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1.Summarize Williams’ literary theory in Raymond Williams, “Dominant, Residual, and Emergent” in Marxism and Literature, 121-135
2.Summarize Williams’ literary theory in Raymond Williams, “Tragedy and Revolution” in Marxist Literary Theory, 242-260
3.Summarize Williams’ literary theory in Raymond Williams, “Alignment and Commitment” in Marxism and Literature, 199-205
4.Discuss merits and demerits of his perspective by drawing on examples from To Live and Red Sorghum(just give an short passage as an example)
5.Discuss the literary/ aesthetic implications of  The Song of Everlasting Sorrow based upon Lydia Liu, “Invention and Intervention: The Making of a Female Tradition in Modern Chinese Literature” in Chinese Femininities/Chinese Masculinities. Ed. Susan Brownell. Ch. 5. (149-174)  
6.Discuss the literary/ aesthetic implications of  The Song of Everlasting Sorrow based upon Ban Wang, “Love at Last Sight: Nostalgia, Commodity, and Temporality in Wang Anyi's Song of Unending Sorrow” in Positions: East Asia Cultures Critique, 10, no. 3 (2002 Winter):  669-94
7.Discuss the literary/ aesthetic implications of  The Song of Everlasting Sorrow based upon Shu-Mei Shih, “Towards an ethics of transnational encounter, or "when" does a "Chinese" woman become a "feminist"?” in differences-A Journal of Feminist Cultural Studies, v13 n2 (June 2002): 90-126
8.Compare Lydia Liu, Ban Wang, and Shih Shu-mei’s analyses of The Song of Everlasting Sorrow. Whose analysis do you find most compelling? Explain why.

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