![]() Jacques-Alain Miller (London: The Hogarth Press, 1977), 84–85. Jacques Lacan, The Four Fundamental Concepts of Psycho-analysis, trans. Wang Shuo, Wo shi ni baba (I Am Your Father), Beijing: Renmin wenxue chubanshe, 1992.Ĭarl Gustav Jung, The Development of Personality, trans. Geremie Barmé, “Wang Shuo and Liumang (‘Hooligan’) Culture,” The Australian Journal of Chinese Affairs 28 (July 1992): 52. ![]() ![]() Richard King (Hong Kong: Renditions Paperbacks, The Chinese University of Hong Kong Press, 2003), 11–12. Richard King, “Introduction,” in Living with Their Past: Post-Urban Youth Fiction, by Zhang Kangkang, ed. This is the suggestion found, for example, in Richard King’s discussion of Zhang Kangkang. Qian Liqun, Huang Ziping, and Chen Pingyuan (Beijing: Beijing daxue chubanshe, 2004), 167. ![]() Qian Liqun, “‘Fu fu zi zi’ li de wenhua” (Father/son culture), in Ershi shiji Zhongguo wenxue san ren tan: man shuo wenhua, ed. Philip Thody, Twentieth-Century Literature: Critical Issues and Themes (Basingstoke: Macmillan Press, 1996), 68–69. Helmut Martin and Jeffrey Kinkley, eds, Modern Chinese Writers: Self-Portrayals (New York: M.E. He Weiqing, Xiaoshuo ertong: 1980–2000 Zhongguo xiaoshuo de ertong shiye: 1980–2000 (Children in fiction: the child viewpoint in Chinese fiction from 1980 to 2000) (Qingdao: Zhongguo haiyang daxue chubanshe, 2005), 63–64. Yibing Huang, Contemporary Chinese Literature: From the Cultural Revolution to the Future (New York: Palgrave Macmillan, 2007), 77. Lu Xun, “Fengbo” (Storm in a Teacup ), in Na Han, by Lu Xun (Beijing: Beijing renmin chubanshe, 1979), 48–56. (yidai buru yidai) is the repeated lament of the great-grandmother in Lu Xun’s “Storm in a Teacup” who measures family decline (and her discontent with the present) through the decreasing birth weight of successive generations. This process is experimental and the keywords may be updated as the learning algorithm improves. These keywords were added by machine and not by the authors. Most pervasive is the association made between the child and harm. Most constant, and most universal, in the imagined child and in the fictionalization of childhood is the endless interplay between innocence, supposed and real, and corruption, both external and internal. From the clear-eyed children who provide a frank assessment of the world around them to the voiceless victims of adult negligence and violence, the child functions as critic of the present and as a portent of the future as innocent foil and lost hope. There are established tropes and well-worn, universal themes. Setting aside the social and cultural context, the use of the child image would in many ways be familiar to the literary and cultural commentators of an earlier era, and also to critics outside China. The population of children in these narratives ranges from the briefest of symbolic images to articulate beings whose subjectivity is intended to direct the text. If we agree, and there is room for doubt, that the much-discussed May-Fourth-era “discovery of the child” was fully realized in fiction, then the plethora and diversity of child images and narratives of childhood in late-twentieth-century China must at least comprise a rediscovery of the child.
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