The Fat Years Online
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Critique of Anthropology
Critique of Anthropology http://coa.sagepub.com/ The state of irony in China Hans Steinmüller Critique of Anthropology 2011 31: 21 DOI: 10.1177/0308275X10393434 The online version of this article can be found at: http://coa.sagepub.com/content/31/1/21 Published by: http://www.sagepublications.com Additional services and information for Critique of Anthropology can be found at: Email Alerts: http://coa.sagepub.com/cgi/alerts Subscriptions: http://coa.sagepub.com/subscriptions Reprints: http://www.sagepub.com/journalsReprints.nav Permissions: http://www.sagepub.com/journalsPermissions.nav Citations: http://coa.sagepub.com/content/31/1/21.refs.html >> Version of Record - Mar 30, 2011 What is This? Downloaded from coa.sagepub.com at NATIONAL CHENGCHI UNIV LIB on February 23, 2012 Article Critique of Anthropology 31(1) 21–42 The state of irony ! The Author(s) 2011 Reprints and permissions: in China sagepub.co.uk/journalsPermissions.nav DOI: 10.1177/0308275X10393434 coa.sagepub.com Hans Steinmu¨ller Department of Anthropology, London School of Economics Abstract In everyday life, people in China as elsewhere have to confront large-scale incongruities between different representations of history and state. They do so frequently by way of indirection, that is, by taking ironic, cynical or embarrassed positions. Those who understand such indirect expressions based on a shared experiential horizon form what I call a ‘community of complicity’. In examples drawn from everyday politics of memory, the representation of local development programmes and a dystopic novel, I distinguish cynicism and ‘true’ irony as two different ways to form such communities. This distinction proposes a renewed attempt at understanding social inclusion and exclusion. -
The Global Politics of China
The Global Politics of China Instructor: Daniel Large Instructor Contact: [email protected] Department: School of Public Policy, Central European University Number of Credits: 2. Teaching Format: Seminar. Semester: Winter 2019. Course Status: Elective. Office Hours: Tuesday 4-5pm, October 6 u. 7, 2nd floor, Office 241. Course Description This course provides an intensive introduction to the global politics of China. As well as a crucial intellectual challenge today, China is increasingly important for a range of policy engagements. While China has become globally prominent in recent times, this course is not just about current affairs or foreign policy per se. It also explores how China came to be in its current circumstances, and the interconnections between China’s ‘domestic’ and ‘global’ relations. The first part of the course explores the politics of history and China’s modern historical trajectory. Going beyond a unitary conception of the Chinese state, the second part examines the nature and domestic sources of China’s foreign policy before exploring key themes in its global politics. Finally, it analyses China’s changing engagement with and role in global governance. Throughout, it will involve active learning. Learning Goals and Outcomes This course aims to provide an intensive orientation to the changing global politics of China. While providing a structured framework to achieve this, it also seeks to enable individual learning pathways and enhance analytical, writing and verbal skills. By the end of the course, students should be able to: • Understand the historical trajectory behind China’s current world role, and the politics of history; • Understand the interplay between China’s domestic and global politics; • Critically assess and engage debates about China’s (re)emergence and evolving global role; • Undertake further, more indepth study into the global politics of China. -
The 1989 Tiananmen Square Protests in Chinese Fiction and Film
UNIVERSITY OF CALIFORNIA Los Angeles Making the Censored Public: The 1989 Tiananmen Square Protests in Chinese Fiction and Film A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Comparative Literature by Thomas Chen Chen 2016 © Copyright by Thomas Chen Chen 2016 ABSTRACT OF THE DISSERTATION Making the Censored Public: The 1989 Tiananmen Square Protests in Chinese Fiction and Film by Thomas Chen Chen Doctor of Philosophy in Comparative Literature University of California, Los Angeles, 2016 Professor Kirstie M. McClure, Co-Chair Professor Robert Yee-Sin Chi, Co-Chair Initiated by Beijing college students, the 1989 Tiananmen Square protests—"Tiananmen"— shook all of China with their calls for democratic and social reforms. They were violently repressed by the Chinese state on June 4, 1989. Since then, their memory has been subject within the country to two kinds of censorship. First, a government campaign promulgating the official narrative of Tiananmen, while