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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. -
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]. -
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). -
2011: University of California, Santa Barbara
1 American Oriental Society, Western Branch Annual Meeting October 14-15, 2011 The Upham Hotel 1404 De la Vina Street Santa Barbara, CA 93101 ph. 800 727-0876 Hosted by the Department of East Asian Languages and Cultural Studies, University of California, Santa Barbara. Funding support is gratefully acknowledged from the following sources at UC Santa Barbara: Pai Hsien-yung Endowment for Chinese Literature and Culture, College of Letters and Science, Department of East Asian Languages and Cultural Studies, East Asia Center, and Interdisciplinary Humanities Center. 1 American Oriental Society, Western Branch Annual Meeting, October 14-15, 2011 The Upham Hotel, 1404 De la Vina Street Santa Barbara, CA 93101 Program All sessions are held in the Garden Room, except Saturday’s sessions 7 and 9, which are held in the Board Room (behind the Garden Room). Friday morning 8:15 - 8:45 Continental breakfast and registration 8:45 - 9:00 Welcoming remarks Ronald Egan (University of California, Santa Barbara) David Marshall, Executive Dean, College of Letters and Science UC Santa Barbara 9:00 - 10:30, Session 1 Poetry (1) Chair, Daniel Hsieh (Purdue University) Brigitta Lee (University of Arizona), “Lyricism Remembered: The Reconstructive Nature of the “Nineteen Old Poems” Ping Wang (Princeton University), “Boundaries of Desire--Reading Zhang Heng’s ‘Four Sorrows Poem’” Nicholas Morrow Williams (Hong Kong Polytechnic University), “How Do You Say ‘Poem’ In Classical Chinese?” 10:30 - 10:45 Refreshments break 10:45 - 11:45, Session 2 Han Yu in life and death Chair, David Knechtges (University of Washington) Timothy M. Davis (Brigham Young University), “Han Yu’s Polemical Use of the Epitaph to Rail Against Alchemy” Anna M. -
Character Names (Adapted from Wiki)
Character names (adapted from Wiki) Baoyu and Jinling's Twelve Beauties ▪ Bao-yu Jia Baoyu (simplified Chinese: ;贾宝玉 traditional Chinese: 賈寶玉; pinyin: Jiǎ Bǎo yù ; Wade–Giles: Chia Pao-yu, Meaning: Precious Jade) ▪ Dai-yu, Frowner Lin Daiyu (Chinese: 林黛玉; pinyin: Lín Dài yù ; Wade– Giles: Lin Tai-yu, Meaning: Black Jade) ▪ Bao-chai Xue Baochai (simplified Chinese: 薛宝;钗 traditional Chinese: 薛寶 釵; pinyin: Xuē Bǎo chāi ; Wade–Giles: Hsueh Pao-chai, Meaning: Precious Virtue) ▪ The "Three Springs" — ▪ Yuan-chun, Her Grace, Imperial Concubine Jia Yuanchun (simplified Chinese: ;贾元春 traditional Chinese: 賈元春; pinyin: Jiǎ Yuán chūn ; Wade–Giles: Chia Yuan-chun, Meaning: First of Spring) ▪ Tan-chun Jia Tanchun (simplified Chinese: ;贾探春 traditional Chinese: 賈探春; pinyin: Jiǎ chūn ; Wade–Giles: Chia Tan-chun, Meaning: Quest of Spring) ▪ Ying-chun Jia Yingchun (simplified Chinese: ;贾迎春 traditional Chinese: 賈迎春; pinyin: Jiǎ Yíng chūn ; Wade–Giles: Chia Ying-chun, Meaning: Welcome Spring) ▪ Xiang-yun Shi Xiangyun (simplified Chinese: 史湘云; traditional Chinese: 史 湘雲; pinyin: Shǐ Xiāng yún ; Wade–Giles: Shih Hsiang-yun, Meaning: Xiang River Mist) ▪ Adamantina Miaoyu (Chinese: 妙玉; pinyin: Miào yù ; Wade–Giles: Miao-yu, Meaning: Wonderful/Clever Jade) ▪ Xi-chun Jia Xichun (simplified Chinese: ;贾惜春 traditional Chinese: 賈惜春; pinyin: Jiǎ Xī chūn ; Wade–Giles: Chia Hsi-chun, Meaning: Compassion Spring) ▪ Xi-feng, Feng, Mrs Lian, Peppercorn Wang Xifeng (simplified Chinese: 王熙;凤 traditional Chinese: 王熙鳳; pinyin: Wáng Xī fèng ; W ade– Giles: Wang Hsi-feng, Meaning: Splendid -
The Transformation of Truth-Falsehood
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. -
Old Age and Senior Subjectivity
OLD AGE AND SENIOR SUBJECTIVITY: INTELLECTUAL REFLECTIONS AND LITERARY REPRESENTATIONS ACROSS CULTURES by Tao Feng APPROVED BY SUPERVISORY COMMITTEE: ___________________________________________ Ming Dong Gu, Chair ___________________________________________ Rene Prieto ___________________________________________ Adrienne L. McLean ___________________________________________ David F. Channell Copyright 2018 Tao Feng All Rights Reserved OLD AGE AND SENIOR SUBJECTIVITY: INTELLECTUAL REFLECTIONS AND LITERARY REPRESENTATIONS ACROSS CULTURES by TAO FENG, BA, MA DISSERTATION Presented to the Faculty of The University of Texas at Dallas in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY IN HUMANITIES - STUDIES IN LITERATURE THE UNIVERSITY OF TEXAS AT DALLAS May 2018 ACKNOWLEDGMENTS This dissertation is the result of hard work over the past five years. The dissertation itself took less than two years, but to become qualified to write it took more than three years. During these years, with the encouragement and instruction of the professors on my dissertation committee, I gradually improved my abilities and acquired the knowledge necessary for me to begin working on the dissertation with confidence and to complete it. I would like to take this opportunity to express my deep gratitude to members of my dissertation committee: Professors Ming Dong Gu, Rene Prieto, Adrienne McLean, and David Channell. Professor Gu supervised the project with his expertise on literary theories, Chinese and Western thought, Chinese literature, and comparative literature. He guided me in conceiving the thesis and the structural framework, read my drafts with great patience, and offered many valuable comments and suggestions. My skills of close reading and literary analysis were greatly improved under the guidance of Professor Prieto, who, with profound knowledge of comparative literature and critical analysis, helped me gain insights and enhance literary sensibilities.