China Past and Present
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China As Dystopia: Cultural Imaginings Through Translation Published In: Translation Studies (Taylor and Francis) Doi: 10.1080/1
China as dystopia: Cultural imaginings through translation Published in: Translation Studies (Taylor and Francis) doi: 10.1080/14781700.2015.1009937 Tong King Lee* School of Chinese, The University of Hong Kong *Email: [email protected] This article explores how China is represented in English translations of contemporary Chinese literature. It seeks to uncover the discourses at work in framing this literature for reception by an Anglophone readership, and to suggest how these discourses dovetail with meta-narratives on China circulating in the West. In addition to asking “what gets translated”, the article is interested in how Chinese authors and their works are positioned, marketed, and commodified in the West through the discursive material that surrounds a translated book. Drawing on English translations of works by Yan Lianke, Ma Jian, Chan Koonchung, Yu Hua, Su Tong, and Mo Yan, the article argues that literary translation is part of a wider programme of Anglophone textual practices that renders China an overdetermined sign pointing to a repressive, dystopic Other. The knowledge structures governing these textual practices circumscribe the ways in which China is imagined and articulated, thereby producing a discursive China. Keywords: translated Chinese literature; censorship; paratext; cultural politics; Yan Lianke Translated Literature, Global Circulations 1 In 2007, Yan Lianke (b.1958), a novelist who had garnered much critical attention in his native China but was relatively unknown in the Anglophone world, made his English debut with the novel Serve the People!, a translation by Julia Lovell of his Wei renmin fuwu (2005). The front cover of the book, published by London’s Constable,1 pictures two Chinese cadets in a kissing posture, against a white background with radiating red stripes. -
The Disenchantment of History and the Tragic Consciousness of Chinese Postmodernity
CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 21 (2019) Issue 4 Article 2 The Disenchantment of History and the Tragic Consciousness of Chinese Postmodernity Alberto Castelli Hainan University, China Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the American Studies Commons, Chinese Studies Commons, Comparative Literature Commons, and the Modern Literature Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Castelli, Alberto. "The Disenchantment of History and the Tragic Consciousness of Chinese Postmodernity." CLCWeb: Comparative Literature and Culture 21.4 (2019): <https://doi.org/10.7771/1481-4374.3085> This text has been double-blind peer reviewed by 2+1 experts in the field. -
Masculinity in Yu Hua's Fiction from Modernism to Postmodernism
Masculinity in Yu Hua’s Fiction from Modernism to Postmodernism By: Qing Ye East Asian Studies Department McGill University Montreal, QC. Canada Submission Date: 07/2009 A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirement of the degree of Master of Arts Unpublished work © 2009 Qing Ye I Abstract The Tiananmen Incident in 1989 triggered the process during which Chinese society evolved from so-called ―high modernism‖ to vague ―postmodernism‖. The purpose of this thesis is to examine and evaluate the gender representation in Chinese male intellectuals‘ writing when they face the aforementioned social evolution. The exemplary writer from the band of Chinese male intellectuals I have chosen is Yu Hua, one of the most important and successful novelists in China today. Coincidently, his writing career, spanning from the mid-1980s until present, parallels the Chinese intellectuals‘ pursuit of modernism and their acceptance of postmodernism. In my thesis, I re-visit four of his works in different eras, including One Kind of Reality (1988), Classical Love (1988), To Live (1992), and Brothers (2005), to explore the social, psychological, and aesthetical elements that formulate/reformulate male identity, male power and male/female relation in his fictional world. Inspired by those fictional male characters who are violent, anxious or even effeminized in his novels, one can perceive male intellectuals‘ complex feelings towards current Chinese society and culture. It is believed that this study will contribute to the literary and cultural investigation of the third-world intellectuals. II Résumé Les événements de la Place Tiananmen en 1989 a déclenché le processus durant lequel la société chinoise a évolué d‘un soi-disant "haut modernisme" vers un vague "post-modernisme". -
INTRODUCTION There Have Been Three Major Episodes of The
