By Margaret B. Wan

Explores the improvement of the chinese language martial arts novel.

Martial arts fiction has been synonymous with well known fiction in China from the Qing dynasty on. This booklet, the 1st to track the early improvement of the martial arts novel in China, demonstrates that the style took form approximately a century prior to typically famous. Green Peony (1800), one of many earliest martial arts novels, lies on the middle of an internet of literary family connecting a few of the major genres of fiction in its day. tailored from a drum ballad, Green Peony parodies either past well known fiction and the good Ming novels, producing funny mirrored image on their values. by means of targeting renowned fiction and pop culture, Margaret B. Wan argues for the relevance of style to literary feedback, the convergence of “popular” and “elite” fiction within the 19th century, and a basic flip from didacticism to leisure. Literary students, historians, and someone who needs to understand extra approximately chinese language pop culture within the Qing dynasty will make the most of analyzing this book.

“[Wan’s] meticulous efforts provide us illuminating readings of a few little-studied novels, make clear an immense degree within the improvement of narrative on martial topics, and, maybe most vital of all, problematic our figuring out of the formal, thematic, and social materials of narrative perform in overdue imperial China.” — T’oung Pao

“…Wan’s booklet is a really welcome boost to the turning out to be corpus of stories of the ultimate century of chinese language late-imperial literature. Its cautious examine covers parts of well known literature and manuscript tradition which are frequently neglected in reports that deal exclusively with released (and simply to be had) variants of texts.” — Chinese Literature: Essays, Articles, Reviews

“…Wan has written the 1st monographic learn of martial art–type fiction as a literary style … Drawing on little-known and hard-to-access martial arts novels and utilizing refined theoretical frameworks drawn from Bakhtin (The Dialogical Imagination, 1975) and students of metafiction, Wan deals us a wealth of insights into the interplay among the oral and dramatic arts and their textual derivatives, and provides a brand new method of realizing the interplay among ‘folk’ and ‘literati’ narratives when it comes to chinese language fiction.” — Asian Ethnology

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