- Author(s): Magdalena Panayotova
- DOI: https://doi.org/10.62635/9nae-fmby
- Language: Bulgarian
- Subject(s): Language and Literature Studies, Studies of Literature
- Issue: 1/6/2021
- Page Range: 229-237
- No. of Pages: 9
- Keywords: François Cheng; cross-cultural literature; Chinese literature; East-West model of culture
- Summary/Abstract: The work of François Cheng – writer, poet, calligrapher, essayist, academician of Chinese origin and laureate of the French Francophone Academy is undoubtedly part of the cross-cultural literature at the end of the 20th- and the beginning of the 21st century, – a time when writers and poets from various – in this case Eastern – background, such as Yoko Tawada, Anna Moi, Amy Tan, Salman Rushdie and Haruki Murakami, have adopted the cross-cultural perspective of the migrant, the person who finds himself/herself in a context in which one begins to make sense of the living world by reading the foreign signs, comparing cultures and traditions, and translating the foreign culture in a particular way. The term “cross-cultural” literature will be used here in the sense that the writer and researcher G. Chkhartishvili associates with the new cultural phenomenon he calls “androgynous”, “East-Western literature” (Chkhartishvili, 1996). I argue that what is common to these artists is the rejection of the binary East – West model of culture, or, in Sánchez’ words, “the challenging of the bipolar models” (Sánchez 2014, p. 55), the rejection of barriers and boundaries, because the cultures placed on both sides of such barriers are perceived either in terms of their own essential characteristics, or in ways that go beyond the proposed divisions.
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CONFUCIUS INSTITUTEAT UNIVERSITY OF VELIKO TARNOVO
