This book explores the encounters between “East” and “West”, studying how “they get along”. These exchanges involve deliberate exoticizations and incommensurabilities, as well as creative fusions, such as Matteo Ricci, a Jesuit monk in the late 16th-early 17th centuries who learned Chinese in Beijing well enough to compose works in Chinese, and Octavio Paz, the Mexican Nobel Laureate, who admired Chinese civilization. The book also considers the effect of the West on Asian countries, the cases of Japan and Turkey, who tried to “modernize” by becoming more “Western”, and the examples of China and Korea, who adopted Western forms of theatre to advance a distinctly Asian aesthetic. It will appeal to anyone seeking more than a superficial understanding of the encounters between “East” and “West”.
The Promise and Premise of Creativity considers literature in the larger context of globalization and "the clash of cultures." Refuting the view that the study of literature is "useless," Eoyang argues that it expands three distinct intellectual skills: creative imagination, vicarious sympathy, and capacious intuition. With the advent of the personal computer and the blurring of cultural and economic boundaries, it is the ability to imagine, to intuit, and to invent that will mark the educated student, and allow her to survive the rapid pace of change. As never before, the ability to empathize with other peoples, to understand cultures very different from one's own, is vital to success in a globalized world. In this, the very "uselessness" of literature may inure the mind to think creatively. Engaging with both the theory and practice of literature, its past and its potential future, Eoyang claims that our sense of the world at large, of the salient similarities and differences between cultures, would be critically diminished without comparative literature.
The Promise and Premise of Creativity considers literature in the larger context of globalization and "the clash of cultures." Refuting the view that the study of literature is "useless," Eoyang argues that it expands three distinct intellectual skills: creative imagination, vicarious sympathy, and capacious intuition. With the advent of the personal computer and the blurring of cultural and economic boundaries, it is the ability to imagine, to intuit, and to invent that will mark the educated student, and allow her to survive the rapid pace of change. As never before, the ability to empathize with other peoples, to understand cultures very different from one's own, is vital to success in a globalized world. In this, the very "uselessness" of literature may inure the mind to think creatively. Engaging with both the theory and practice of literature, its past and its potential future, Eoyang claims that our sense of the world at large, of the salient similarities and differences between cultures, would be critically diminished without comparative literature.
This book explores the encounters between “East” and “West”, studying how “they get along”. These exchanges involve deliberate exoticizations and incommensurabilities, as well as creative fusions, such as Matteo Ricci, a Jesuit monk in the late 16th-early 17th centuries who learned Chinese in Beijing well enough to compose works in Chinese, and Octavio Paz, the Mexican Nobel Laureate, who admired Chinese civilization. The book also considers the effect of the West on Asian countries, the cases of Japan and Turkey, who tried to “modernize” by becoming more “Western”, and the examples of China and Korea, who adopted Western forms of theatre to advance a distinctly Asian aesthetic. It will appeal to anyone seeking more than a superficial understanding of the encounters between “East” and “West”.
In Two-Way Mirrors, Chen Eugene Eoyang engages in cross-cultural study, shedding light not only on the object of study but also on the subject conducting the study. The book's leading metaphor is that of the shop window, which is at once transparent (allowing a view of the merchandise on display) and reflective (offering an image of the prospective shopper). Eoyang shows the different and oppositional premises in Eastern and Western poetics juxtaposed not as contradictory but as complementary, allowing for a mutual illumination of values. He confronts the question of globalization and postmodernism bidirectionally, from an Asian as well as a Western perspective. Eoyang concludes by speculating on the continuing development of comparative literature, a discipline particularly well suited to new modes of discourse both reflective and reflexive, as illuminating as a two-way mirror.
In this remarkably stimulating and erudite series of essays, Eugene Chen Eoyang explores many of the underlying paradigms and presumptions in world literature, highlighting issues of cultural interchange and cultural hegemony. Translation is seen in this perspective as a central rather than a peripheral factor in understanding the meanings of literary works. Taking concrete examples from Chinese literature, Eoyang illuminates not only the semantic collisions that underlie the complexities of translation, but also the cultural identities reflected in language and values. The title alludes to a passage from Emerson, reminding us that the object on view is not only the vision we see but is also the organ through which that vision is apprehended. The confrontation with a radical "other" - which is, for many Westerners, what Chinese literature represents - is thus both a discovery and a self-discovery. Part of the book's originality is that it identifies a new audience - one that is incipiently bicultural, or knowledgeable about what has been called "East" as well as what has been called "West." Readers with an interest in the theory and practice of translation will find this an inspiring and indispensable work, one that prepares the way for a comparative poetics that recognizes the intense subjectivities in every culture and at the same time establishes a basis for a comparison that tries to transcend, even as it acknowledges, provincialities.
In Two-Way Mirrors, Chen Eugene Eoyang engages in cross-cultural study, shedding light not only on the object of study but also on the subject conducting the study. The book's leading metaphor is that of the shop window, which is at once transparent (allowing a view of the merchandise on display) and reflective (offering an image of the prospective shopper). Eoyang shows the different and oppositional premises in Eastern and Western poetics juxtaposed not as contradictory but as complementary, allowing for a mutual illumination of values. He confronts the question of globalization and postmodernism bidirectionally, from an Asian as well as a Western perspective. Eoyang concludes by speculating on the continuing development of comparative literature, a discipline particularly well suited to new modes of discourse both reflective and reflexive, as illuminating as a two-way mirror.
In this remarkably stimulating and erudite series of essays, Eugene Chen Eoyang explores many of the underlying paradigms and presumptions in world literature, highlighting issues of cultural interchange and cultural hegemony. Translation is seen in this perspective as a central rather than a peripheral factor in understanding the meanings of literary works. Taking concrete examples from Chinese literature, Eoyang illuminates not only the semantic collisions that underlie the complexities of translation, but also the cultural identities reflected in language and values. The title alludes to a passage from Emerson, reminding us that the object on view is not only the vision we see but is also the organ through which that vision is apprehended. The confrontation with a radical "other" - which is, for many Westerners, what Chinese literature represents - is thus both a discovery and a self-discovery. Part of the book's originality is that it identifies a new audience - one that is incipiently bicultural, or knowledgeable about what has been called "East" as well as what has been called "West." Readers with an interest in the theory and practice of translation will find this an inspiring and indispensable work, one that prepares the way for a comparative poetics that recognizes the intense subjectivities in every culture and at the same time establishes a basis for a comparison that tries to transcend, even as it acknowledges, provincialities.
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