Looking at the last decades of the 19th and 20th century from our vantage point encourages parallels to be drawn between the two periods： in fact, both are affected by a process of cultural fragmentation, social, and...Looking at the last decades of the 19th and 20th century from our vantage point encourages parallels to be drawn between the two periods： in fact, both are affected by a process of cultural fragmentation, social, and epistemological transformations and crises that permeate the whole civil society. In the specific field of English literature, the genre of the fantastic is undoubtedly a common presence. In Fantasy： The Literature of Subversion, Jackson （1981） noted the re-emergence of the fantastic as a transgressive force at moments of cultural stress and repression. Waugh （1995） held a similar view in The Harvest of the Sixties. At the end of the 20th century, in its postmodernist shape, fantastic literature becomes one of the favourite genres of a number of feminist writers, and among them, Jeanette Winterson transforms it into a truly transgressive genre. This paper examines Winterson＇s The Passion （1996） and Sexing the Cherry （1990） in the light of Jackson＇s theory of the fantastic, as a narrative that establishes an oppositional dialogic relationship with the ＂real＂, to interrogate it and collapse the traditional distinction between the normative and the ＂other＂. In The Passion, the real is signified by the dominant ideological discourse, exemplified by Napoleon; the fantastic by Villanelle＇s webbed feet and her ability to walk on water. In Sexing the Cherry, the real is represented by the Puritans with their bigoted and hypocritical morality; the fantastic by the huge Dog-Woman and her foundling son, Jordan. Besides, in both novels, the female body is metamorphosed to challenge the view of a ＂normal＂, acceptable femininity; what emerges is a monstrous and sublime body that collapses distinctions between gender boundaries. In Sexing the Cherry （1990）, Winterson created the grotesque, gigantic body of the Dog-Woman, a figure of Kristevan ＂abjection＂. In The Passion （1996）, she gave life to the hybrid body of Villanelle, an oxymoronic combination of the terrible beautiful. The conclusion of the paper argues that Winterson deploys the fantastic to deconstruct the gendered subject of the dominant signifying order and create a dislocated world outside commercial culture, where new voices can be heard, speaking for unheard, neglected groups, particularly women.展开更多
Situated in central China and with convenient communichtions since ancient times, Henan Province today covers an area of 167,000 sq km and with a population of 88.61 million. It is one of the birth places of the 6000-...Situated in central China and with convenient communichtions since ancient times, Henan Province today covers an area of 167,000 sq km and with a population of 88.61 million. It is one of the birth places of the 6000-year-old Chinese culture including Yangshao Culture, Helo Culture and where Emperor Yan and the Yellow Emperor were born. More than 20 Chinese dynasties made Loyang, Kaifeng and Anyang in Henan their capitals beginning with Xia, the first slave society, to Song (960-1127),展开更多
Dear readers: The year of 2018 is the fourth decade of China’s Reform and Opening Up. After the great endeavour of past forty years, China has developed into the world’s second largest consumer market in terms of da...Dear readers: The year of 2018 is the fourth decade of China’s Reform and Opening Up. After the great endeavour of past forty years, China has developed into the world’s second largest consumer market in terms of daily chemical industry, which has also made tremendous achievements till now.展开更多
"Amazing!" "Startling!" were the responses of the world’s top football stars from Milan when they viewed NE TIGER’s gorgeous dresses made of Chinese embroidery, brocade and tapestry at
This paper is a discussion of the fantastic genre in literature and film. I employ the term genre in this paper in two ways. First, I attempt to define the fantastic as a genre of writing through the emblematic form o...This paper is a discussion of the fantastic genre in literature and film. I employ the term genre in this paper in two ways. First, I attempt to define the fantastic as a genre of writing through the emblematic form of the zhiguai. Second, I link this genre of writing to fantastic film, a category of genre film that has dominated the market in China recently. One of the earliest forms of fiction in Chinese literature, zhiguai were often contrasted to textually verifiable historic writing. First, I contrast discussions of zhiguai to modern conceptions of the fantastic and Enlightenment and revolutionary conceptions of narrative and history. The zhiguai share some features with fantastic storytelling in Europe, notably the Gothic tale that emerged in the late eighteenth century. Second, I draw links between state intervention in religion and superstition and the early modern classification of fantastic literature and film. State anti-superstition campaigns in the early twentieth century would frame fantastic films as superstitious (shenguai dianying). Third, I discuss how the fantastic has been framed in the contemporary China. The modern and contemporary fantastic in China is a combination of Chinese and Western categories of the real and the supernatural.展开更多