INTRODUCTION There have been three major episodes of the controversy on Confucian religiosity throughout Chinese intellectual history. The first episode started in the late 16th century with the Jesuit attempt to convert the Chinese population, and ended with the bitter twist of the Rites Controversy in the mid-18th century. Instead of seeing the sect of Literati as some form of paganism, the early Jesuits, Matteo Ricci in particular, tried to explore the compatibilities between Confucianism and Christianity from a pragmatic perspective. For them, Confucianism was nothing short of a preparation for the coming of Christianity to the Chinese land. It is through this historical encounter that Confucianism as a body of philosophy, beliefs, and rituals was systematically construed in Western societies. While the social and political conditions of the time did not allow the Jesuits to make much of headway, their effort to conciliate Confucianism with Christianity had set a long-lasting tone for modern imaginations about Confucianism and about religion in both Eastern and Western academic fields. The second surge of the controversy on Confucian religiosity took place during the late 19th and early 20th centuries when China was tremendously traumatized by social and political turmoil. Many Chinese intellectuals—traditionalists and iconoclasts alike— endeavored to capitalize on Confucianism for their political causes. While Kang Youwei and his followers tried to dress Confucianism up as a state religion to counter the influence of Christianity, the May Fourth intellectuals vehemently opposed any attempt of this kind. For the former, Confucianism is the gravity for the inspiration of Chinese national spirit just as Christianity is for Western societies; for the latter, Confucianism 1 belongs to the past and has to be swept into the realm of academics. -
Teaching Chinese Film in an Advanced Language Class
30 Guest-Edited Section—Teaching About Asia Teaching Chinese Film in an Advanced Language Class Luying Chen St. Olaf College Instructors often face a dilemma when using film in language classes. While film is appealing for the rich cultural and linguistic information it offers, finding the balance between teaching content and building language skills can present significant challenges for an instructor. Common approaches to using film in courses taught in English, such as screening one film a week, reading critical essays about the films, and class discussions and lectures, seldom offer the same benefits in a foreign language course due to the fact that students with only three years of foreign language study frequently lack the language skills necessary to discuss films in a foreign language. Yanfang Tang and Qianghai Chen, authors of the textbook Advanced Chinese: Intention, Strategy, & Communication (2005), have argued that “[n]either interpreting textual meanings nor decoding linguistic patterns leads naturally to the productive skills needed” for communicating in the target language at the advanced level.1 They further suggest that “practice, in a conscious but meaningful way is the key to successful transformation of input knowledge into productive output skills.”2 When we use films in language classes, the focus is for students to understand the textual meanings and linguistic patterns within the film, but training productive output skills in students, while fostering cultural proficiency and developing critical thinking skills, can prove to be somewhat difficult to accomplish within normal classroom time constraints. Recently published textbooks, including Readings in Contemporary Chinese Cinema (Chou, 2008, hereafter Readings)3 and Discussing Everything Chinese (Li-li Teng Foti, et al., 2007, hereafter Discussing)4, have recognized this challenge and ASIANetwork Exchange Teaching Chinese Film in an Advanced Language Class 31 experimented with different approaches to using Chinese film in advanced language classes. -
Chinese-Mandarin
CHINESE-MANDARIN River boats on the River Li, against the Xingping oldtown footbridge, with the Karst Mountains in the distance, Guangxi Province Flickr/Bernd Thaller DLIFLC DEFENSE LANGUAGE INSTITUTE FOREIGN LANGUAGE CENTER 2018 About Rapport Predeployment language familiarization is target language training in a cultural context, with the goal of improving mission effectiveness. It introduces service members to the basic phrases and vocabulary needed for everyday military tasks such as meet & greet (establishing rapport), commands, and questioning. Content is tailored to support deploying units of military police, civil affairs, and engineers. In 6–8 hours of self-paced training, Rapport familiarizes learners with conversational phrases and cultural traditions, as well as the geography and ethnic groups of the region. Learners hear the target language as it is spoken by a native speaker through 75–85 commonly encountered exchanges. Learners test their knowledge using assessment questions; Army personnel record their progress using ALMS and ATTRS. • Rapport is available online at the DLIFLC Rapport website http://rapport.dliflc.edu • Rapport is also available at AKO, DKO, NKO, and Joint Language University • Standalone hard copies of Rapport training, in CD format, are available for order through the DLIFLC Language Materials Distribution System (LMDS) http://www.dliflc.edu/resources/lmds/ DLIFLC 2 DEFENSE LANGUAGE INSTITUTE FOREIGN LANGUAGE CENTER CULTURAL ORIENTATION | Chinese-Mandarin About Rapport ............................................................................................................. -
Urbanism As Motif in Chinese Fiction in the 1980S
