Cookies Policy
X

This site uses cookies. By continuing to browse the site you are agreeing to our use of cookies.

I accept this policy

Find out more here

Unfinished Revolution: A Paradox of Mourning Subjectivity in Su Manshu’s The Lone Swan

No metrics data to plot.
The attempt to load metrics for this article has failed.
The attempt to plot a graph for these metrics has failed.
The full text of this article is not currently available.

Brill’s MyBook program is exclusively available on BrillOnline Books and Journals. Students and scholars affiliated with an institution that has purchased a Brill E-Book on the BrillOnline platform automatically have access to the MyBook option for the title(s) acquired by the Library. Brill MyBook is a print-on-demand paperback copy which is sold at a favorably uniform low price.

Access this article

+ Tax (if applicable)
Add to Favorites
You must be logged in to use this functionality

image of Frontiers of Literary Studies in China

Su Manshu’s 苏曼殊 (1884–1918) The Lone Swan (Duanhong lingyan ji 断鸿零雁记, 1911, 1912) is best known for a sustained use of subjective voice and a thematic emphasis on tragic love. Critics have often credited the novella’s intensely tragic narrative for spearheading a new kind of literary subjectivity that became a cornerstone of modern Chinese literature as heralded by the May Fourth critics in the late 1910s and the 1920s. However, very few have examined this new subjectivity as an effect of Su’s critical engagement with a late Qing nationalist narrative. Su’s novella was an appropriation of the anti-Manchu revolutionary narrative of a nation, which hinged on a paradoxical mode of envisaging a new China through a temporal return to the past and by means of a tragic sacrifice of the individual. Following a brief analysis of Su’s early piece published in The People’s Journal (Minbao 民报), this article demonstrates how The Lone Swan elaborated on an excess of individual sacrifice, while developing the new, mourning subjectivity as a witness to the unfinished revolutionary enterprise of forging a powerful nation. Su’s narrative of cultural devastation resonates with Lu Xun’s (1881–1936) late Qing work, but, in the May Fourth period that immediately followed, this sense of despair would become an unequivocal object for overcoming.

10.3868/s010-004-015-0005-4
/content/journals/10.3868/s010-004-015-0005-4
dcterms_title,pub_keyword,dcterms_description,pub_author
10
5
Loading
Loading

Full text loading...

/content/journals/10.3868/s010-004-015-0005-4
Loading

Data & Media loading...

http://brill.metastore.ingenta.com/content/journals/10.3868/s010-004-015-0005-4
Loading

Article metrics loading...

/content/journals/10.3868/s010-004-015-0005-4
2015-01-27
2017-11-23

Sign-in

Can't access your account?
  • Tools

  • Add to Favorites
  • Printable version
  • Email this page
  • Subscribe to ToC alert
  • Get permissions
  • Recommend to your library

    You must fill out fields marked with: *

    Librarian details
    Your details
    Why are you recommending this title?
    Select reason:
     
    Frontiers of Literary Studies in China — Recommend this title to your library
  • Export citations
  • Key

  • Full access
  • Open Access
  • Partial/No accessInformation