毕业论文外文文献及译文文献、资料题目：Critiquing the city, envision- ning the country:Shen Congwens urban ction 文献、资料来源： 斯普林格文献、资料发表（出版）日期：2009.11.25学 院： 文学院专 业： 汉语言文学班 级： 2011级2班姓 名： xx学 号： xxxx指导教师： xxx翻译日期： 2015年03月30日Critiquing the city, envisioning the country:Shen Congwens urban ctionJie LuPublished online: 25 November 2009_ Akade miai Kiado , Budapest, Hungary 2009The essay studies Shen Congwens urban ctions in the literary contexts of his native-soil ction and contemporary urban ction by the Shanghai school in modern Chinese literature. It argues that Shen Congwens urban and rural writings demonstrate a profound irony: his perception of the disappearing rural idyllic and his panoramic repre-sentation are achieved through a modern sensibility as well as his disenchantment with the city, while his urban imagining/representation betrays an agrarianist distrust of the city part of an age-old anti-urban Confucian thinking. His ambivalent attitude towards modernity also betrays a sense of loss in terms of his historical position regarding how to understand fundamental changes of his time as epitomized by the city. Nevertheless, Shens urban ction has registered the initial efforts in modern Chinese literature in coming to grips of the modern city as it was emerging from its traditional form to become the locus of modernity and site of fundamental socioeconomic and cultural transformation. Shen Congwen (19021988) is one of the most important novelists in modern Chinese literature. Productive and versatile, Shen Congwen worked in many genres ranging from poetry, short stories, novellas, and novels, to essays, and has produced volumes of work touching all kinds of subjects such as military life, rural folks, Miao ethnic people, family life, urbanites and intellectuals. His magnum opus includes Border Town, Long River, Xiaoxiao, Random Sketches on a Trip to Hunan, Congwen Autobiography, and many collections of short stories. Shen is best-known for his portrayals of rural West Hunananidyllic country both real and imaginativewith its local avors, aboriginal customs, picturesque landscape, extraordinary lifestyles, festive conventions, linguistic codes, and most of all, its colorful and rustic gures possessing divine quality (Wang 1992, p. 256), virility and moral purity. His rural writings also demonstrate a profound lyrical quality and poetic sensibility that are highly treasured in the Chinese literary creation. He is often regarded as a forefather of root-seeking or native-soil literature in China.Critics tend to focus on his writings on West Hunan, that is, his rural writings, as if they were most representative. However, Shen Congwen has written almost as much on urban themes; in fact his urban ction constitutes about half of his complete works, which is very unique among modern Chinese writers. Admittedly, his urban ctions are not as imaginative and poetic as his rural ctions, and the urban scenes depicted are not as fascinating and exotic as his beloved West Hunan. In contrast to his rural writings, his urban ctions also lack the kind of aura possessed by his rural works, and are banal and formulaic in their representation of an urban world lled with physically and psychologically distorted and spiritually impotent men and women. Yet, it is the opposition between the rural and urban that informs his understanding and representing both the city and the rural. His representation of rural folks and pastoral sceneries expresses his moral idealism. Shen eulogizes the healthy and elegant way of life and humane and harmonious relationship among rural people in contrast to the urban world represented as the Other of his utopian West Hunancorrupted and decadent. Shen himself repeatedly emphasizes that he is essentially a country man, and that it is from the rural perspective that he observes and evaluates urban society and its people. Ironically, however, it is exactly the modern cultural/existentialcondition epitomized by the fallen city that makes it possible for Shen Congwen to imagine and envision his utopian West Hunan. In other words, it is not the modern city and its culture that have fallen from the rural utopia. Rather his atemporal West Hunan derives its meaning and moral authority by contrast with temporal urban culture. The irony also lies at the personal level of Shens life. As David Wang acutely points out, it is only after Shen has been uprooted from the soil that he cherishes and denied from any possibility of complete understanding that he values his rural home. This displacement is more than physical; it is intellectual and emotional as well (Wang 1991, p. 248). Thus it is the urban experiences that constitute the structure and groundwork of his uprootedness. Furthermore,this points to a paradoxical relationship between his rural and urban perspectives: h