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summarization present in the book did not adequately cover its depth due to the coverage of works unfamiliar at the time to the audience and the book's scope itself. She stated that sometimes there was too much repetition, believing that Wang might have been unsure about the comprehension levels of his readers, and that there were errors in romanizations and other mistakes in typing. She also stated the bibliography and glossary were not fully developed.
226:"Repressed Modernities," Chapter 1, describes the historical conditions in the Qing Dynasty. Heroldová argued that it was an extension of the introduction. Williams wrote that even though it was intended to introduce what was in the primary chapters, it "actually reads more like a conclusion" to those four chapters. Williams stated that some of Wang's conclusions about late Qing fiction described in this chapter are "neo-
223:, "a phenomenon that is new and innovative" and that, in her words, he thought that modernity combined possibilities of new things. Wang stated that Qing works used new types of characters, ideologies, narrative formats, situations, and themes. Wang was opposed to the idea that modernity meant developing linearly into something more advanced.
323:"Justice Undone, Chivalric and Court-case Fiction," Chapter 3 discusses chivalric and court case books, which Wang argues influenced later works made regarding China's revolutions. Of all of the chapters it chronicles the largest number of full-length novels. Works discussed include the 1820s to 1903 series
556:
Qing fiction are also reflected in late 20th century
Chinese fiction. Hegel argued that this chapter was "disappointing" compared to the other chapters, since the content was too short and lacked detail. Hegel states that the comparisons made are "likely to offend" and "courageous". This chapter discusses
647:
Huters argued that the book was "the best introduction to and analysis of late Qing fiction that exists in any language." Huters argued that by expanding the scope of late Qing fiction, Wang inadvertently blurred the distinction between that genre and early 20th century
Chinese fiction, and he also
112:
The book analyzed over sixty works, including around twenty novels. It covers four genres of late Qing fiction: chivalric and court case, courtesan (novels with erotic and sentimental themes), "novels of exposure", and "science fantasy". David Wang argued that until the time his book was published,
555:
or experimental, is connected with late Qing fiction. Origins of the modern fiction analyzed in this chapter include
Mainland China, Hong Kong, and Taiwan. The author used this as the final chapter instead of making a separate conclusion chapter. According to Wang the same genres appearing in late
617:
Bailey argued that the book was "an innovative, energetically argued, and important book, as varied and rich as the period and genres it opens up for us so fruitfully and eloquently." She argued that sometimes it seemed like "modernity" was used to mean "variety". Bailey believed that some of the
628:
had bibliographic referencing for cited works that had been reprinted recently, Hegel argues that the book should have included that referencing for all of the works cited. Hegel concluded that his criticisms were "small" and that the book is "an excellent introduction to the literature of that
216:
The book's introduction is 12 pages long, and discusses Wang's explanation of the term "repressed modernities". The author argues why he believes late Qing
Dynasty fiction is "modern" in the book's introduction, and he defines modernity as, in the words of Helena Heroldová of
116:
Most genres were already accepted ways of classifying Qing
Dynasty fiction. Chivalric and court-case books are a combination of two genres: one about judges, or court-case works, and one about a heroic individual who seeks to right wrongs, or chivalric
171:
In his principal chapters, 2 through 5, he introduces particular works, some of which are lesser-known and some of which are well-known and explains why he believes they are modern. Some of the content originated from his 1993 Chinese-language book
200:(meaning "Sea of Regret"), arguing that its quality was below that of the courtesan novels he chose to discuss; Williams stated that Wang had not made a category for books not neatly fit into the primary categories he chose to discuss, and
100:, as the beginning of the late Qing dynasty in terms of intellectual developments. Prior works produced in China and outside of China which discuss late Qing literature use 1900-1910 as their focus. Theodore Huters of the
655:
wrote that overall the book "should be recognized as an important development in the much needed research on late-Qing fiction"; he disagreed with some of the conclusions made by Wang about the nature of the genre.
81:
The title "Fin-de-Siècle
Splendor" refers to a renewal of society as well as decadence and loss of previous values that Wang argued appeared in both Chinese and European literary societies of that time period.
483:
is discussed again in the context of the science fantasy genre in the initial part of the chapter, making it the only novel discussed at length in two separate chapters. Other works discussed include
648:
argued that the deliberate vagueness and redefining of "the modern," "modernism" and "modernisms" "serves simply to push back the definition of the modern to a point seventy years before 1919."
55:, rather than only appearing after the Qing Dynasty concluded in 1912. This is the first English-language full-length book written by a single author that surveyed late Qing Dynasty fiction.
551:
Chapter 6, "Return to Go: Contemporary
Chinese Fiction and Its late Qing Antecedents," discusses how Chinese fiction from the late 1980s to the present, including works considered to be
69:-era works itself, Wang argues that there were multiple new literary forms pursued in the post-Taiping era, not just intentionally Westernized writing. Therefore, according to Hegel,
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stated that the book focuses on fiction "generally despised as backward, decadent, and certainly not modern" and that while it does not attempt to subvert the understanding of
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and later developed into those of the late 20th century, and that this chapter "offers many interesting reflections on literature in general and
Chinese literature as such."