simultaneously forbidding all others, lasted into 1991. What followed was the surcease of Tiananmen propaganda and an expansion of silencing to nearly all mentions that has persisted to this day. My dissertation examines fiction and film that evoke Tiananmen from within mainland China and Hong Kong. It focuses on materials that are particularly open to a self-reflexive reading, such as literature in which the protagonists are writers and films shot without authorization that in their editing indicate the precarious ii circumstances of their making. These works act out the contestation between the state censorship of Tiananmen-related discourse on the one hand and its alternative imagination on the other, thereby opening up a discursive space, however fragile, for a Chinese audience to reconfigure a historical memory whose physical space is off limits. -
Downloaded from Brill.Com09/28/2021 07:12:07AM Via Free Access 144 Xi Jinping’S Leadership Style
Asian International Studies Review Vol. 17 No.2 (December 2016): 143-158 143 Received September 7, 2016 Revised November 10, 2016 Accepted December 2, 2016 Xi Jinping’s Leadership Style: Master or Servant? KERRY BROWN* Much commentary has been made about the amount of power that Xi Jinping has accrued since the leadership transition over 2012 and into 2013. He is interpreted by many as being the most powerful of modern Chinese leaders. But his leadership needs to be interpreted carefully within the organisation that he leads and whose interests he and his colleagues serve–the Communist Party of China. Looking at his relationship with this body reveals a more complex framework within which to see his real authority, one which implies that he is as much a servant of its corporate interests as he is an autonomous, self- serving agent. Keywords: Xi Jinping, China, Leadership, Power, Politics, Authority * Professor, King’s College, London, the UK; E-mail: [email protected] DOI: 10.16934/isr.17.2.201612.143 Downloaded from Brill.com09/28/2021 07:12:07AM via free access 144 Xi Jinping’s Leadership Style I. INTRODUCTION From November 2012, when Xi Jinping emerged as the Party Secretary of the Communist Party of China (CPC), he has been talked of as being the most powerful leader the country has had since the era of Deng Xiaoping, who was the paramount leader from 1978 to the 1990s. Some have even claimed his power equals that of regime founder Mao Zedong (Nathan 2016). But it is clear in these discussions that we need to differentiate between two levels of power, or two contexts within which to consider Xi, to make any headway with this question. -
Master´S Thesis 2020 Bc. Denisa Máchová
Masaryk University Faculty of Arts Department of Chinese Studies Master´s Thesis 2020 Bc. Denisa Máchová Masaryk University Faculty of Arts Department of Chinese Studies Cultural Studies of China Bc. Denisa Máchová The Self – loathing Discourse in the Theme of Modernisation in the Chinese Literature of the 20th Century Master´s Thesis Supervisor: Mgr. et Mgr. Dušan Vávra, Ph.D. 2020 I hereby declare that this thesis is my own work and it contains no other materials written or published by any other person except where due reference is made in the text of the thesis. Brno, May 2020 …..…………………… The thesis was completed within the cooperation framework between the Department of Chinese Studies (Masaryk University) and the Institute of China Studies (Zhejiang University). During my two- semester stay in China, the thesis was supervised by Prof. Jiang Wentao 姜文涛, Associate Professor in School of International Studies at Zhejiang University, China. ABSTRACT This thesis elaborates the self-loathing discourse in the theme of modernization in 20th century Chinese literature. The main question is how the discourse of self-loathing is elaborated in chosen works from the 20th century and how is it evolving during this century. This work is divided into four chapters. The first one contains the definition of self-loathing, the presentation of main historical events of the 20th century and philosophical changes in Chinese society during the 20th century. The second chapter presents the authors, their lives, creation, writing style and general attitude towards modernisation of Chinese society. The third chapter contains the discourse analysis of chosen literature works and presents the concrete examples of discourse of self-loathing, which were found. -
Dreamers and Nightmares Political Novels by Wang Lixiong and Chan Koonchung
