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In her 1990s' fictional works, Wang Anyi's effort to circumvent the dichotomy between detail and idea is complicated by her attempt to use details to reconstruct pictures of the past. There are several aspects to this issue. First, although nostalgic details in Wang Anyi's ‘memory stories’ help to give expression to idealistic longings of the author, they also tend to conspire with the official ban on the discourse of the traumatic socialist past. Second, while details are regarded as important in sum total, they are actually relegated by the writer to a secondary place as mere constructing materials to serve the function of bringing out the larger idea. In terms of actual narration, the highly ‘authoritative’ voice often suppresses the depth of individual subjects in her fiction. Third, Wang's ambiguity with regards to details and ‘feminine materials’ affects her characterization of women. A reading of Wang's two fictional works, The Song of Everlasting Sorrow (Changhen ge) and Fu Ping (Fu Ping), demonstrates that the writer's instrumental approach tends to render female characters stranded between allegorical figures and individual subjects. 相似文献
** Pieter Bottelier is Sr. Adjunct Professor at Johns Hopkins University's School of Advanced International Studies (SAIS), where he teaches several courses on China's economy. He served as Chief of the World Bank's Resident Mission in China from 1993 to 1997. Helpful comments from Steven Dunaway, Jessica Einhorn, Parvez Hasan, Bert Hofman, Nicholas Hope, Ercheng Hwa, Shahid Husain, Edwin Lim, Stephen McGurk, Anthony Saich, Douglas Scott, Jinlin Yang and Jiayi Zou are gratefully acknowledged. The author is responsible for possible remaining errors.View all notes 相似文献