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dc.contributor.authorWang, Xuan-
dc.date.accessioned2019-10-01T12:05:19Z-
dc.date.available2019-10-01T12:05:19Z-
dc.date.issued2019-
dc.identifier.citationWANG, Xuan. Reading romance: reading the oppositional in narrative. Revista Entrelaces, Fortaleza (CE), v. 1, n. 15, p. 121-131, jan./mar. 2019.pt_BR
dc.identifier.issn1980 4571-
dc.identifier.urihttp://www.repositorio.ufc.br/handle/riufc/46312-
dc.language.isopt_BRpt_BR
dc.publisherRevista Entrelacespt_BR
dc.rightsAcesso Abertopt_BR
dc.subjectRomancept_BR
dc.subjectLiteraturapt_BR
dc.titleReading romance: reading the oppositional in narrativept_BR
dc.typeArtigo de Periódicopt_BR
dc.description.abstract-ptbrSince its first extant preface signed in 1592 to the present day of the Journey to the West studies in the United States, this fantastic quest-romance has been interpreted as the Daoist manual for cultivating the internal alchemy, the Confucian allegory of controlling the mind, and above all, a masterwork in literature that is teeming with cynicism, irony, and social critique— a thorough dismissal of the theological/moral/philosophical allegoresis. These two opposing modes in reading this 1592 Chinese fiction, I argue, recall the two ways of reading the Western romance such as the Divine Comedy, the Faerie Queene, and the Pilgrim’s Progress. While Singleton and Frye, for example, endorse the theology/ideology-oriented interpretation, critics as Bloom, Berger, Parker, Goldberg, Teskey, and Fish, have highlighted the exceptional and idiosyncratic: it is the anti-progress aspect of the text that stands out and constitutes the genre of romancept_BR
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