EACS-2016. Book of Abstracts

Premodern Literature 21st Biennial Conference of the European Association for Chinese Studies 46 have mostly focused on modern literature, so CCPSA study is a largely neglected field with ample room for development. In fact, not only has CCPSA inherited the spirit of traditional Chinese poetry, it developed further during the period of localization; thus, CCPSA has the dual attributes of regional/national literature and Sinophone literature. Hence it should be given its due attention in academia. Witt Barbara (Munich University) Is Nezha Always a Rebel? Defying theWill of Heaven in“Fengshen yanyi” Key words: transgression, retribution, patricide Because he tries to kill his own father, Li Nezha 李哪吒 of the Ming Dynasty novel “Investiture of the Gods” (Fengshen yanyi 封神演義 ) is normally characterized as a “rebel” and likened to Sun Wukong 孫悟空 of the “Journey to the West” (Xiyou ji 西遊記 ) and Huaguang 華光 of the “Journey to the South” (Nanyou ji 南遊記 ). Yet, a reevaluation of chapters 12 to 14 of “Investiture” shows that Nezha is far from being a rebellious character who is challenging the social order. Rather, the true authority in the novel is the Will of Heaven (tianyi 天意 ) which requires Nezha to join the dynastic wars of the Shang-Zhou transition at some point in the future. Anyone who acts against the Will of Heaven, be it knowingly or by accident, must suffer punishment. This is evident in the fates of the Dragon King’s son in chapter 12 and of the Stone Demon in chapter 13. Unlike the aforementioned rebels, who prevail against opponents backed by the established authority, Nezha himself has the backing of the Will of Heaven (as embodied by his Daoist master) throughout all his struggles. The situation is naturally dif- ferent in the case of the attempted patricide. It is, however, often overlooked that this sequence already begins with the father's refusal to let Nezha be reborn after his suicide, at the end of chapter 13, which is a blatant violation of the Will of Heaven. This paper will show how the violent chase ensuing after Nezha's eventual rebirth is in fact a punishment for the father's transgression rather than an actual act of rebellion against patriarchal authority. Furthermore, I argue that, since Nezha relies so heavily on his master's guidance, it is problematic to characterize him as a rebel and to view him on a level with Sun Wukong or Huaguang. Zakharova Natalya (Institute of World Literature, RAS) Diary of Chinese Diplomat Xue Fu-сheng in the Late XIX as a Model of “Short Prose Essays” Key words: Chinese literature, diary, short prose essays Since the second half of XIX century the process of diplomatic relations establishment begins between China and Europe countries. Diaries, written by members of diplomatic missions become one of the most popular literary genres. They acquainted China with unknownWestern world and were popular among readers. One of the Chinese “pioneers”, who “opened” Europe to Chinese readers, was Xue Fu-Cheng (1838–1894). He successfully proved himself as a diplomat and a reformer, believing that “it is neces- sary to study European countries laws to change China and win victory”. Being one of the leaders of the “Movement for the absorption of overseas affairs” he urged China to develop trade in the image of European countries. During his life, Xue Fu-Cheng has written more than ten books, including “Liter- ary records from the room of simple man”, “Literary records from overseas”, “Diary of embassies in four States”, “Notes from the room of simple man”, “Official notes about the Embassy”. His “Diary of embassies in four States” was published in the beginning of the last century, and even centuries past it is still in demand by readers. During his diplomatic service Xue Fu-Cheng visited England, France, Italy and Belgium. His “Diary” represents his talks about the sights, details of everyday Europeans’ life, history and admired him land- scapes. Great literary style of his “short prose essays” transmits the brightness of experience. We see the top of sophistication in the chapter “I admire the Paris paintings, executed in oil techniques”. During many years, this Chapter was included in school textbooks as an example of incomparable literary style. Xue