Abstract
Modern Chinese literature, which I date from the deliberate new beginnings made at the time of the May Fourth movement, is distinguished by its conscious effort at Europeanisation, which is in itself a catchall term embracing a whole assembly of themes and techniques, images and linguistic features taken and adopted from the vast literature beyond the seas and vaguely and often incorrectly designated as European. To be European was in fact simply to be non-traditional Chinese.

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