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Raiding the Garden and Rejecting the Family
Raiding the Garden and Rejecting the Family A Narratology of Scene in The Dream of the Red Chamber Zhonghong Chen Department of Culture Studies and Oriental Languages UNIVERSITETET I OSLO Autumn 2014 II Raiding the Garden and Rejecting the Family: A Narratology of Scene in the Dream of Red Chamber A Master Thesis III © Zhonghong Chen 2014 Raiding the Garden and Rejecting the Family: A Narratology of Scene in the Dream of Red Chamber Zhonghong Chen http://www.duo.uio.no/ Printed by Reprosentralen, Universitetet i Oslo IV Summary By conducting a close reading and a structural analysis, this thesis explores a narratology of “scene” in the novel Dream of the Red Chamber(Honglou meng《红楼梦》). The terminology of “scene” in the Western literary criticism usually refers to “a structual unit in drama” and “a mode of presentation in narrative”. Some literature criticists also claim that “scene” refers to “a structural unit in narrative”, though without further explanation. One of the main contributions of this theis is to define the term of “scene”, apply it stringently to the novel, Honglou meng, and thus make a narratology of “scene” in this novel. This thesis finds that “scene” as a structural unit in drama is characterized by a unity of continuity of characters, time, space and actions that are unified based on the same topic. “Topic” plays a decisive role in distinguishing “scenes”. On the basis of the definition of the term of “scene”, this theis also reveals how “scenes” transfer from each other by analyzing “scene transitions”. This thesis also finds that the characteristic of the narration in Honglou meng is “character-centered” ranther than “plot-centered”, by conducting research on the relationship between “scene”, “chapter” and “chapter title”. -
Chapter Summaries 44–51, No Summaries Written by Wallace 52 (Winter)
page 1 Story of the Stone Highlights & Chapter Comments, chpts 1-43 created for SAA Fall 2009, John R Wallace Overview The 80 chapters of The Story of the Stone that we will read has about 30 major characters and several hundred minor characters. This level of detail can be difficult for the first-time (or even second-, third-time) reader to sort out. One reason for this, beyond the obvious information deluge, is the similar emphasis placed on both minor and major characters and events. Another reason is that characters are referred to by more than one name, and the names themselves are similar. (Some of the sameness in names is wordplay, to bond certain characters together.) These notes are meant to help identify characters and events close to the main narrative lines. In my opinion the three strongest storylines in this novel are: The changes that the tempestuous but empathetic Jia Bao-yu undergoes over the course of his life, beginning at about age 12. The romantic triangle of Jia Bao-yu and two women: the tearful, brilliant Lin Dai-yu and the charming, proper Xue Bao-chai. Wang Xi-feng’s charismatic personality, capable management skills, corruption and fate. All of these events occur in the context of a powerful house of declining fortunes, Confucian values that are definitely frayed around the edges, and a Buddhist (-Daoist) perspective that problematizes what should be taken as the Real. There is definitely reading pleasure in keeping these three stories in mind. However, just enjoying the small sub-stories, the many detailed descriptions, the wordplay, and so on, is without a doubt a major pleasure in reading this story. -
DOCTOR of PHILOSOPHY Rewriting to Reproduce Beauty a Comparative Case Study of Hong Lou Meng Xu, Binglu
