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1. Introduction: Nature as a Literary and Ontological Problem Nature in literature is never merely a backdrop for human action; it is a conceptual field through which cultures articulate their deepest assumptions about reality, subjectivity, and existence. The representation of nature encodes a philosophy of the world: whether nature is external or internal, inert or […]

1. Introduction: Literature as an Ethical Technology Ethics in literature is never a secondary layer of moral commentary appended to narrative form; it is a constitutive structure through which literature organizes action, character, causality, and value. Every literary tradition encodes a distinctive moral ontology—an implicit theory of what counts as good, bad, just, shameful, tragic,

1. Introduction: Narrative as Temporal Logic Narrative structure is not merely a technique of storytelling; it is a formalization of time consciousness. Every literary tradition encodes within its narrative forms a specific theory of how time unfolds, how events relate to one another, and how meaning is produced through sequence. The divergence between Chinese and

1. Introduction: The Subject as a Literary Construct Any theory of literature ultimately presupposes a theory of the subject. Literature does not merely depict individuals; it constructs models of selfhood—implicit assumptions about what a “self” is, how it is formed, and how it relates to language, society, and reality. The divergence between Chinese and Western

1. Introduction: Language as a Philosophical Problem The question of what language is constitutes one of the most fundamental divergences between Chinese and Western literary traditions. Literature does not merely use language; it presupposes a theory of language. Every aesthetic system, whether explicit or implicit, rests on assumptions about how words relate to reality, consciousness,

1. Introduction: After Ideology, the Return of Memory Post-Mao literature emerges in the aftermath of ideological saturation and historical rupture. Following the end of the Cultural Revolution and the political reorientation associated with the late 1970s reforms under Deng Xiaoping, Chinese writing enters a new phase defined by retrospective consciousness. Where Maoist literature emphasized collective

1. Introduction: Literature as Experiential Threshold Across Chinese literary traditions, literature is never merely representational. It is frequently treated as a mode of transformation—an experiential threshold through which consciousness itself is refined, destabilized, or expanded. In this sense, literature functions less as a container of meaning than as an event of awareness. This orientation is

1. Introduction: Gender as a Literary Problem of Voice and Visibility Gender in Chinese literature is not merely a thematic concern but a structural question of voice, authority, and representation. Across the long arc of Chinese literary history, feminine presence has often been mediated through male authorship, institutional norms, and philosophical frameworks that prioritize ethical

1. Introduction: Literature in the Age of Hyper-Connectivity Contemporary Chinese fiction emerges within a radically transformed cultural field shaped by globalization, digital acceleration, urban expansion, and transnational circulation of texts. Unlike earlier phases of Chinese literary history—where literature was primarily bound to moral philosophy, national crisis, or ideological frameworks—contemporary writing operates within a global system

1. Introduction: Modernity as Literary Dislocation Modern Chinese literature emerges not as a gradual evolution of classical forms but as a rupture—a discontinuity in cultural memory and expressive structure. The transition from imperial literary traditions to modern writing is marked by epistemic shock: inherited forms of meaning no longer adequately represent lived reality. This transformation