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Short Chinese literary works, including those falling in the short story and tale genre. Subcategories This category has the following 7 subcategories, out of 7 total.
Strange Stories from a Chinese Studio (2 C, 1 P) Pages in category "Chinese short story collections" The following 28 pages are in this category, out of 28 total.
[1]: 230 They are some of the earliest Chinese literature written in the form of short and medium-length stories and have provided valuable inspiration plot-wise and in other ways for fiction and drama in later eras. Many were preserved in the 10th-century anthology, Taiping Guangji (Extensive Records of the Taiping Era). [2]
Inside chapter one of Huanxi Yuanjia. Huanxi Yuanjia (traditional Chinese: 歡喜冤家; simplified Chinese: 欢喜冤家), [a] also translated into English as Enemies Enamoured, [1] [b] Enemies in Love, [3] and Lovers and Foes, [4] is a late Ming dynasty Chinese short story collection by a writer under the pseudonym Xihu yuyin zhuren (西湖漁隱主人).
Jingshi Tongyan is considered to be a huaben (话本), that is, short novel or novella. The huaben genre has been around since the Song dynasty (960-1279). The huaben genre includes collections of short stories, like Jingshi Tongyan, historical stories, and even stories from Confucian classics.
Sanguozhi Pinghua, published between 1321 and 1323. A huaben (Chinese: 话本; pinyin: huàben) is a Chinese short- or medium-length story or extended novella written mostly in vernacular language, sometimes including simple classical language.
Shenzheners (Chinese: 深圳人; pinyin: Shēnzhènrén) is a Chinese-language collection of short stories by Xue Yiwei. Darryl Sterk translated it into English, and this translation was published by Linda Leith Publishing in 2016. Cai Gao did the illustrations. The English translation is the first ever such translation of Xue's work. [1]
Chinese short fiction characterized by: publication generally falling after the establishment of the Republic of China (1912). use of vernacular Chinese, in place of the classical language used in Chinese classic novels, as advocated by proponents of the New Culture Movement, notably Hu Shi.
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