, des écrivains et artistes chinois entendent désenchanter les grands récits nationaux sans cesse renouvelés, en mobilisant le pouvoir critique de l'imagination, transgressive et démystificatrice. Une contre-fiction politique se formule avec des inspirations géographiques diverses, profilant dès lors un espace de l'éveil, à l'opposé du rêve orchestré du renouveau pour une nation autocentrée et expansionniste.

RÉSUMÉ L'oralité dialectale qui a investi récemment la production romanesque en Chine réactualise les débats sur les rapports entre création littéraire et communauté linguistique. La présente étude a pour visée de réexaminer les tensions permanentes entre le champ littéraire aspirant à l'autonomie et la normativité linguistique dictée par les impératifs politiques, idéologiques ou économiques de l'État-nation. On cherchera à montrer comment les écrivains se réapproprient actuellement la langue vernaculaire pour préserver leur subjectivité créative dans une négociation avec le système.

Abstract
Researchers have recently shown a growing interest for studies of anti-utopian fictions in Chinese, highlighting their critical value in history, society, and ideology. However the persistence of the utopian spirit beyond these dystopian representations has often been neglected. The present paper aims to explore this underlying utopianism by focusing on Ge Fei's Jiangnan Triology (2004–2011), as it forms a significant paradigm on the issue, through an appeal for displacement, pointing out the importance in our reflections of moving from topography into the human dimension. This paper seeks to examine how human utopia is featured both in a literary and contextualized way, by arguing that utopianism is humanism, inherent to the awareness of social and historical crises, as opposed to the myths of Nation, Progress or Prosperity.

The political concerns underlying Mo Yan's creative work come to the fore in his latest novel, Frogs (Wa), which gives the reader an unusual perspective on the complex relations between fiction and politics. This novel harshly criticises a state whose coercive population control policies are responsible for some murderous consequences. This denunciation is also aimed at the economic ultraliberalism that is complicit with the totalitarian inheritance because of its destruction of human dignity through the alienation and commercialisation of the body. The complex symbolic structure of this work brings out the need for life itself to be rehabilitated in accordance with basic human rights and membership in the human community, and to be strongly defended against political attack and moral decay. Far from being an essentialist communitarian ethics, however, the bioethics proposed by the author offers the possibility of social reconstruction of the bios. (China Perspect/GIGA)