Amitav Ghosh is one the most remarkable writers of the postmodernism era. He excelled in this era with his trend of magic realism. The Shadow Lines is a story told by a nameless narrator in recollection. It＇s a non l...Amitav Ghosh is one the most remarkable writers of the postmodernism era. He excelled in this era with his trend of magic realism. The Shadow Lines is a story told by a nameless narrator in recollection. It＇s a non linear tale told as if putting together the pieces of a jigsaw puzzle in the memory of the narrator. This style of writing is both unique and captivating; unfolding ideas together as time and space coalesce and helping the narrator understand his past better. Revolving around the theme of nationalism in an increasingly globalized world, Ghosh questions the real meaning of political freedom and the borders which virtually seem to both establish and separate. The novel traverses through almost seventy years through the memories of people, which the narrator recollects and narrates, giving their viewpoint along with his own. Though the novel is based largely in Kolkata, Dhaka, and London, it seems to echo the sentiments of whole Southeast Asia, with lucid overtones of Independence and the pangs of Partition.展开更多
In recent decades, a new type of cultural upsurge surrounding kunqu1 has arisen in Chinese language sphere, though respectively due to different reasons in China's Mainland, Hong Kong, Taiwan and other Chinese dia...In recent decades, a new type of cultural upsurge surrounding kunqu1 has arisen in Chinese language sphere, though respectively due to different reasons in China's Mainland, Hong Kong, Taiwan and other Chinese diaspora. Against the global trend of culture heritage nationalization context, via the new media platform, the performative staging of individual emotions and reverie in the market society2, the longings to redeem various alienation in a vertical modernity3, as well as the yearnings for emotional balance in a burgeoning feministic modernity, all integrate with each other and together generate a restless transforming memory for kunqu. Just like a misty veil, this complex, contentious, contradictory and long-lasting collective memory-making process blurs kunqu＇s appearance, expands its layers, and ultimately generates a cultural myth. With detailed case studies this paper aims to reflect upon the deep reasons for the kunqu myth and to probe the transformative powers of a performative space in enabling remembrance and/or forgetting.展开更多
文摘Amitav Ghosh is one the most remarkable writers of the postmodernism era. He excelled in this era with his trend of magic realism. The Shadow Lines is a story told by a nameless narrator in recollection. It＇s a non linear tale told as if putting together the pieces of a jigsaw puzzle in the memory of the narrator. This style of writing is both unique and captivating; unfolding ideas together as time and space coalesce and helping the narrator understand his past better. Revolving around the theme of nationalism in an increasingly globalized world, Ghosh questions the real meaning of political freedom and the borders which virtually seem to both establish and separate. The novel traverses through almost seventy years through the memories of people, which the narrator recollects and narrates, giving their viewpoint along with his own. Though the novel is based largely in Kolkata, Dhaka, and London, it seems to echo the sentiments of whole Southeast Asia, with lucid overtones of Independence and the pangs of Partition.
文摘In recent decades, a new type of cultural upsurge surrounding kunqu1 has arisen in Chinese language sphere, though respectively due to different reasons in China's Mainland, Hong Kong, Taiwan and other Chinese diaspora. Against the global trend of culture heritage nationalization context, via the new media platform, the performative staging of individual emotions and reverie in the market society2, the longings to redeem various alienation in a vertical modernity3, as well as the yearnings for emotional balance in a burgeoning feministic modernity, all integrate with each other and together generate a restless transforming memory for kunqu. Just like a misty veil, this complex, contentious, contradictory and long-lasting collective memory-making process blurs kunqu＇s appearance, expands its layers, and ultimately generates a cultural myth. With detailed case studies this paper aims to reflect upon the deep reasons for the kunqu myth and to probe the transformative powers of a performative space in enabling remembrance and/or forgetting.
