Modern Chinese Literature in Translation

CHIN 235 Spring 2023

Modern Chinese Literature in Translation

(Clockwise from top left corner: the Potala Palace布达拉宫 in Lhasa, Tibet, a destination of spiritual pilgrimage and a site of cultural and political importance; Eileen Chang 张爱玲, one of the most famous and acclaimed female writers in modern China; a cartoon representation of the Qiang ethnic group 羌族 in Sichuan; Lu Xun 鲁迅, a revolutionary writer widely recognized as the founding father of modern Chinese literature.)

Instructor: Prof. Yanshuo Zhang
Class: MWF 2:34-4:00 pm

Email: yzhang@kzoo.edu
Office Hours: MW 4:30-5:30 or by appointment

Course Description

From the soaring heights of the Tibetan Plateau to the revolutionary spirit of dismantling the last imperial dynasty, what propelled Chinese writers from different ethnic backgrounds to engage with the nation and converse with the world? Taking this course will take you into the complex, exciting, and multicultural world of modern China in the 20th and 21st centuries, as we read fiction, poetry, drama, and other Chinese literary works in English translation. No Chinese language skills required. This course fulfills the Chinese Minor requirement.

Learning Outcomes for Literature

Students will be able to:

  • Demonstrate a basic understanding of the literary, historical, social, or cultural influences that inform literary works, including diversity of perspectives, experiences, and traditions
  • Articulate in writing and discussion their responses to literary texts with a view to equipping them with the knowledge, values, and sensitivity to succeed as persons and professionals
  • Demonstrate a basic critical ability to identify, interpret, and evaluate the ideas and formal features of an integrated body of literary texts in the context of a socially responsible learning community of high quality scholarship and academic rigor
  • Show a sensitivity to the plurality of meanings within a literary text, including the moral implications of human choices

How Literature Learning Outcomes Will Be Met

  • Literary History: Students will gain familiarity with the outline of Chinese literary development of the traditional and modern periods, and the diversity of perspectives and experiences as well as the continuity of major traditions over time.
  • Cultural History: Students will understand significant themes and concerns characteristic of Chinese culture, as they have impacted literary forms.
  • Social History: Students will understand the socioeconomic and gendered contexts from which Chinese literature emerged, as well as the multiple regional and ethnic identities that have contributed to its formation and development in both the traditional and modern periods.
  • Literary Analysis: Students will develop the ability to analyze the themes and forms of literary works, and to appreciate the plurality of meanings within literary texts, including their ethical dimensions, skills that will serve them well no matter where their future professional activities take them.
  • Writing Skills: Students will develop the skill of writing both concisely and creatively about literary works, and to express their opinions persuasively.

Class Requirements and Grading

  • Active class participation and preparation (20% of final grade). This means showing up in class on time and actively participating in class discussions and raising questions. You are expected to have read the assigned texts and done the homework before each class session. Only one unexcused absence is allowed. For any additional absences (only one additional absence is allowed, except for documented emergencies), please notify the instructor in advance and make up for them by writing a three-page reflection essay on any of the class readings. More than one unexcused absence will negatively affect your grade.
  • Two literary analysis papers (30% total). Submission of two reading reflections (4-6 pages each, double-spaced) of your own choice based on the weekly reading schedule. The essays should be distributed evenly between the first five weeks and the second five weeks of the quarter. The essays should be based on at least 3 different readings from two different weeks (i.e. you cannot select three readings from the same week). In these short reflections, you should synthesize the thematic and/or stylistic elements of the different readings and compare and contrast the different readings. You can write about the language, style, theme, social context, cultural implications, and your personal interpretation of the texts. You should feel free to cross-reference from different readings of the week and throughout the semester. No outside research is required for the short essays. We will workshop the first drafts of these papers in peer review sessions in class and you are required to submit ONE revised paper after the workshop.
  • Team oral presentation (15%). With one or two other members of the class, you will present during one class session by engaging with the literary and scholarly works assigned for that session. Presenters should introduce the author and his or her body of work, the historical and cultural background of the literary texts and their main themes and concerns. Presenters should also use the assigned scholarly/historical readings of the week to interpret the literary texts presented. Presentations should last between 25-40 minutes (including discussion and Q & A). You are encouraged to work with your teammates after class and come up with creative ways, such as posters, handouts, Powerpoint slideshows and short performances, to help the class understand and interpret the texts assigned for your session. You should also engage the whole class by asking questions and initiating discussions. A sign-up sheet for presentations will be distributed during the second week.
  • Final research paper (35% total; 10% first draft, 25% final draft, including smaller assignments within the final research paper requirement, such as posting of topics and annotated bibliography and a final brief presentation of your project). One final paper of 8-12 double-spaced pages is required. You should address a theme, a problem or a topic that interests you based on class content and use outside sources (do research) to support your point. You can focus on one major text or compare a few texts we read during the semester. You are encouraged to consult the instructor with the selection of topic and use outside materials when necessary. We will visit the library and invite a reference librarian to speak to the class about how to conduct independent research. After you finish your first draft, you will exchange the first draft with members of the class and help critique each other’s work during a workshop session toward the end of the term. You will also receive the instructor’s feedback on your first draft. After the workshop, you should reflect on the feedback and critique you will have received from your classmates and the instructor and incorporate their insights into your revision. The final revised draft will be due one week after the workshop. Grading for the final draft will be based on how well you incorporate the comments you receive and how much your paper improves from its first draft.
  • Extra credit: You can earn up to 2% of your final grade by writing blog articles about any Chinese-culture related events you participate during the quarter. Post a short blog article of 500 words under the Discussions section on Moodle. You can also write blog articles about any other aspects of Chinese literature and culture, including reviews of Chinese films and performances, as well as events and books you have read in relation to Chinese culture. If you write about materials not covered in class, it is preferred that you draw some connections or comparisons between these materials and our class discussions and readings. Others are welcome to join the discussion by posting responses to the initial blog. Each completed post that meets the requirement is worth 0.5% of your total grade. You are allowed to post a max. of 4 posts.
  • Accommodations. Dr. Zhang strives to create an equal and inclusive learning environment for all. If you need to arrange any special accommodations, please visit the Resources for Students with Disabilities page. You are also encouraged to share your concerns and/or needs with Dr. Zhang to the degree that you feel comfortable.