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Williams stated that the arguments were done "cogently" and that it is "a major contribution to scholarship on late imperial and twentieth- century
Chinese fiction."
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479:"Confused Horizons: Science Fantasy," Chapter 5, discusses science fantasy novels and how they helped usher in development in the science and technology field.
168:(志怪) in Mandarin. Librarians and publishers usually call this genre, which usually includes late 20th century Chinese fiction, as "science fiction and fantasy."
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Eide concluded that the book as a whole "will serve as a useful source book for future research" and that the four primary chapters "are very well argued".
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Hegel wrote that the book is equally "informative" and "fascinating to read" since Wang used "great enthusiasm and authority" when writing it. While
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Hegel, p. 202. "David Wang's 王德威 project herewith great enthusiasm and authority, making his book as fascinating to read as it is informative."
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argued that the court case and chivalric chapter and the science fantasy chapter both had the "most persuasive, indeed fascinating" analysis.
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783:(December 1998). "Reviewed Work: Fin-de-Siècle Splendor: Repressed Modernities of Late Qing Fiction, 1849-1911 by David Der-wei Wang".
696:) (Spring 1999). "Reviewed Work: Fin-de-Siècle Splendor: Repressed Modernities of Late Qing Fiction, 1849-1911 by David Der-wei Wang".
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361:
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argued that by expanding the scope of the genre, Wang "greatly expands and enriches our notion of the world of Qing dynasty fiction."
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180:"China's Novels: Chinese-language Novels of the late Qing Dynasty through the present day") and other earlier works written by him.
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Eide, Elizabeth (1999). "Fin-de-Siècle
Splendor: Repressed Modernities of Late Qing Fiction, 1849-1911 by David Der-wei Wang".
259:
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stated that some people reading the book may need to consult other scholarly reference guides in order to help them understand
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these genres had not received sufficient attention from historians specializing in Chinese fiction nor from literary critics.
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164:) novels combined Chinese traditional storytelling with Western science fiction; the Chinese storytelling genre is called
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405:"Abject Carnival: Grotesque Exposés," Chapter 4 discusses "novels of exposure," or "grotesque exposes." Wang argues that
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866:(November 1998). "Fin-de-Siècle Splendor: Repressed Modernities of Late Qing Fiction, 1849-1911 by David Der-wei Wang".
233:"Edifying Depravity: The Courtesan Novel," the second chapter, discusses courtesan novels. Wang argues that concepts of
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due to the absence of edition, publication, and serialization information of some works chronicled within the book.
141:, and to the "novels of exposure," which document poor urban residents and their troubles and criticize society, as
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40:
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184:
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Walls, J W (December 1997). "Fin-de-siecle splendor: Repressed modernities of late Qing fiction, 1849-1911".
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965:) (December 1998). "Fin-de-siècle Splendor: Repressed Modernities of Late Qing Fiction, 1849-1911".
912:) (February 1999). "Fin-de-Siècle Splendor: Repressed Modernities of Late Qing Fiction, 1849-1911".
827:"David Der-wei Wang, "Fin-de-Siècle Splendor. Repressed Modernities of Late Qing Fiction, 1849-1911"
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does not neatly fit into those categories. Williams wrote that "and other scholars have analyzed
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Eide, p. 395. "In short, he wants to show how the modernist tendenciesHe largely succeeds."
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stated that the book was "Readable and riveting, competently and persuasively presented."
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The "science fantasy" classification is an original idea from Wang. The science fantasy (
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Eide, p. 294. "The four chapters on these topics constitute the nucleus of the book."
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failed to appreciate the late Qing grotesque expose genre. Works discussed include
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Wang defined the start of the "late Qing Dynasty" as beginning in 1849, around the
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that the book is "a joy to read" due to the author's "enthusiasm and devotion".
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Fin-de-Siècle Splendor: Repressed Modernities of Late Qing Fiction, 1848-1911
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454:(何典; "What Sort of Novel is This") by Zhang Nanzhuang (張南莊), the 1905 novel
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978:
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515:(新法螺先生谭; "The New Account of Mr. Windbag") by Xu Nianci, the 1908 work
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378:(彭公案; "The court cases of Judge Peng") and its sequels, the 1904 novel
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Heraldová stated that the book was an "important contribution".
51:, defined by Wang as beginning in 1849, around the start of the
174:
Xiǎoshuō Zhōngguó: Wǎn Qīng dào dāngdài de Zhōngwén xiǎoshuō
131:. In Chinese, Lu Xun referred to the prostitution novels as
291:(魏子安, also known as Wei Xiuren 魏秀仁), and the 1849 novel
127:) works. Some categorizations of novels originated from
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Bulletin of the School of Oriental and African Studies
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Bulletin of the School of Oriental and African Studies
336:(施公案; "The court cases of Judge Shi"), the 1853 work
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first appear in these books. This chapter discusses
316:, as well as various fictional characters based on
424:Bizarre Happenings Eyewitnessed over Two Decades
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592:. Elisabeth Eide, who wrote a review for the
73:is "a revisionist study of the first order".