The authors introduce the notions of （∈, ∈ ∨q）-fuzzy Boolean （implicative, positive implicative, and fantastic） filters in BL-algebras, present some characterizations on these generalized fuzzy filters, and des...The authors introduce the notions of （∈, ∈ ∨q）-fuzzy Boolean （implicative, positive implicative, and fantastic） filters in BL-algebras, present some characterizations on these generalized fuzzy filters, and describe the relations among these generalized fuzzy filters. It is proved that an （∈, ∈ ∨q）fuzzy filter in a BL-algebra is Boolean （implicative） if and only if it is both positive implicative and fantastic.展开更多
The Chinese translation of Edward Bellamy＇s Looking Backward.. 2000-1887（1887） at the turn of the twentieth century has been little studied, in spite of Bellamy＇s obvious influence on Chinese intellectuals and ref...The Chinese translation of Edward Bellamy＇s Looking Backward.. 2000-1887（1887） at the turn of the twentieth century has been little studied, in spite of Bellamy＇s obvious influence on Chinese intellectuals and reformist thinkers Enthusiastically embraced by the intelligentsia as a gospel of social change, the utopian fiction has inspired subsequent Chinese writings of science fantasy in popular fiction. Bellamy＇s tale centers on the adventure of time-traveler Julian West, a young Bostonian who is put into a hypnotic sleep in the late nineteenth century and awakens in the year 2000 in a socialist utopia. He discovers an ideally realized vision of the future, one unthinkable in his own century. This article argues that Chinese translators, in their conventional form of storytelling, have intentionally converted Bellamy＇s original religious prophesy into a vision of a new and modernized state that is in line with the Chinese evolutionary historical imagination. It discusses the problematic of imagining the future by delineating the relationships of utopianism, social modernity, and temporality as the novel was written by an engaged American writer and then rendered into various Chinese versions by Western missionaries, Chinese intellectuals, and popular writers.展开更多
文摘Looking at the last decades of the 19th and 20th century from our vantage point encourages parallels to be drawn between the two periods： in fact, both are affected by a process of cultural fragmentation, social, and epistemological transformations and crises that permeate the whole civil society. In the specific field of English literature, the genre of the fantastic is undoubtedly a common presence. In Fantasy： The Literature of Subversion, Jackson （1981） noted the re-emergence of the fantastic as a transgressive force at moments of cultural stress and repression. Waugh （1995） held a similar view in The Harvest of the Sixties. At the end of the 20th century, in its postmodernist shape, fantastic literature becomes one of the favourite genres of a number of feminist writers, and among them, Jeanette Winterson transforms it into a truly transgressive genre. This paper examines Winterson＇s The Passion （1996） and Sexing the Cherry （1990） in the light of Jackson＇s theory of the fantastic, as a narrative that establishes an oppositional dialogic relationship with the ＂real＂, to interrogate it and collapse the traditional distinction between the normative and the ＂other＂. In The Passion, the real is signified by the dominant ideological discourse, exemplified by Napoleon; the fantastic by Villanelle＇s webbed feet and her ability to walk on water. In Sexing the Cherry, the real is represented by the Puritans with their bigoted and hypocritical morality; the fantastic by the huge Dog-Woman and her foundling son, Jordan. Besides, in both novels, the female body is metamorphosed to challenge the view of a ＂normal＂, acceptable femininity; what emerges is a monstrous and sublime body that collapses distinctions between gender boundaries. In Sexing the Cherry （1990）, Winterson created the grotesque, gigantic body of the Dog-Woman, a figure of Kristevan ＂abjection＂. In The Passion （1996）, she gave life to the hybrid body of Villanelle, an oxymoronic combination of the terrible beautiful. The conclusion of the paper argues that Winterson deploys the fantastic to deconstruct the gendered subject of the dominant signifying order and create a dislocated world outside commercial culture, where new voices can be heard, speaking for unheard, neglected groups, particularly women.
