Chronology Entries
| # | Year | Text |
|---|---|---|
| 1 | 1988 |
Zhang, Feng. De Wu'erfu 'Dai luo wei fu ren' de yi shu zheng ti gan yu yi shi liu xiao shuo jie gou [ID D31616].
Zhang focuses on the technique of stream of consciousness, but instead of relating Woolf's style to concepts of character complexity and multiple perspective, he is interested in the implications of stream of consciousness for the creation and reception of the work of art. Going beyond an explanation of Woolf's style also enables a creative enactment of the artist's emotion – de-personalized and fused with the feelings of her characters. In addistion, Zhang suggests that Woolf's style, by matching the psychological process of human aesthetic response, enables readers to recreate, according to their own experience, the novel's emotion. Stream of consciousness becomes the vehicle for the 'inexpressible internal emotion' that is the 'complete image' of the novel ; it is also the means of communication and connection between writer and reader. For Zhang, the aesthetic response includes the poeti and emotional and such dimensions are evident not only in what interests her in Woolf's writing but also in the way Zhang writes herself. |
| 2 | 1988 |
Wu'erfu yan jiu. Qu Shijing bian xuan. [ID D31602].
Forward : Qu locates Woolf's writing in the third of five stages in the development oft he English novel : in 'Music, Art, Literature', and in 'Woolf, Stream of Consciousness, Comprehensive Art'. He suggests that stream of consciousness leads to an understanding not only of Western literature but of Western poetry, painting, music and film as well. Qu refers to E.M. Forster's comment, "Our debt to her is in part this : she reminds us of the importance of sensation". |
| 3 | 1988 |
Fowles, John. The Art of Fiction. In : The Paris review ; no 109 (Winter 1988). Interviewed by James R. Baker.
http://www.theparisreview.org/interviews/2415/the-art-of-fiction-no-109-john-fowles. John Fowles : A year to two years ago my Chinese translator wrote and asked me if he could ask me a very important literary question, which all his Chinese readers would like answered. I agreed—there then came this very important literary question: What was Meryl Streep really like? I did not, and will not, answer, not because I in the least despised or disliked Meryl in The French Lieutenant’s Woman—she made a very good effort at a very difficult, for an American, part—but because the Chinese were showing themselves just as foolish as the Americans and the British, totally under the tyranny of the fashionable art form, of the visual. Something in the cinema and television wants to usurp the novel totally. It will fail, I believe; in any case these visual arts will receive no help from me in their encroachment on my own art. |
| 4 | 1988 |
Conversations with John Fowles
Onega, Susana. Form and meaning in the novels of John Fowles. In : Actas del X Congreso Nacional de A.E.D.E.A.N, 1988. http://books.google.ch/books?id=toF8bTBcwVMC&pg=PA168&lpg=PA168&dq=john+fowles+and+china&source=bl&ots=GpUS8IbSXF&sig=aQFbNPF4k9Y2--dDFPxooSo7c8I&hl=de&sa=X&ei=z402U4K-N8bA7Aay0oDwCg&ved=0CGEQ6AEwBjgK#v=onepage&q=john%20fowles%20and%20china&f=false. John Fowles : Could I please start by saying that if we had been in China I should get up now and clap you back. It is lovely for any novelist, even something of a hermit or a recluse like myself, to see such an audience as this. I have been in Spain before but it is pleasant bo be back again, after a long interval in my case… |
| 5 | 1988 |
Zhou, Zuoren. Alisi man you qi jing ji [ID D32104].
" As for the children themselves, since they need in deed this fancy work when their imagination is to be developed, it's beyond the right of us adults to deprive them of this need, no matter in what holy name, such as God, emperor or country, just as we mustn't deprive them of clothing and food." Hu Rong : What Zhou requested from the adults was the respect for the psychological needs of children as vital as their physical needs. He argued that love for fantasy and daydream was in children's nature, and it would be the worst policy for adults to suppress this nature with their moralism or impose all the arbitrary restrictions upon children, while Chinese people has long taken for granted that any idea unpractical in the little heads was harmful and should be prohibited, let alone nonsense. |
| 6 | 1988 |
Conference on 'Chinese philosophy and Whitehead' at Tunghai University, Taichung (1988).
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| 7 | 1988 |
Mao, Xinde. Meiguo xiao shuo shi gang.
Mao is discussing James Fenimore Cooper's three major contributions to American novel writing : 1) Breaking new and broad ground for the American novel writing ; 2) Establishing the Cooperian romantic style in novel writing ; 3) Integrating closely novel writing with the development of his time. |
| 8 | 1988-1992 |
Henry Henne arbeitet in der Norwegian School of Economics and Business Administration.
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| 9 | 1988 |
Oct.-Nov.
Aufführung von A streetcar named desire von Tennessee Williams, Tianjin People's Art Threatre, unter der Regie von Mike Alfreds, mit Zhang Lu Yen als Blanche. Sponsored by the Sino-British Cultural Association and the Tianjin People's Art Theatre. Dec. Aufführung beim Chinese Drama Festival in Beijing. Alfreds wanted to make the play Chinese, as well as have it reflect modern western society. To this end, he insisted that the actors appear as what they were. They spoke in their natural tone of voice and walked naturally. He asked his performers to imagine that the play was taking place in Tianjin, since the Chinese city bore such a strong resemblance to New Orleans. Ma Lan : Watching Streetcar is just like reading an autobiography. Blanche's life reflected a particular time. Williams's play tells people that it is not a simple thing to say goodby to the past. Burying oneself in recalling the past is an indication of the weakness and passiveness in humanity. In Blanche we find a type of laziness and hypocrisy. She herself lacked the inner strength to say goodbye to her old self. |
| 10 | 1988 |
Roberto Ciarla ist Mitglied einer Delegation in die VR : Problems of conservation and management of cultural relics.
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| 11 | 1988-1992 |
Mario Sabattini ist pro rettore delegato alla firma dell'Università Ca' Foscari di Venezia.
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| 12 | 1988-1999 |
Mario Sabattini ist segretario generale dell'Associazione Italiana per gli Studi Cinesi.
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| 13 | 1988-1991 |
Alessandra Cristina Lavagnino studiert Dolmetscherin und Übersetzerin an der Beijing Foreign Studies University.
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| 14 | 1988-1995 |
Ellen B. Widmer ist Associate Professor der Wesleyan University.
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| 15 | 1988-1989 |
Harold Z. Schiffrin forscht und gibt Vorlesungen and University of California, Berkeley.
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| 16 | 1988 |
Australian Film Festival in China.
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| 17 | 1988-1991 |
Alan E. Donald ist Botschafter der britischen Botschaft in Beijing.
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| 18 | 1988 |
Gründung der Zweigstelle des Goethe-Instituts in Beijing.
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| 19 | 1988 |
Robert Bickers erhält den B.A. in Medieval and Modern History, University College London.
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| 20 | 1988-1995 |
Erwin Schurtenberger ist Botschafter der schweizerischen Botschaft in Beijing.
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