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1 Richard Murphy, Theorizing the Avant-Garde: Modernism, Expressionism, and the Problem of Postmodernity (Cambridge: Cambridge University Press, 1999), 3. 2 Harold Rosenberg, âCollective, Ideological, Combative,â in Avant-Garde Art, ed. Thomas B. Hess and John Ashbery (London: Macmillan, 1968), 89. Modern Language Quarterly 63:1, March 2002. © 2002 University of Washington. MLQ  March 2002 much critical attention and high expectations. But in less than a decade the avant-gardists ceased to be cultural front-runners and dissolved into discrete voices and professions. Chen Xiaoming, one of the major avant-garde critics, proclaimed the âboundless challengeâ that the avant-garde launched against the literary and cultural establishments in its early years, but soon the âchallengeâ had lapsed into a âresidual imagination,â as Chenâs second book on the avant-garde observes.3 Perhaps no one exempliï¬es the swift rise and fall of the Chinese avant-garde more clearly than Yu Hua (1960 â), a native of the prosperous southeastern province of Zhejiang and arguably one of the most radical avant-gardists. His short stories, mostly written in the late 1980s, have been touted as a âparadigmatic symbol of avant-garde ï¬ction,â4 yet his novels and stories of the 1990s have largely effaced the elaborate formal devices of metaï¬ction and
Modern Language Quarterly: A Journal of Literary History – Duke University Press
Published: Mar 1, 2002
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