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312:"Precious Mirror for Judging Flowers") by
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858:Academy of Sciences of the Czech Republic
382:(女獄花, "A Flower in a Woman's Prison") by
1028:Journal of the American Oriental Society
528:(新石頭記, the new "Story of the Stone") by
476:(大馬扁, or 大馬騙 meaning "Big Tricksters").
280:"Traces of the flower and the moon") by
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89:as a professor of Chinese literature.
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856:Hosted by the Digital Library of the
102:University of California, Los Angeles
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872:Journal of the Royal Asiatic Society
641:Journal of the Royal Asiatic Society
413:, and other literary figures in the
971:Harvard Journal of Asiatic Studies
825:Heroldová, Helena (January 1998).
429:Ershinian mudu zhi guai xianzhuang
362:The Three Heroes and Five Gallants
63:Washington University in St. Louis
25:
27:Book by David Der-Wei Wang (1997)
194:Wang decided not to write about
1491:Stanford University Press books
260:The Sing-song Girls of Shanghai
694:University of British Columbia
607:University of British Columbia
499:"The future of new China") by
365:(Sanxia wuyi), the 1892 novel
349:(蕩寇志; "Quell the Bandits") by
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35:is a 1997 non-fiction book by
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1352:Hockx, p. 503 - States that
918:The Journal of Asian Studies
605:C. D. Alison Bailey of the
548:("New China") by Lu Shi'e.
85:At the time Wang worked at
1507:
507:(月球殖民地 "Moon colony") by
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212:Introduction and chapters
41:Stanford University Press
1020:Arizona State University
392:(活地獄; "Living Hell") by
240:A Flower in a Sinful Sea
185:Arizona State University
513:Xin Faluo Xiansheng Tan
511:, the 1905 short story
98:First Sino-Japanese War
1481:1997 non-fiction books
1465:Fin-de-Siècle Splendor
1356:is in both Chapters 3
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725:Cite journal requires
692:Bailey, C. D. Alison (
626:Fin-de-Siècle Splendor
496:Xin Zhongguo weilai ji
419:The Travels of Lao Can
399:The Travels of Lao Can
359:, the 1879 version of
250:The Nine-tailed Turtle
189:Fin-de-Siècle Splendor
183:Philip F. Williams of
71:Fin-de-Siècle Splendor
18:Fin-de-siècle Splendor
1018:Williams, Philip F. (
963:University of Chicago
653:University of Chicago
651:Xiaobing Tang of the
559:Farewell My Concubine
542:), and the 1910 work
439:Guanchang xianxing ji
1310:Williams p. 371-372.
468:, and the 1908 work
434:Officialdom Unmasked
356:Ernü Yingxiong Zhuan
600:May Fourth Movement
415:May Fourth Movement
87:Columbia University
67:May Fourth Movement
1400:Hegel, p. 205-206.
1369:Hegel, p. 204-205.
908:Huters, Theodore (
791:(CLEAR): 201–206.
509:Huangjiang Diaosou
441:), The 1879 novel
235:women's liberation
37:David Der-Wei Wang
1486:Books about China
1243:Tang, p. 623-624.
1180:Williams, p. 372.
1108:Williams, p. 371.
831:Archiv Orientální
493:), the 1902 work
481:Quell the Bandits
386:, the 1906 novel
263:, the 1859 novel
220:Archiv Orientální
94:Taiping rebellion
53:Taiping rebellion
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1030:: 371–372.
973:: 623–630.
920:: 173–174.
874:: 502–504.
746:: 394–395.
569:Red Sorghum
553:avant-garde
521: [
491:Maocheng ji
486:Cat Country
447: [
384:Wang Miaoru
371: [
342: [
339:Dangkou zhi
329: [
326:Shi gong'an
297: [
285: [
269: [
255:Jui wei gui
1475:Categories
833:: 285–287.
686:References
582:Jia Pingwa
564:Lilian Lee
540:Xin jiyuan
530:Wu Jianren
318:Sai Jinhua
266:Huayue hen
245:Niehai hua
77:Background
704:: 91–92.
629:period."
613:Reception
590:Wang Anyi
466:Li Boyuan
394:Li Boyuan
380:Nü yu hua
282:Wei Zi'an
880:25183613
672:See also
474:Damapian
470:Damabian
389:Huo Diyu
314:Chen Sen
228:Freudian
108:Contents
1354:Lao Can
1273:Archive
1148:Archive
979:2652679
926:2658419
752:3107547
710:2672346
586:Su Tong
535:New Era
444:He dian
407:Hu Shih
306:Chinese
166:zhiguai
1222:Walls.
1036:606157
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588:, and
578:Li Ang
574:Mo Yan
411:Lu Xun
396:, and
353:, the
308::
202:Henhai
197:Henhai
129:Lu Xun
1072:Notes
1032:JSTOR
1026:(2).
975:JSTOR
969:(2).
922:JSTOR
916:(1).
876:JSTOR
870:(3).
793:JSTOR
748:JSTOR
742:(2).
706:JSTOR
700:(1).
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124:xiáyì
49:China
1057:help
1000:help
954:link
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773:help
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310:品花寶鑑
156:科学小说
143:谴责小说
133:狭邪小说
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