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By Philip F. Williams

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This does not mean that earlier literary historical treatments are devoid of some consciousness of the past. However, in works such as Taiheiki, Heike monogatari, and Bakin’s Nansō satomi hakkenden, references to the past are often couched in a dry, didactic tone, similar to the style of a chronology. 5 Once the first part of the preface establishes a clear delineation between the immediate present and distant past, the narrative is set in motion and commences to ease the reader across space and time to the setting of the story.

S YAMADA BIMYO “MUSASHINO” 35 It was sometime past four in the afternoon. Ceremoniously, the sun was beginning to emit rays of madder red as it approached the ridgeline of the Hakone Mountains, and little by little its light filled the recesses of the distant plain with a pale orange glow; and the far-away mountains were gradually turning purple as if they had imbibed some sort of poison. The evening mist ceaselessly created mirages at the terminus of the plain. It is autumn. Here and there the trees, which grow to their liking, have already been stripped of their green coats; were they trembling in the wind because they were cold?

Honolulu: University of Hawai’i Press, pp. 391-457. Zhang Xianliang (1986), “Xiao’erbulake” [Shorblak – Bitter Springs], Zhang Xianliang zixuanji [The author’s selected works of Zhang Xianliang]. Yinchuan: Ningxia renmin chubanshe, pp. 64-110. 4 Sex for Sex’s Sake? The “Genital Writings” of the Chinese Bad-Girl Writers Shelley W. Chan The three decades since the end of the Cultural Revolution (1966-1976) have witnessed a dramatic change in Chinese women’s literature from the People’s Republic of China (PRC).

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