DOCTOR OF PHILOSOPHY Rewriting to reproduce beauty A comparative case study of Hong Lou Meng Xu, Binglu Award date: 2020 Awarding institution: Queen's University Belfast Link to publication Terms of use All those accessing thesis content in Queen’s University Belfast Research Portal are subject to the following terms and conditions of use • Copyright is subject to the Copyright, Designs and Patent Act 1988, or as modified by any successor legislation • Copyright and moral rights for thesis content are retained by the author and/or other copyright owners • A copy of a thesis may be downloaded for personal non-commercial research/study without the need for permission or charge • Distribution or reproduction of thesis content in any format is not permitted without the permission of the copyright holder • When citing this work, full bibliographic details should be supplied, including the author, title, awarding institution and date of thesis Take down policy A thesis can be removed from the Research Portal if there has been a breach of copyright, or a similarly robust reason. If you believe this document breaches copyright, or there is sufficient cause to take down, please contact us, citing details. Email: [email protected] Supplementary materials Where possible, we endeavour to provide supplementary materials to theses. This may include video, audio and other types of files. We endeavour to capture all content and upload as part of the Pure record for each thesis. Note, it may not be possible in all instances to convert analogue formats to usable digital formats for some supplementary materials. We exercise best efforts on our behalf and, in such instances, encourage the individual to consult the physical thesis for further information. -
John Zijiang Ding
MYSTICAL SYMBOLISM AND DIALETHEIST COGNITIVISM: THE TRANSFORMATION OF TRUTH- FALSEHOOD (ZHEN-JIA) John Zijiang Ding Abstract: One of the central philosophical issues is the problem of Truth-Falsehood (Zhen-Jia) in A Dream of Red Mansions. We may find three positions in this book: The first is “Truth” (Zhen) which also means “Being,” “Reality,” “Existence,” “Physical and Materialistic Substance,” and “Actual Social affairs”; the second is “Falsehood” (Jia) which means “Non-Being,” “Emptiness,” “Nothingness,” “Nihility,” “Illusory Fiction,” and “Spiritual and Mental Activities;” and the third is “Truth-Falsehood” (Zhen-Jia). The third can be considered “Transformation of Truth and Falsehood,” which has the following four attributes in this book: 1) Unification of truth and falsehood; 2) Interrelation of truth and falsehood; 3) Interaction of truth and falsehood; 4) Inter-substitution of truth and falsehood. The transformation of Truth-Falsehood (Zhen-Jia) in this book can be considered a sort of spiritual transformation which is recognized within the context of an individual self-consciousness, or an individual's meaning system, especially in relation to the concepts of the sacred or ultimate concern. In this article, the author will discuss this theme by explaining and examining the relationship and transformation of “Truth” and “falsehood” through the following three perspectives: traditional Chinese glyphomancy, dialetheism and fatalism. A Dream of Red Mansions――HONG LOU MENG 紅樓夢 is one of the four greatest Chinese classic novels. 1 It may be proper to justify that to understand China, one must read this great work because of its tremendous influence on Chinese literary history. Importantly, the study of this novel has become as popular and prolific as the works of Shakespeare or Goethe. -
'Silence' Categories in the Chinese Lyric Poetry Of
The Polish Journal of Aesthetics Vol. 32 (1/2014) Marina Kravtsova* On Poetic Discourses and Ways of Expression of ‘Empty’ and ‘Silence’ Categories in the Chinese Lyric Poetry of Six Dynasties (Liu Сhao, III–VI A.D.) and Tang (VII–X) Epochs Abstract The written Chinese language has a broad scale of lexical meanings for articulating the ‘empty’ and ‘silence’ categories in all their essential aspects. The present study is limited to a discussion of the kong 空 cognitive term, in its single semantic case only, as ‘empty’ (‘emptiness’), coinciding normally with ‘silence’ (ji 寂, jing 靜); and of two poetic scenar- ofios, Wang which Wei can 王維 be roughly defined as ‘dwelling in empty mountains’ and ‘dwelling in [an] withempty the chamber.’ individual The verses first ofof thesethe second is most century typical A.D. of Tang In this lyric paper poetry, I argue especially that in spitethe works of all (ca 701‒ca 761); the second, of poetry on amorous themes beginning social existence, the other representing living alone as loneliness, i.e. having an utterly essential differences between these scenarios ‒ one praising living alone as escaping from- - plyingnegative the sense ‘cutting ‒ both off’ ofare sensory grounded perception at bottom in favouron ancient of self-concentration, views of vision and which audial leads per to ception. Their archetypical background is formed by the idea of spiritual movement, im- nal things. Above all, the ‘empty’ and ‘silence’ categories appear to universally express the abundancethe sharpening of one’s of receptive surroundings faculties and for inner gaining conditions, keener and including keener mentalityperception and of allfeelings, exter which places these categories among the chief artistic techniques of Chinese lyric poetry. -