Weekly Schedule

(This weekly schedule is subject to change per the instructor’s notice.)

Week 1: Historical Background and Contextualizing Modern Literature in China

Monday (Mar. 27)

Intro lecture and self-intro

Wednesday (Mar. 29)

Readings due:

Patricia Ebrey’s Cambridge Illustrated History of China, “Taking Action: The Early Twentieth Century, 1900-1949” (read p. 260-272 until “Building a Party-state”)

Friday (Mar. 31)

Readings due:

Ebrey, “Taking Action,” p. 273 (from “Building a Party State” to p. 291)

Week 2: Male Writers’ Voices for Saving the People and Salvaging the Nation

Monday (Apr. 3)
  • Lu Xun (Columbia Anthology) “Preface to the First Collection of Short
  • Stories, Call to Arms,” p. 4-7 and “A Madman’s Diary,” p. 8-16
Wednesday (Apr. 5)

Lu Xun “The New Year’s Sacrifice” in Lau, Tsia and Lee, p. 17-26

Friday (Apr. 7)

Yu Dafu (Columbia Anthology), “Sinking” (p. 31-55)

Week 3: Qiu Jin: China’s First Modern Feminist Writer and Activist

Monday (Apr. 10)
  • Ebrey, “Liberating Women,” p. 279-282
  • Idema and Grant (Moodle), “The Beheaded Feminist: Qiu Jin,” p. 767- 770; “Student and Feminist,” p. 779-785
Wednesday (Apr. 12)

Film in class:

Autumn Gem, A True Story of China’s First Feminist

Friday (Apr. 14)

Discussion of film and Qiu Jin’s legacies

Week 4: Women’s Dilemmas and Liberation in Early Twentieth-century China

Monday (Apr. 17)

Eileen Chang, “The Golden Cangue” in Lau, Tsia and Lee, p. 530-560

Wednesday (Apr. 19)

Ding Ling, “When I was in Xia Village” (Columbia Anthology), p. 132-
146

Friday (Apr. 21)

Workshop for first Literary Analysis paper. Bring the draft of your first paper to class for peer-review workshop; no readings for today.

Week 5: Modern Chinese Poetry: Romantic and National Sentiments and The Shattered Dreams of Chinese Male Intellectuals

Monday (Apr. 24)
  • Xu Zhimo (Columbia Anthology), “Second Farewell to Cambridge,” “Love’s Inspiration” and “Chance” in Lau and Goldblatt, p. 499-501
  • Dai Wangshu, “Rainy Alley,” in Lau and Glodblatt, p. 510-511
Wednesday (Apr. 26)
  • Wen Yiduo (Columbia Anthology), “Dead Water,” “One Sentence” and “Prayer,” in Lau and Glodblatt, p. 502-504
  • Ai Qing (Columbia Anthology), “Snow Falls on China’s Land” and “The North,” p. 516-521
Friday (Apr. 28)

Bai Xianyong (Columbia Anthology), “Winter Nights,” p. 210-223

Week 6: Tumultuous Transitions: The Cultural Revolution and Its Aftermath

Monday (May 1)

Ebrey, “Readical Reunification: China Since 1949”, p. 294-321 (before “Promoting Economic Growth”)

Wednesday (May 3)

Bai Jin, “Rembering Xiaoshan”

Friday (May 5)

Second Literary Analysis workshop; bring your draft to class for a peer review workshop; no reading for today

Week 7: China Embraces the World: The Reform Era and Literature from the Working Class

Monday (May 8)

Ebrey, p. 321-332 (from “Promoting Economic Growth to end of p. 332)

Friday (May 12)

Watching movie “Iron Moon: A Documentary” in class; no readings for today

Week 8: Literary Voices from China’s Ethnic Borderlands

Monday (May 15)

Mark Bender, Intro in The Borderlands of Asia: Culture, Place, Poetry

Wednesday (May 17)

Selected poems from China’s ethnic minority groups

Friday (May 19)

Library workshop for final research projects

Week 9: Fiction and Reality in Contemporary Tibet

Wednesday

Pema Tseden, “Enticement,” p. 73-90

Friday (May 26)

Final paper research workshop

Week 10: Final Reflections and Sharing of Research Projects

Monday (May 29)

Memorial Day, no class

Wednesday (May 31)

Presentations of final research projects

Friday (June 2)

Final reflections and presentations of final research projects