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Sophie Volpp considers fictional objects of the late Ming and Qing that defy being read as illustrative of historical things. Instead, she argues, fictional objects are often signs of fictionality themselves, calling attention to the nature of the relationship between literature and materiality.
List of contents
Introduction: The Substance of Fiction
1. The Python Robe of The Plum in the Golden Vase
2. Ling Mengchu’s Shell
3. Du Shiniang’s Jewel Box
4. Li Yu’s Telescope
5. The Plate-Glass Mirror in The Story of the Stone
6. Historicizing Recession via The Story of the Stone and the Juanqinzhai
Conclusion: Literary Objects
Notes
Bibliography
Index
About the author
Sophie Volpp is professor of East Asian languages and cultures and professor of comparative literature at the University of California, Berkeley. She is the author of Worldly Stage: Theatricality in Seventeenth-Century China (2011).
Summary
Do the portrayals of objects in literary texts represent historical evidence about the material culture of the past? Or are things in books more than things in the world? Sophie Volpp considers fictional objects of the late Ming and Qing that defy being read as illustrative of historical things. Instead, she argues, fictional objects are often signs of fictionality themselves, calling attention to the nature of the relationship between literature and materiality.
Volpp examines a series of objects—a robe, a box and a shell, a telescope, a plate-glass mirror, and a painting—drawn from the canonical works frequently mined for information about late imperial material culture, including the novels The Plum in the Golden Vase and The Story of the Stone as well as the short fiction of Feng Menglong, Ling Mengchu, and Li Yu. She argues that although fictional objects invite readers to think of them as illustrative, in fact, inconsistent and discontinuous representation disconnects the literary object from potential historical analogues. The historical resonances of literary objects illuminate the rhetorical strategies of individual works of fiction and, more broadly, conceptions of fictionality in the Ming and Qing. Rather than offering a transparent lens on the past, fictional objects train the reader to be aware of the fallibility of perception. A deeply insightful analysis of late Ming and Qing texts and reading practices, The Substance of Fiction has important implications for Chinese literary studies, history, and art history, as well as the material turn in the humanities.
Additional text
Through a persistent excavation of the rich and often paradoxical meaning of fictional objects, Sophie Volpp reveals a previously neglected aspect of the vernacular fiction of late imperial China, and in so doing expands the general conception of fictionality in literary creation. A marvelous book!