China Perspectives 2015/1 | 2015 Utopian/Dystopian Fiction in Contemporary China Dreamers and Nightmares Political novels by Wang Lixiong and Chan Koonchung Chaohua Wang Electronic version URL: http://journals.openedition.org/chinaperspectives/6636 DOI: 10.4000/chinaperspectives.6636 ISSN: 1996-4617 Publisher Centre d'étude français sur la Chine contemporaine Printed version Date of publication: 1 March 2015 Number of pages: 23-31 ISSN: 2070-3449 Electronic reference Chaohua Wang, « Dreamers and Nightmares », China Perspectives [Online], 2015/1 | 2015, Online since 01 January 2017, connection on 28 October 2019. URL : http://journals.openedition.org/ chinaperspectives/6636 ; DOI : 10.4000/chinaperspectives.6636 © All rights reserved Special feature China perspectives Dreamers and Nightmares Political novels by Wang Lixiong and Chan Koonchung CHAOHUA WANG ABSTRACT: Wang Lixiong’s Yellow Peril (1991) represents the return of political fiction of the future not seen in China for decades. Chan Koonchung’s The Fat Years (2009) brings the imagination to a full dystopian vision. Reading the two novels side by side, this paper argues that Chinese fiction of the future in the early 1990s responded to the country’s struggle for direction when the bloody crackdown of the Tiananmen protest wiped out collective idealism in society. In the twenty-first century, such fiction is written in response to China’s rapid rise as one of the world’s superpowers, bringing to domestic society a seemingly stabilised order that has deprived it of intellectual vision. KEYWORDS: Political novel, dystopian literature, Wang Lixiong, Chan Koonchung, Yellow Peril , The Fat Years . Introduction G. Wells, but his critical edge was not perceptively appreciated in China. -
South Korea and the US
Joint U.S.-Korea Academic Studies 2013 | Volume 24 Editor-in-Chief: Gilbert Rozman, Princeton University KEI Editorial Board KEI Editors: Abraham Kim, Nicholas Hamisevicz Contract Editor: Gimga Group Design: Gimga Group The Korea Economic Institute of America is registered under the Foreign Agents Registration Act as an agent of the Korea Institute for International Economic Policy, a public corporation established by the Government of the Repubic of Korea. This material is filed with the Department of Justice, where the required registration statement is available for public inspection. Registration does not indicate U.S. government approval of the contents of this document. KEI is not engaged in the practice of law, does not render legal services, and is not a lobbying organization. The views expressed in this publication are those of the authors. While this monograph is part of the overall program of the Korea Economic Institute of America endorsed by its Officers, Board of Direc- tors, and Advisory Council, its contents do not necessarily reflect the views of individual members of the Board or of the Advisory Council. Copyright © 2013 Korea Economic Institute of America www.keia.org Printed in the United States of America. ISSN 2167-3462 Contents KEI Board of Directors ...........................................................................................................................i KEI Advisory Council.............................................................................................................................ii -
Towards a Global Ethics: the Debate on Nanotechnology in the European Union and China
Towards a Global Ethics: The Debate on Nanotechnology in the European Union and China Sally Dalton-Brown A thesis submitted in partial fulfilment for the requirements of the degree of Doctor of Philosophy at the University of Central Lancashire October 2013 Student Declaration Concurrent registration for two or more academic awards: I declare that while registered as a candidate for the research degree, I have not been a registered candidate or enrolled student for another award of the University or other academic or professional institution. Material submitted for another award: I declare that no material contained in the thesis has been used in any other submission for an academic award and is solely my own work. Signature of Candidate: Type of Award: PhD School: Health Abstract: Towards a Global Ethics: The Debate on Nanotechnology in the European Union and China The primary aim of the thesis is to assess whether ethical governance of Science and Technology is feasible as a global approach, using the example of nanotechnology. The thesis firstly compares ethical issues identified by stakeholders in China and the EU relating to the rapid introduction of a potentially transformative technology, namely nanotechnology. Part One of this thesis explores how the ‘narratives’ of nanotechnology differ in each region, particularly given their different bioethics contexts, and examines how specific concerns translate into policymaking. In questioning whether Eastern and Western approaches to nanotechnology governance can be aligned, one can observe that Europe is increasingly co- operating and competing with China. Such new interdependences between global actors require new global approaches to S&T policy, including ethical governance. -
