@article{oai:nagoya.repo.nii.ac.jp:00026589,
 author = {陸, 洋},
 journal = {名古屋大学人文学フォーラム},
 month = {Mar},
 note = {It is an interesting phenomenon that Eileen Chang’s novels, such as Farewell My Concubine and Love in a Fallen City, have allusions to Peking Opera. According to her own essay, Chang was inspired by the play Farewell My Concubine. As a trial of novelistic experiment in her early years, Chang rewrote the story by putting Yuji in the central status and taking her perspective to view and narrate the events. Since then she had shown strong concern for the relationship between women and nationalism. As part of this concern she wrote Love in a Fallen City , which parodies the stereotype of a beautiful woman who brings ruin to the country. This article tries to suggest that in Eileen Chang’s novels, Peking Opera allusions not only take an active part in the development of the theme, but also enrich the expression of her writing. This also tries to show how Chang has evolved from Farewell My Concubine to Love in a Fallen City in the diversification of the reference to Peking Opera in the different periods of her literary creation. By observing the functions of the allusions to Peking Opera in Eileen Chang’s fictional world, this article aims to discover what kinds of elements of Peking Opera are adopted in Chang’s texts and how they produce textual effects. Finally this article argues the question why it is necessary for the elements of Peking Opera to participate in Eileen Chang’s novels dealing with the theme of woman and war.},
 pages = {283--297},
 title = {張愛玲の小説「覇王別姫」と「傾城之恋」 : 京劇の引用をめぐって},
 volume = {1},
 year = {2018}
}