Classical Imitation, Cultural Identity, and Creative Transformation—Contrast in the Writing Strategies of Scarlet Bird, Paper Hawk, and the “Jiangnan Trilogy”

Abstract

Scarlet Bird and Paper Hawk by Ge Liang have inherited the style of novel of society which began with The Plum in the Golden Vase, carefully depicting scenes of daily life and exuding the great charm of antiquity. This coincides with the trend in contemporary Chinese literature toward using local resources and seeking cultural identity after the 1990s. However, while the neo-classical texts of Ge Liang are quite realistic in appearance, their inner vitality and spirit cannot be easily replicated. In contrast, the “Jiangnan Trilogy” by Ge Fei is far less imitative of classical novels than the novels of Ge Liang, but the pursuit of utopia is used throughout the trilogy to connect the main storylines of the destinies of four generations of the Lu family and is closely related to China’s grand history over the past century. While drawing on ancient Chinese cultural resources, Ge Fei injects brand new and heterogeneous elements into his works, reviving traditional lyrical styles and creating a new “Chinese poetics.”

Keywords

Ge Liang / Ge Fei / classical imitation / cultural identity / traditional resources / creative transformation

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Higher Education Press