Utopia and Utopianism in the Contemporary Chinese Context
Utopia and Utopianism in the Contemporary Chinese Context Texts, Ideas, Spaces Edited by David Der-wei Wang, Angela Ki Che Leung, and Zhang Yinde This publication has been generously supported by the Hong Kong Institute for the Humanities and Social Sciences. Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong https://hkupress.hku.hk © 2020 Hong Kong University Press ISBN 978-988-8528-36-3 (Hardback) All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any informa- tion storage or retrieval system, without prior permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Paramount Printing Co., Ltd. in Hong Kong, China Contents Preface vii David Der-wei Wang Prologue 1 The Formation and Evolution of the Concept of State in Chinese Culture Cho-yun Hsu (許倬雲) (University of Pittsburgh) Part I. Discourses 1. Imagining “All under Heaven”: The Political, Intellectual, and Academic Background of a New Utopia 15 Ge Zhaoguang (葛兆光) (Fudan University, Shanghai) (Translated by Michael Duke and Josephine Chiu-Duke) 2. Liberalism and Utopianism in the New Culture Movement: Case Studies of Chen Duxiu and Hu Shi 36 Peter Zarrow (沙培德) (University of Connecticut, USA) 3. The Panglossian Dream and Dark Consciouscness: Modern Chinese Literature and Utopia 53 David Der-wei Wang (王德威) (Harvard University, USA) Part II. -
Chinese Classics Present Future, November 2018
Wordtrade.com| 1202 Raleigh Road 115| Chapel Hill NC 27517| USA ph 9195425719| fx 9198691643| www.wordtrade.com Spotlight 043 Here in 'China' I Dwell: Reconstructing Historical Discourses of China for Our Time by Ge Zhaoguang, translated by Jesse Field, Qin Fang Chinese Classics [Brill's Humanities in China Library, Brill, 9789004279971] Present Future The Reincarnated Giant: An Anthology of Twenty- First-Century Chinese Science Fiction by Mingwei Song and Theodore Huters [Weatherhead Books on Table of Contents Asia, Columbia University Press, 9780231180221] Studies on Contemporary Chinese Philosophy (1949– Slender Man Is Coming: Creepypasta and 2009) by Guo Qiyong, translated by Paul J. Contemporary Legends on the Internet edited by D’Ambrosio, Robert Carleo III, Joanna Guzowska, Chad Meyers, Martyna Świątczak et al. [Modern Trevor J. Blank & Lynne S. McNeill [Utah State Chinese Philosophy, Brill, 9789004360501] University Press, 9781607327806] Confucius and the World He Created by Michael Schuman [Basic, 9780465025510] Bibliography A Concise Companion to Confucius edited by Paul R. Goldin [Blackwell Companions to Philosophy, Wiley- Blackwell, 9781118783870] Neo-Confucianism: Metaphysics, Mind, and Morality by JeeLoo Liu [Wiley-Blackwell, 9781118619148] Studies on Contemporary Chinese Philosophy (1949– Confucian Statecraft and Korean Institutions: Yu 2009) by Guo Qiyong, translated by Paul J. Hyŏngwŏn and the Late Chosŏn Dynasty (Korean D’Ambrosio, Robert Carleo III, Joanna Guzowska, Studies of the Henry M. Jackson School of Chad Meyers, -
The Age of Exhibition in Cao Fei's Posthuman Trilogy
Concentric: Literary and Cultural Studies 43.2 September 2017: 221-247 DOI: 10.6240/concentric.lit.2017.43.2.10 “An Archivist’s Fantasy Gone Mad”: The Age of Exhibition in Cao Fei’s Posthuman Trilogy Angie Chau School of International Letters and Cultures Arizona State University, USA Abstract This paper argues that in her recent films, the Chinese artist-filmmaker Cao Fei (曹斐, b. 1978) shows how the futility of art and technologies of exhibition is linked to the danger of overexposure to images without context, and the numbing of public consciousness. In the twenty-first century, the fear of forgetting seems increasingly obsolete in the face of social media tools like Facebook’s “See Your Memories: Never Miss a Memory” feature, which excavates photos uploaded, shared, or tagged on the site years ago, reminding users to “look back” on otherwise lost memories. However, in recent Chinese fiction (Ma Jian’s Beijing Coma; Chan Koonchung’s The Fat Years; Liu Cixin’s “The Weight of Memories”), the trope of dormant memories remains noticeably prevalent, reflecting an urgent cultural concern about the conscious “act of deleting memories” (Yan Lianke) in the process of recording modern Chinese history. Whether in the form of documentary-style animation (i.Mirror, 2007), zombie-horror film (Haze and Fog, 2013), or stop-motion train-replica dioramas (La Town, 2014), Cao Fei fantasizes about a new posthuman consciousness, whose most serious trespass against humanity is not forgetting, but rather not feeling. Presenting disjointed scenes that call upon instances of trauma and surveillance, Cao’s “posthuman trilogy” films suggest that when cosmopolitan memories become decontextualized, mere images no longer possess any meaningful symbolic power.