2015 HAWAII UNIVERSITY INTERNATIONAL CONFERENCES ARTS, HUMANITIES, SOCIAL SCIENCES & EDUCATION JANUARY 03 - 06, 2015 ALA MOANA HOTEL, HONOLULU, HAWAII URBANISM AS MOTIF IN CHINESE FICTION IN THE 1980S SONG, XIAOPING NORWICH UNIVERSITY DEPARTMENT OF MODERN LANGUAGES Urbanism as Motif in Chinese Fiction in the 1980s Dr. Xiaoping Song Norwich University Synopsis: “Urbanism as Motif in Fiction in China’s 1980s” is a narrative analysis of Yu Hua’s The April 3rd Incident, in which the adolescent protagonist is caught up in the web of persecution complex, suspecting that everyone out there is plotting against him. Through the intricate psychological manipulation, the novella presents to the reader the fear of growing up in metaphoric terms. As a “modernized, urbanized intellectual” (Widmer, xi), and a pioneer literary figure in the May Fourth era, Lu Xun, in his “native soil” short fiction, portrayed a series first person narrators constantly referring themselves as men who “[find themselves] already exile from [their homeland], driven by life to a strange place” (109). Although he wrote many short stories about his own home town, Lu Xun seldom took as his thematic focus what life was like in those strange places for people who had been uprooted from their native soil. It was in the works of his contemporaries that the theme of urban life was explored to its full extent and made it a dominant literary mode in the 1920s through the 1930s, i.e., the May 4th period. In Ellen Widmer’s opinion, the literary achievements of these modern and urban intellectuals branded the literature from the early May 4th period as focusing “on what was most modern – the city” and as looking at “characters who pitted the ‘self’ against family and society” (xi). -
Modern China Hist3433 Syllabus – Spring 2016 COURSE
Modern China Hist3433 Syllabus – Spring 2016 COURSE INSTRUCTOR Instructor: Ihor Pidhainy Office: TLC 3245 Phone: 678-839-6508 Email: [email protected] Class: Social Science Building 206 MW 3:30-4:50 Best Way to reach me: email me at the above email, and I’ll get back to you within 24 hours. (First semester for me too, so I might be slow with courseden replies… it will improve by the end of semester…) OFFICE HOURS MW 2:00-3:00 OR: by appointment Nota Bene: Office hours are usually a lonely time, especially when there isn’t an essay/test immediately due. If you come by and want to talk about the course or some aspect of what we’re doing or just cause you need to talk with somebody about history or Asia etc., you are most welcome. Required Texts: Chen, Janet et al. The Search for Modern China: A Documentary Collection 978-0-393-92085-7 3rd edition wwnorton Feng, Jicai, Ten Years of Madness: Oral Histories of China's Cultural Revolution 978-0835125840 China Books and Periodicals Hawkes, David Story of the Stone: or The Dream of the Red Chamber v. 1 978-0140442939 Penguin Mitter, Rana Modern China: A very short introduction 978-0199228027 Oxford UP Tanner, Harold, China: A History V 2. From the Great Qing Empire through The People's Republic of China, (1644 - 2009) 978-1-60384-204-4 Hackett Yu, Hua, China in Ten Words 978-0307739797 vintage http://ocw.mit.edu/ans7870/21f/21f.027/opium_wars_01/ow1_essay.pdf Course Description This course is an exploration of modern Chinese history, focusing on the period from 1840 to the present. -
From Yu Hua's to Zhang Yimou's to Live
Jia Guo Adaptation as Creation: From Yu Hua’s to Zhang Yimou’s To Live I once heard an American folk song entitled “Old Black Joe.” The song was about an elderly black slave who experienced a life’s worth of hardships, including the passing of his entire family – yet he still looked upon the world with eyes of kindness, offering not the slightest complaint. After being so deeply moved by this song I decided to write my next novel – that novel was To Live. (Yu 2003, 249) Abstract: There is one point on which viewers and critics usually agree: that film adaptations of works of literature cannot reflect the full connotations of the orig- inal written work. To Live, written by Yu Hua, one of the most important con- temporary Chinese writers, was first published in the Chinese literary magazine Shouhuo in 1992 with a length of 7,000 Chinese characters, and then was extended to 12,000 Chinese characters for cinematographic adaptation. Zhang Yimou, one of the leading Chinese directors of his time, adapted the novel as a film in 1994. Zhang is fully aware of the significance of the practice of film adaptations of liter- ary works. Of his eighteen films, thirteen are adaptations of literary works, which has earned him the title of “the director inseparable from literature.” Both the novel and the film versions of To Live have gained great renown. By analysing the variations and distinctions between novel and film, this article will offer some interpretations of Zhang Yimou’s creative process in adapting literature. -
Course Description This Course Is an Exploration of Modern Chinese History, Focusing on the Period from 1840 to the Present
