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Mind the Gaps: Western Modernity, Chinese Feminine Subjectivity, and the Industrial-Rural Divide in Han Bo’s China Eastern Railway Poetics

Mind the Gaps: Western Modernity, Chinese Feminine Subjectivity, and the Industrial-Rural Divide... <p>Abstract:</p><p>“Modern Sexual Organicity” (《现代性器》 <i>Xiàndài Xìngqì</i>) and “Super Killer” (《大杀器》 <i>Dà Shaqì</i>) by Han Bo, which I translate and discuss here, unfold around the poet’s playfully sustained series of observations of the irreconcilable gaps and irreducible dissonances between Western modernity and Chinese contemporaneity. Focusing on the (post)structural dimension of the extreme intricacy and intensity of Han’s language game that polysemically intersects with traditional Chinese poetic moves as well, which itself mirrors the structurally (bi)polarized and gendered social realities in China, this essay highlights the unfused/able figure of the woman, a “farmwoman” on the train in particular, a moving image of precarious mobility, transience, and vitality.</p> http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png philoSOPHIA Society for Japanese Studies

Mind the Gaps: Western Modernity, Chinese Feminine Subjectivity, and the Industrial-Rural Divide in Han Bo’s China Eastern Railway Poetics

philoSOPHIA , Volume 12 (1) – Oct 13, 2022

Mind the Gaps: Western Modernity, Chinese Feminine Subjectivity, and the Industrial-Rural Divide in Han Bo’s China Eastern Railway Poetics

philoSOPHIA , Volume 12 (1) – Oct 13, 2022

Abstract

<p>Abstract:</p><p>“Modern Sexual Organicity” (《现代性器》 <i>Xiàndài Xìngqì</i>) and “Super Killer” (《大杀器》 <i>Dà Shaqì</i>) by Han Bo, which I translate and discuss here, unfold around the poet’s playfully sustained series of observations of the irreconcilable gaps and irreducible dissonances between Western modernity and Chinese contemporaneity. Focusing on the (post)structural dimension of the extreme intricacy and intensity of Han’s language game that polysemically intersects with traditional Chinese poetic moves as well, which itself mirrors the structurally (bi)polarized and gendered social realities in China, this essay highlights the unfused/able figure of the woman, a “farmwoman” on the train in particular, a moving image of precarious mobility, transience, and vitality.</p>

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Publisher
Society for Japanese Studies
Copyright
Copyright © State University of New York Press
ISSN
2155-0891
eISSN
2155-0905

Abstract

<p>Abstract:</p><p>“Modern Sexual Organicity” (《现代性器》 <i>Xiàndài Xìngqì</i>) and “Super Killer” (《大杀器》 <i>Dà Shaqì</i>) by Han Bo, which I translate and discuss here, unfold around the poet’s playfully sustained series of observations of the irreconcilable gaps and irreducible dissonances between Western modernity and Chinese contemporaneity. Focusing on the (post)structural dimension of the extreme intricacy and intensity of Han’s language game that polysemically intersects with traditional Chinese poetic moves as well, which itself mirrors the structurally (bi)polarized and gendered social realities in China, this essay highlights the unfused/able figure of the woman, a “farmwoman” on the train in particular, a moving image of precarious mobility, transience, and vitality.</p>

Journal

philoSOPHIASociety for Japanese Studies

Published: Oct 13, 2022

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