Appropriating the West in Late Qing and Early Republican China / Theodore Huters
Tseng 2005.1.17 07:55 7215 Huters / BRINGING THE WORLD HOME / sheet 1 of 384 Bringing the World Home Tseng 2005.1.17 07:55 7215 Huters / BRINGING THE WORLD HOME / sheet 2 of 384 3 of 384 BringingÕ the World HomeÕ Appropriating the West in Late Qing 7215 Huters / BRINGING THE WORLD HOME / sheet and Early Republican China Theodore Huters University of Hawai‘i Press Honolulu Tseng 2005.1.17 07:55 © 2005 University of Hawai‘i Press All rights reserved Printed in the United States of Amer i ca Library of Congress Cataloging- in- Publication Data Huters, Theodore. Bringing the world home : appropriating the West in late Qing and early Republican China / Theodore Huters. p. cm. Includes bibliographical references and index. ISBN 0-8248-2838-0 (hardcover : alk. paper) 1. Chinese literature—20th century—History and criticism. 2. Chinese literature—20th century—Western influences. I. Title. PL2302.H88 2005 895.1’09005—dc22 2004023334 University of Hawai‘i Press books are printed on acid- free paper and meet the guidelines for permanence and durability of the Council on Library Resources. An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high-quality books open access for the public good. The open-access ISBN for this book is 978-0-8248-7401-8. More information about the initiative and links to the open-access version can be found at www.knowledgeunlatched.org. The open-access version of this book is licensed under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY- NC-ND 4.0), which means that the work may be freely downloaded and shared for non-commercial purposes, provided credit is given to the author. -
The Fall of a Family: Tracing the Aristotelian Model of Catastrophe In
1 The Fall of a Family Tracing the Aristotelian Model of Catastrophe in Dream of the Red Chamber and Buddenbrooks Cecily Cai In the Poetics, Aristotle claims that tragedy is a mimesis of an elevated action that evokes pity and fear.1 The core of tragedy is the plot and, according to Aristotle, the best kind contains peripeteia or catastrophe that is the reversal of fortune from good to bad. Guided by this Aristotelian model, I attempt to read two great novels that epitomize the catastrophe within a family. Although originating from two different cultures and time periods, both Cao Xueqin’s Hong Lou Meng (Dream of the Red Chamber, hereafter HLM) and Thomas Mann’s Buddenbrooks stand out in their unified theme of Verfall (decline). Each novel bears its own traces of an Aristotelian tragedy and unfolds the catastrophe by way of elaborate foreshadowing implanted throughout the plot. Neither HLM nor Buddenbrooks strictly follows the structure of a tragedy in Aristotle’s time, yet both works are inspired by the spirit of tragedy in Aristotle’s Poetics and bear similar traces of the Aristotelian model in portraying the fall of a family. Following the framework illustrated by Aristotle,2 both HLM and Buddenbrooks are constructed upon a complex plot with a reversal in the course of the transformation that is the fall of the family. 1 “Tragedy, then, is a mimesis [mīmēsis] of an action [praxis] that is serious [spoudaiā], complete [teleiā], and having magnitude [megethos]; with language [logos] embellished individually in each of its forms [eidos plural] and in each of its parts [morion plural]. -
Contradiction and Balance Between Entering Government Services and Seclusion in Xie Tiao's Poetry