1 Hist 4433 – Modern China Instructor: Ihor Pidhainy Office: Technology Learning Center (TLC) #3245 Location: Melson Hall 207 Office Hours: MW 9:30-10:30; 1:00-2:00 Time: MW 11:00-12:15 email: [email protected] Course Description This course is an exploration of modern Chinese history, focusing on the period from 1840 to the present. Following the political chronology of ruling houses and parties, we will explore the intellectual, political and economic responses that the Chinese experienced during this time. You will have an opportunity to explore these in depth through both readings of original documents (in translation) and secondary sources on the period. The method of teaching in this course will be a combination of lecture and discussion. It is expected that you will have read and thought about the assigned readings. In the classroom, you will have an opportunity to share these thoughts. Required Readings Janet Chen et al., The Search for Modern China: A Documentary Collection. Third Edition. Raina Mitter, Modern China: A Very Short Introduction, 2nd ed. Klaus Mühlhahn, Making China Modern: From the Great Qing to Xi Jinping Yu Hua, China in Ten Words Videos to be watched: China in Revolution I & II The Mao Years I & II Born Under a Red Flag I & II Course Objectives and Learning Outcomes Learning outcomes: By completion of the course, students 1. will demonstrate a knowledge of modern Japanese history 2. be able to discuss primary and secondary source approaches to the understanding of Modern Chinese history, at least in specifics of the course and its readings. -
Seeking Christian Theology in Modern Chinese Fiction: an Exercise for Sino-Christian Theology
Article Seeking Christian Theology in Modern Chinese Fiction: An Exercise for Sino-Christian Theology David Jasper Department of Theology and Religious Studies, The University of Glasgow, Glasgow, G12 8QQ, UK; [email protected] Received: 13 June 2019; Accepted: 5 July 2019; Published: 9 July 2019 Abstract: The development of Christian theology in contemporary China can learn much from Chinese fiction beginning with Lu Xun and his dedication to writing for the spirit of the Chinese people. Increasingly, Chinese novelists have reflected the growth of spiritual life in the Chinese People’s Republic in spite of the burden placed on the Christian church and religious believers. Keywords: Sino-Christian theology; literature and theology; Lu Xun; comparative literature This essay has its origins in many and various places. Its theological claims may seem to be extravagant. However, as the intelligent project of Christian theology seems to be faltering, perhaps terminally, in Western thought and imagination, the challenge is then being taken up in the more recent churches and universities of Southeastern Asia, and in the People’s Republic of China in particular. The cultural and intellectual difficulties of a truly Sino-Christian theology extend far beyond the political and social limitations placed upon Christian thought and practice in China, for the difficulty of re-envisioning Christian theology, rooted as it is in the Bible and the categories of Greek philosophy, in the Confucian traditions of Chinese culture may be well-nigh insurmountable. This problem is illustrated in the very title of one important book on Sino-Christian theology, Pan-chiu Lai and Jason Lam’s Sino-Christian Theology: A Theological Qua Cultural Movement in Contemporary China (Lai and Lam 2010), which asks the question as to whether we are concerned here with a theological or a cultural matter. -
Big-Character Poster (大字报)
The Mao Era in Objects Big-character Poster (大字报) Denise Y. Ho, Yale University Summary Big-Character-Posters served as forms of propaganda throughout the Mao era, and were especially prominent during the Cultural Revolution. This biography examines the history and legacy of the big-character-poster, especially the ways they were used by individuals to spread ideology and serve as a form of mass mobilisation. From Red Guards in the Cultural Revolution to students during the Umbrella Movement, big-character-posters are often seen as a bottom-up form of protest. However, oral histories and memoirs reveal that the process of writing them was more complicated, sometimes top-down and sometimes collectively authored. Introduction and Origins A big-character-poster may be defined as a type of political writing, expressed on paper —in handwritten characters—and posted in a public place; a wall covered with such posters established a forum for discussion and dissemination. Big-character-posters played a role in the Hundred Flowers Movement in 1956, during which individuals were encouraged to express their opinions on contemporary politics. In 1958, Mao Zedong wrote that ‘a big-character-poster is an extremely useful new weapon. It can be used anywhere as long as the masses are there…It has been widely-used, and should be used indefinitely.’1 Big-character-posters thus became instruments for mass mobilisation, especially during the Cultural Revolution (1966-1976). During that tumultuous period, they were used to expose enemies of the revolution, accuse them of crimes, and call for class struggle against them. Though the Big-Character-Poster is most often associated with the period of the Cultural Revolution, it had precedents in earlier periods.