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This book examines the development of Chinese translation practice in relation to the rise of ideas of modern selfhood in China from the 1890s to the 1920s. The key translations produced by late Qing and early Republican Chinese intellectuals over the three decades in question reflect a preoccupation with new personality ideals informed by foreign models and the healthy development of modern individuality, in the face of crises compounded by feelings of cultural inadequacy. The book clarifies how these translated works supplied the meanings for new terms and concepts that signify modern human experience, and sheds light on the ways in which they taught readers to internalize the idea of the modern as personal experience. Through their selection of source texts and their adoption of different translation strategies, the translators chosen as case studies championed a progressive view of the world: one that was open-minded and humanistic. The late Qing construction of modern Chinese identity, instigated under the imperative of national salvation in the aftermath of the First Sino-Japanese War, wielded a far-reaching influence on the New Culture discourse. This book argues that the New Culture translations, being largely explorations of modern self-consciousness, helped to produce an egalitarian cosmopolitan view of modern being. This was a view favoured by the majority of mainland intellectuals in the post-Maoist 1980s and which has since become an important topic in mainland scholarship.
Charles Taylor's latest book sets out to define the modern identity by tracing its genesis.
In the late Qing period, from the Opium War to the 1911 revolution, China absorbed the initial impact of Western arms, manufactures, science and culture, in that order. This volume of essays deals with the reception of Western literature, on the evidence of translations made. Having to overcome Chinese assumptions of cultural superiority, the perception that the West had a literature worth notice grew only gradually. It was not until the very end of the 19th century that a translation of a Western novel ("La dame aux camelias") achieved popular acclaim. But this opened the floodgates: in the first decade of the 20th century, more translated fiction was published than original fiction.The core essays in this collection deal with aspects of this influx according to division of territory. Some take key works (e.g. Stowe s "Uncle Tom s Cabin, " Byron s The Isles of Greece ), some sample genres (science fiction, detective fiction, fables, political novels), the common attention being to the adjustments made by translators to suit the prevailing aesthetic, cultural and social norms, and/or the current needs and preoccupations of the receiving public. A broad overview of translation activities is given in the introduction.To present the subject in its true guise, that of a major cultural shift, supporting papers are included to fill in the background and to describe some of the effects of this foreign invasion on native literature. A rounded picture emerges that will be intelligible to readers who have no specialized knowledge of China.
This collection of essays addresses the perception that our understanding of modern China will be enhanced by opening the literature of China to more rigorous theoretical and comparative study. In doing so, the book confronts the problematic and complex subject of China's literary, theoretical, and cultural responses to the experience of the modern. With chapters by writers, scholars, and critics from mainland China, Hong Kong, and the United States, this volume explores the complexity of representing modernity within the Chinese context. Addressing the problem of finding a proper language for articulating fundamental issues in the historical experience of twentieth-century China, the authors critically re-examine notions of realism, the self/subject, and modernity and draw on perspectives from feminist criticism, ideological analysis, and postmodern theory. Among the many topics explored are subjectivity in Chinese cultural theory, Chinese gender relations, the viability of a Lacanian approach to Chinese identity, the politics of subversion in Chinese reportage, and the ambivalent status of the icon of paternity since Mao. At the same time this book offers a probing look into the transformation that Chinese culture as well as the study of that culture is currently undergoing, it also reconfirms private discourse as an ideal site for an investigation into a real and imaginary, private and collective encounter with history. Contributors. Liu Kang, Xiaobing Tang, Liu Zaifu, Stephen Chan, Lydia H. Liu, Wendy Larson, Theodore Huters, David Wang, Tonglin Lu, Yingjin Zhang, Yuejin Wang, Li Tuo, Leo Ou-fan Lee
In the early 20th century, Korean women began to manifest themselves in the public sphere. Sung Un Gang explores how the women's gaze was reimagined in public discourse as they attended plays and movies, delving into the complex negotiation process surrounding women's public presence. In this first extensive study of Korean female spectators in the colonial era, he analyzes newspapers, magazines, fictions, and images, arguing that public discourse aimed to mold them into a male-driven and top-down modernization project. Through a meticulous examination of historical sources, this study reconceptualizes colonial Korean female spectators as diverse, active agents with their own politics who played a crucial role in shaping colonial publicness.