2019 International Linguistics, Education and Literature Conference (ILELC 2019) Contradiction and Balance between Entering Government Services and Seclusion in Xie Tiao’s Poetry Yin Shiyuan Statistics, School of Economics, Xiamen University, Xiamen, Fujian, China Keywords: Xie Tiao; the contradiction between government service and seclusion; seclusion Abstract: The contradiction between government service and seclusion ran through Xie Tiao’s whole life. Also, Xie Tiao’s poems reflect that such contradiction in thinking changed from emergence to outbreak and eventually to the dynamic balance of coexistence during his stay in Xuanzhou. Xie Tiao’s seclusion mode differs from the traditional concept of opposition between government service and seclusion and the prevailing thinking of breaking off the boundaries between government service and seclusion during the Southern Dynasties. Xie Tiao’s exploration in this balanced state provides future scholars with a new channel for solving the contradiction. It is of profound significance for future officials to develop seclusion concepts and create landscape poetry. 1. Introduction Seclusion is the thought occurring most frequently in numerous works created by Xie Tiao. For one thing, it was undoubtedly affected by social custom. For another, tremendous personal differences can be found in Xie Tiao. In the study of Xie Tiao’s thoughts, Chen Qingyuan pointed out that Xie Tiao’s poems embody the thoughts of longing for “great strategy” and fearing for disasters and slanders. Ge Xiaoyin put forward that Xie Tiao’s achievements in creating “prefecture study” poems and his impact on future poets. Zha Zhengxian analyzed seclusion-related thoughts in Xie Tiao’s poems and put forward that Xie’s works provide a poetry pattern for future generations to create seclusion and landscape poems. -
Xie Lingyun's Representation of His
Early Medieval China, 21. 21–37, 2015 THERE’S NO PLACE LIKE HOME: XIE LINGYUN’S REPRESENTATION OF HIS ESTATE IN “RHAPSODY ON DWELLING IN THE MOUNTAINS” WENDY SWARTZ Rutgers University, USA In his monumental work, “Rhapsody on Dwelling in the Mountains” (“Shanju fu”), Xie Lingyun describes in detail the construction of his home in a setting that would constitute his style of reclusion and poetry, “mountains and rivers” (shanshui). This articles examines how Xie Lingyun built his home through architecture and dis- course, and how shaping a home may bear upon the characterization of a particular brand of reclusion in early medieval China. Contrary to the prevailing early medieval view that regards reclusion as being in its loftier form when state of mind is priori- tized over physical position, this rhapsody shows that for this scholar in retreat place actually matters. His rhapsody catalogues all varieties of animals and plants, related sceneries and industries, on his mountain estate. This encyclopedic enumeration of things and activities on his estate advances the claim of material self-sufficiency or completeness that he enjoys in his withdrawal, but creates a paradox with the spiri- tual emptiness that he sought through quietist values and Buddhist faith. KEYWORDS: Xie Lingyun, “Shanju fu,” home space, mountains and rivers, reclusion “For our house is our corner of the world. As has often been said, it is our first universe, a real cosmos in every sense of the word.”1 (Gaston Bachelard) Few medieval writers wrote as extensively or profoundly about his home as Xie Lingyun 謝靈運 (385–433).2 His “Rhapsody on Dwelling in the Mountains” 山居賦, a monumental work of nearly ten thousand characters, is devoted to describing his estate in the Zhejiang mountains, to which he retreated after a period in exile as the Governor of Yongjia 永嘉 between 422–423. -
Bringing the World Home
Tseng 2005.1.17 07:55 7215 Huters / BRINGING THE WORLD HOME / sheet 1 of 384 Bringing the World Home Tseng 2005.1.17 07:55 7215 Huters / BRINGING THE WORLD HOME / sheet 2 of 384 3 of 384 BringingÕ the World HomeÕ Appropriating the West in Late Qing 7215 Huters / BRINGING THE WORLD HOME / sheet and Early Republican China Theodore Huters University of Hawai‘i Press Honolulu Tseng 2005.1.17 07:55 4 of 384 © 2005 University of Hawai‘i Press All rights reserved Printed in the United States of America 7215 Huters / BRINGING THE WORLD HOME / sheet 050607080910 654321 library of congress cataloging-in-publication data Huters, Theodore. Bringing the world home : appropriating the West in late Qing and early Republican China / Theodore Huters. p. cm. Includes bibliographical references and index. isbn 0-8248-2838-0 (hardcover : alk. paper) 1. Chinese literature—20th century—History and criticism. 