EACS-2016. Book of Abstracts

Section 4 21st Biennial Conference of the European Association for Chinese Studies 55 while others are devoted to contemporary society, but none of them are equal to historical novels. “Market place fiction” draws material from local realities of writers, native towns, the common feature of their writing is focusing on the places they live, depicting the life of populace and describing the folk customs, rites, arts, festivals. For example, Feng Jicai in his stories “A visit to the Temple of the Goddess” (1981), “The Miraculous Pigtail” (1984), “Street wizards” (1986), “Three Inch Golden Lotus” (1986) shows a great interest in traditional buildings, scenic spots, folk festivals, describes daily scenarios, clothes and the features of martial arts of different schools and creates the images of vendors, martial arts masters and local bullies. A special focus in my paper is made on the examination of the text structure and the language of “marketplace fiction”. As regards the structure, Feng Jicai used a form of chapter novels, a form developed from oral narrative in Song and Yuan dynasties with couplets at the head of each chap- ter. Concerning the language, there are a lot of linguistic stylization, slang and dialects in the novels of “marketplace fiction” writers. My research aims to demonstrate that “marketplace fiction” has its sources in tradition: in medieval huaben (script for story-telling), adventure and satiric chapter novels of XIX century and in oral narrative. Kwok Sze Wing (Hang Seng Management College) Mimicry and Rewriting: Shi Zhecun’s EarlyWork and Translated Modernity Key words: Shi Zhecun, Translated Modernity, World literature, Mimicry, Shanghai Modernist Translation, since the Late Qing Dynasty, has been exhibiting great influence on China’s road towards modernity. Scholars Lydia Liu and David Wang present “translated modernity” as a way to delve into the relationship between translation, Chinese Late Qing fiction and May Fourth literature. From Late Qing to May Fourth, translation has been highly influential on the period when old literature was superseded by new one. Thus, when radical anti-traditionalism wanes, would translation, among the relatively mature 1930s Shanghai literature, have a new significance? This paper concentrates on the discussion of the relationship between 1930s Chinese modern writer Shi Zhecun and “translated modernity.” The basic assumption behind this paper is that the work of fiction by Shi is a kind of translingual practice, which is inextricably bound up with translation. It is through such a broad sense of translational activity that Shi began his pursuit of modernity and finally obtained a kind of modernity different from the Western, the translated modernity. Looking from the perspective of translingual practice, the fictional work by Shi is never an isolated mental work, but the consequence of cultural exchange and vigorous bombardment between Chinese and world literature. On one hand, his fiction fails to stand outside of the progress of modernity in China, while his work is also deeply embedded in the network of Western literature on the other hand. By mean of a series of mimicry, appropriation and rewriting, he translates text from vari- ous times, spaces and media into his own work. In his fiction, we may see the process of how world literature and other cultural factors rise, circulate and eventually gain legitimacy in the 1930s China. At the same time, we can also know of how they have changed the observation and conception of modern Chinese writers towards literature and the outer world. Therefore, not only does fiction by Shi comprise the modernity experience of Shanghai. Kwong Ho Yee Connie (The Chinese University of Hong Kong) Chinese Modernists and French Leftist Intellectuals in the 1930s and 1940s: On the Translation and Transmission of Benjamin Goriély’s Les Poètes dans la revolution russe Key words: Chinese Modernists, French and Francophone Leftists, Transculturality, Marxist Literary Theories, Aesthetics and Politics In both global and local contexts, the reception and rendition of the Western aesthetic modernism by Chinese modernists have, in the last three decades, aroused great interest among the community of scholars. However, discussions concerning their attachment to the leftist ideologies in China and in Europe have been very limited. A large corpus of Chinese modernists’ writings and translations related