BUSTLE BEST BOOK OF THE WEEK PICK NAMED A BOOKSHOP.ORG RECOMMENDED READING OF THE SEASON In this charming, deeply atmospheric novel set against the Amalfi Coast of the 1950s, two women form an intense and lasting friendship that embodies the paradoxes of Italian society. Inspired by her own adventurous, unconventional life, actress and writer Goliarda Sapienza’s recently rediscovered novel takes the reader to the sun-drenched town of Positano in southern Italy. There, while working on a film, Goliarda encounters the captivating Erica, a beautiful widow called “Princess” by the locals, who has been the object of much speculation. As the two women grow closer in spite of their different personalities, they gradually reveal more about their thoughts, feelings, and experiences, and the ghosts from their pasts that continue to hang over them. Writing the story of their transformative friendship thirty years later, Goliarda offers a profound reflection on love in its many forms, and opens a window onto an enchanting time and place that lingers in the mind. And this unlikely bond, forged between a leftist idealist and a traditional aristocrat, acts as a microcosm of Italy, illuminating its complex, competing impulses.
This book features the latest research on translation by a dozen leading scholars of translation studies in China. The themes discussed are diverse, and include: translation policy, literary translation, medical translation, corpus translation studies, teaching translation, translation technologies, media translation, interpreting studies and so on. The contributors are all respected experts on their respective topics. The book reflects the state-of-the-art of translation studies in China, and offers a unique window on the latest thoughts on translation there.
Yoon Sun Yang argues that the first literary iterations of the Korean individual were female figures in late nineteenth century domestic novels. This study disrupts the canonical account of a non-gendered, linear progress toward modern Korean selfhood and examines translation's impact on Korea's construction of modern gender roles.
This book explores the concept of space, or rather spaces, in relation to translation, to construct a conceptual framework for research to better understand and solve translation problems. A number of interrelated spatial perspectives on translation supported by empirical evidence are presented to help better understand the complexities between China and West in cultural exchanges and to offer a way of explaining what happens to translation and why it takes on a particular form. In the chequered history of Chinese-Western cultural exchange, effective communication has remained a great challenge exacerbated by the ultimate inescapability of linguistic and cultural incommensurability. It is therefore necessary to develop conceptual tools that can help shed light on the interactive association between performativity and space in translation. Despite the unfailing desire to connect with the world, transnational resistance is still underway in China. Further attempts are required to promote a convergence of Chinese and Western translation theories in general and to confront problems arising from translation practice in particular. This work will be of interest to students and scholars in translation studies around the world, as well as those working in cultural studies and cross-cultural communication studies.
Contemporary art is deeply engaged with the subject of classical myth. Yet within the literature on contemporary art, little has been said about this provocative relationship. Composed of fourteen original essays, Contemporary Art and Classical Myth addresses this scholarly gap, exploring, and in large part establishing, the multifaceted intersection of contemporary art and classical myth. Moving beyond the notion of art as illustration, the essays assembled here adopt a range of methodological frameworks, from iconography to deconstruction, and do so across an impressive range of artists and objects: Francis Al?s, Ghada Amer, Wim Delvoye, Luciano Fabro, Joanna Frueh, Felix Gonzales-Torres, Duane Hanson, Yayoi Kusama, Roy Lichtenstein, Kara Walker, and an iconic photograph by Richard Drew subsequently entitled The Falling Man.? Arranged so as to highlight both thematic and structural affinities, these essays manifest various aspects of the link between contemporary art and classical myth, while offering novel insights into the artists and myths under consideration. Some essays concentrate on single works as they relate to specific myths, while others take a broader approach, calling on myth as a means of grappling with dominant trends in contemporary art.