文摘Situated in central China and with convenient communichtions since ancient times, Henan Province today covers an area of 167,000 sq km and with a population of 88.61 million. It is one of the birth places of the 6000-year-old Chinese culture including Yangshao Culture, Helo Culture and where Emperor Yan and the Yellow Emperor were born. More than 20 Chinese dynasties made Loyang, Kaifeng and Anyang in Henan their capitals beginning with Xia, the first slave society, to Song (960-1127),
文摘Dear readers: The year of 2018 is the fourth decade of China’s Reform and Opening Up. After the great endeavour of past forty years, China has developed into the world’s second largest consumer market in terms of daily chemical industry, which has also made tremendous achievements till now.
文摘"Amazing!" "Startling!" were the responses of the world’s top football stars from Milan when they viewed NE TIGER’s gorgeous dresses made of Chinese embroidery, brocade and tapestry at
文摘This paper is a discussion of the fantastic genre in literature and film. I employ the term genre in this paper in two ways. First, I attempt to define the fantastic as a genre of writing through the emblematic form of the zhiguai. Second, I link this genre of writing to fantastic film, a category of genre film that has dominated the market in China recently. One of the earliest forms of fiction in Chinese literature, zhiguai were often contrasted to textually verifiable historic writing. First, I contrast discussions of zhiguai to modern conceptions of the fantastic and Enlightenment and revolutionary conceptions of narrative and history. The zhiguai share some features with fantastic storytelling in Europe, notably the Gothic tale that emerged in the late eighteenth century. Second, I draw links between state intervention in religion and superstition and the early modern classification of fantastic literature and film. State anti-superstition campaigns in the early twentieth century would frame fantastic films as superstitious (shenguai dianying). Third, I discuss how the fantastic has been framed in the contemporary China. The modern and contemporary fantastic in China is a combination of Chinese and Western categories of the real and the supernatural.
基金the Key Science Foundation of Education Committee of Hubei Province,China,under Grant No.D200729003
文摘The authors introduce the notions of （∈, ∈ ∨q）-fuzzy Boolean （implicative, positive implicative, and fantastic） filters in BL-algebras, present some characterizations on these generalized fuzzy filters, and describe the relations among these generalized fuzzy filters. It is proved that an （∈, ∈ ∨q）fuzzy filter in a BL-algebra is Boolean （implicative） if and only if it is both positive implicative and fantastic.
文摘The Chinese translation of Edward Bellamy＇s Looking Backward.. 2000-1887（1887） at the turn of the twentieth century has been little studied, in spite of Bellamy＇s obvious influence on Chinese intellectuals and reformist thinkers Enthusiastically embraced by the intelligentsia as a gospel of social change, the utopian fiction has inspired subsequent Chinese writings of science fantasy in popular fiction. Bellamy＇s tale centers on the adventure of time-traveler Julian West, a young Bostonian who is put into a hypnotic sleep in the late nineteenth century and awakens in the year 2000 in a socialist utopia. He discovers an ideally realized vision of the future, one unthinkable in his own century. This article argues that Chinese translators, in their conventional form of storytelling, have intentionally converted Bellamy＇s original religious prophesy into a vision of a new and modernized state that is in line with the Chinese evolutionary historical imagination. It discusses the problematic of imagining the future by delineating the relationships of utopianism, social modernity, and temporality as the novel was written by an engaged American writer and then rendered into various Chinese versions by Western missionaries, Chinese intellectuals, and popular writers.
