Literary reading reached its peak in China in the 1980s. From the 1990s on, however, it underwent a slow decline which has gained speed in the new century. The new media have played an important role in the process of...Literary reading reached its peak in China in the 1980s. From the 1990s on, however, it underwent a slow decline which has gained speed in the new century. The new media have played an important role in the process of its decline. Their influence is mainly seen in the reshaping of the receiver＇s perceptual structure because of the change from text to image and in the lack of stimulus to reflection and thought because of the change from page to screen. At the same time, the new media have broken down the ＂solitary＂ state of reading and lessened the depth of the reception model. From the perspective of media culture, the decline of literary reading is a result of the serious damage inflicted upon print culture by visual culture. The new generation is already living in an environment of visual culture; they will inevitably drift away from literary reading. This will have an impact on both production and research in literature. The private memory, perceptual structure and even bodily habits of those who preserve literary reading and resist the new media are precisely those established by print culture. Therefore, behind the clash between preserving and forsaking literary reading lies a clash between different media cultures.展开更多
Marcel Proust is an author of global significance and renown. Trans- lations into Chinese and Korean of A la recherche du temps perdu are ongoing. The Gallica online library of France＇s Bibliothbque nationale makes t...Marcel Proust is an author of global significance and renown. Trans- lations into Chinese and Korean of A la recherche du temps perdu are ongoing. The Gallica online library of France＇s Bibliothbque nationale makes the notebooks from which Proust＇s novel emerged between 1908 and 1922 digitally accessible any- where in the world. It is well known that Proust has been adapted to graphic novel format, individual volumes of his novel have been adapted for cinema, inspired ballet and musical theatre and his characters＇ lives have fuelled works of fiction by contemporary creative writers. This paper considers a very recent instance of Proust＇s reception and adaptation： ＂Works in Fiber, Paper and Proust＂ created by the critic and theorist Eve Kosofsky Sedgwick （1950-2009） and first exhibited at Harvard University in 2005. These remarkable objects--including what Sedgwick calls an ＂accordion-book＂ and a ＂loom-book＂--give a woven, layered physicality to Proust＇s words and remobilise them in ways that force us to reconfigure our understanding of the text-reader relation. Sedgwick＇s visual, textile artworks are the products of creative, adaptive practices undertaken as a sort of therapy that was instrumental in her coming to terms with the terminal cancer diagnosis she received in 1996. My paper explores Sedgwick＇s adaptive practice and interrogates the in- sights their challenging hybridity offers us into the ongoing transmission of Proust＇s work.展开更多
文摘Literary reading reached its peak in China in the 1980s. From the 1990s on, however, it underwent a slow decline which has gained speed in the new century. The new media have played an important role in the process of its decline. Their influence is mainly seen in the reshaping of the receiver＇s perceptual structure because of the change from text to image and in the lack of stimulus to reflection and thought because of the change from page to screen. At the same time, the new media have broken down the ＂solitary＂ state of reading and lessened the depth of the reception model. From the perspective of media culture, the decline of literary reading is a result of the serious damage inflicted upon print culture by visual culture. The new generation is already living in an environment of visual culture; they will inevitably drift away from literary reading. This will have an impact on both production and research in literature. The private memory, perceptual structure and even bodily habits of those who preserve literary reading and resist the new media are precisely those established by print culture. Therefore, behind the clash between preserving and forsaking literary reading lies a clash between different media cultures.
文摘Marcel Proust is an author of global significance and renown. Trans- lations into Chinese and Korean of A la recherche du temps perdu are ongoing. The Gallica online library of France＇s Bibliothbque nationale makes the notebooks from which Proust＇s novel emerged between 1908 and 1922 digitally accessible any- where in the world. It is well known that Proust has been adapted to graphic novel format, individual volumes of his novel have been adapted for cinema, inspired ballet and musical theatre and his characters＇ lives have fuelled works of fiction by contemporary creative writers. This paper considers a very recent instance of Proust＇s reception and adaptation： ＂Works in Fiber, Paper and Proust＂ created by the critic and theorist Eve Kosofsky Sedgwick （1950-2009） and first exhibited at Harvard University in 2005. These remarkable objects--including what Sedgwick calls an ＂accordion-book＂ and a ＂loom-book＂--give a woven, layered physicality to Proust＇s words and remobilise them in ways that force us to reconfigure our understanding of the text-reader relation. Sedgwick＇s visual, textile artworks are the products of creative, adaptive practices undertaken as a sort of therapy that was instrumental in her coming to terms with the terminal cancer diagnosis she received in 1996. My paper explores Sedgwick＇s adaptive practice and interrogates the in- sights their challenging hybridity offers us into the ongoing transmission of Proust＇s work.