2. Chinese literature—20th century—Western influences. I. Title. pl2302.h88 2005 895.1'09005—dc22 2004023334 University of Hawai‘i Press books are printed on acid-free paper and meet the guidelines for permanence and durability of the Council on Library Resources. Designed by University of Hawai‘i Press production staff Printed by Maple-Vail Book Manufacturing Group Tseng 2005.1.17 07:55 5 of 384 Contents 7215 Huters / BRINGING THE WORLD HOME / sheet Preface vii Introduction 1 Part I. Late Qing Ideas Chapter 1. China as Origin 23 Chapter 2. Appropriations: Another Look at Yan Fu and Western Ideas 43 Chapter 3. New Ways of Writing 74 Chapter 4. -
Types of Explicitation Within the Texts in Chinese-English Translation—A Case Study on the Translation of Chapter Titles of Hong Lou Meng*
ISSN 1798-4769 Journal of Language Teaching and Research, Vol. 2, No. 1, pp. 112-119, January 2011 © 2011 ACADEMY PUBLISHER Manufactured in Finland. doi:10.4304/jltr.2.1.112-119 Types of Explicitation within the Texts in Chinese-English Translation—A Case Study on the Translation of Chapter Titles of Hong Lou Meng* Hong Guo Foreign Languages College, Tianjin Normal University, Tianjin, China Email: [email protected] Abstract—Explicitation or explicitness means to make something implied explicit and clear. It is regarded as one of the translation universals and has been studied by many researchers all over the world. Because of the great difference between English and Chinese and their cultures, some different and special types of explicitation should be adopted in Chinese-English translation in order to meet the needs of the readers, the language and the function of the text. On the basis of detailed analysis of the translation of the chapter titles of Hong Lou Meng and the comparison of three translations, three types of explicitation commonly used within the text in Chinese-English translation come to the foreground. The three types of explicitation within the text are those of subjects, of cohesion and coherence and of grammatical meanings. This research may help translators in their Chinese-English translation practice. Index Terms—explicitation, types, Chinese-English translation, chapter titles I. BACKGROUND AND PURPOSE Explicitation or explicitness means to make something implied explicit and clear, or to explain something. It ―can be characterized in general terms as the phenomenon which frequently leads to TT stating ST information in a more explicit form than the original‖ (Shuttleworth & Cowie, 1997, p.55). -
Studies on the Differences Between Chinese and Western Nature Poems
ISSN 1923-1555[Print] Studies in Literature and Language ISSN 1923-1563[Online] Vol. 10, No. 3, 2015, pp. 83-88 www.cscanada.net DOI:10.3968/6741 www.cscanada.org Studies on the Differences Between Chinese and Western Nature Poems LIU Ling[a],* [a]School of Foreign Languages, Zhongnan University of Economics and existed in the human history, only three have developed Law, Wuhan, China. understanding and appreciation of nature, which include * Corresponding author. the Chinese civilization, Western civilization and Indian Received 6 September 2014; accepted 11 February 2015 civilization (Luo & Bai, 1996, p.63). Among the three Published online 25 March 2015 civilizations, India shows limited understanding and appreciation, while Chinese and Western civilization show great appreciation of nature and even make artistic Abstract creation of nature. Nature poems are the result of artistic Poetry is an important part in culture, which therefore is creation. The comparison study on Chinese and Western the indispensable object for cultural research. Either in nature poems is of great significance to the comparison the East or West, poetry has displayed great charm. Since study of Chinese and Western literature. Despite the poetry is a broad concept, including various categories, fact that both Chinese and Western nature poems regard this paper gives special focus to nature poems, with the nature as the aesthetic object, they are different. Chinese purpose of exploring the differences between Chinese and Western nature poems have their own development and Western culture through the comparative study of path, and have differences in themes, images and poet- Chinese and Western nature poems.