Qian Zhongshu

Also found in: Wikipedia.
Qian Zhongshu
Birthplace Wuxi, Jiangsu, Qing Dynasty

Qian Zhongshu


Ch'ien Chung-shu,

1910–98, Chinese writer and scholar, grad. Tsinghua Univ., Beijing (1933). After attending Oxford and the Sorbonne, he returned (1939) to China and taught at several institutions of higher education including his alma mater and also worked in the foreign languages division of the National Library, Nanjing. During the Cultural RevolutionCultural Revolution,
1966–76, mass mobilization of urban Chinese youth inaugurated by Mao Zedong in an attempt to prevent the development of a bureaucratized Soviet style of Communism.
..... Click the link for more information.
 he and his wife were sent to the countryside for "reeducation" and he worked as a janitor. Afterward he returned to scholarly pursuits and was vice president (1982–93) of the Chinese Academy of Social Sciences, where he served as an adviser until his death. Qian's most famous and popular work is his sole novel, Weicheng (1947; tr. Fortress Besieged, 2004). Set in the 1930s, it is the tale of a feckless Chinese teacher's life, loves, and dreadful marriage. He also wrote a book of short stories (1946; tr. with essays from 1941 as Humans, Beasts, and Ghosts: Stories and Essays, 2011). Seven additional essays on art and literature were translated as Patchwork (2014). His scholarly work culminated in the notes and short essays on literary history, poetics, and related subjects in Guanzhui bian (4 vol., 1979; selections tr. as Limited Views: Essays on Ideas and Letters, 1998). Among his untranslated works are Tanyilu [reflections on appreciation] (1948, rev. ed. 1983) and Songshi xuanzhu [selected and annotated Sung poetry] (1958).

His wife, Yang Jiang, 1911–2016, b. Yang Jikang, was a writer, translator, and scholar known for her fiction, memoirs, plays, and essays. Her most famous translation is the definitive Chinese version of Cervantes' Don Quixote. Gan xiao liu ji (1981; tr. Six Chapters from My Life "Downunder," 1984) details her life as an agricultural worker during the Cultural Revolution.

The Columbia Electronic Encyclopedia™ Copyright © 2013, Columbia University Press. Licensed from Columbia University Press. All rights reserved. www.cc.columbia.edu/cu/cup/
References in periodicals archive ?
China's Literary Cosmopolitans: Qian Zhongshu, Yang Jiang, and the World of Letters
In a satirical essay published in 1941, Qian Zhongshu (1910-1998) offers an interesting counterargument, deliberately saying that Aesop's fables are unfit for teaching the young.
(11) As Rexroth's views on poetry are discussed in the first chapter, the author by making a comparison of the translation theories among Pound, Dryden, and Qian Zhongshu, unscrambles Rexroth's views--"translation of poetry is a consistent course of action", "the standard of success of poetry translation is assimilation", "poetry translation can inspire the poets".
(1) But, still, whether I read a classic Chinese work like A Dream of Red Mansions (in translation) or Qian Zhongshu's Fortress Besieged (by a modern Chinese writer partly educated at Oxford and Paris), to a degree I know where I am, and what comes into critical operation is a hermeneutical machinery that at the very least provides a space across the text for conversation and comparison in a way that other forms of study within the fields of the Humanities--religion, for example-very largely fail to do.
But it is a well-known fact that his works gained great popularity and affected deeply a whole generation of young readers, including Lu Xun [TEXT NOT REPRODUCIBLE IN ASCII], Zhou Zuoren [TEXT NOT REPRODUCIBLE IN ASCII], Guo Moruo M W and Qian Zhongshu [TEXT NOT REPRODUCIBLE IN ASCII], who were to become the most important writers of modern Chinese literature in a couple of decades.
Zhongshu Qian adopts comparative approaches in Tan Yi Lu (Discourse on the Literary Art) in an attempt to find out the common effects behind the different Chinese and Western conceptions (see, e.g., Longxi Zhang, "Qian Zhongshu as Comparatist").
But his comments on litchis, at least, were certainly familiar to later literati, as Qian Zhongshu [??] has shown.
This book is expanded from the four Alexander Lectures that Zhang delivered at University College at the University of Toronto in 2005 and dedicated to Qian Zhongshu (1910-1998), an erudite contemporary Chinese scholar with an acknowledged command of cultural traditions of classical and modern Chinese and such western languages as Latin, English, German, French, Italian and Spanish.
In "Tong Guan," Qian Zhongshu discusses how a little apricot flower sticking out the yard's wall suggests the "noisy" color of the coming spring and how severely this wonderful choice of word "noisy" is ridiculed by the straight thinking critic Li Yu as "illogical" (Qian 1984, 21).
Qian Zhongshu, Limited Views: Essays on Ideas and Letters.
"Consequently we find a situation that has been with us for a long time," as Qian Zhongshu points out in a brilliant essay on this subject, "that poets hope to pay nothing or at least a reduced price for writing good poetry.