Translated from the original French publication, this book provides a comprehensive analysis of 20th century Chinese literature and examines the relationship between Chinese literary theory and modernity. The author surveys the work of leading writers including Zhang Ailing, Beidao, and Mu Dan. The author seeks to answer some fundamental questions in the study of Chinese literary history, such as: How does contemporary Chinese literature go from historical narrative to the narrative of the I, where rhythm and epic merge into writing, and where the instinctive load of the rhythm substantiates the epic? What are the steps and the forms of mediation that allow such a transition? Is the subject the only agent of the transition? What is its status? What is the role of poetic language that led to the birth of the subject and which separates it from empiricism? What are the difficulties faced by Chinese writers today? Young Chinese writers set off in search of a totally new writing to rediscover subjectivity, which is in no way limited to literature; it also covers areas such as the law, and the expression of the I confronted to an overpowering we.
Is it realistic to expect great literature of one language to be re-presented artistically intact in another language? Literary Translation: Quest for Artistic Integrity is a systematic delineation of a practical approach toward that seemingly idealist aim. A summing up of a career devoted to the study of literary translation enriched with the experience of translating between several languages, it offers a clear and thorough exposition of the theory behind Professor Jin's monumental achievement in producing a worthy Chinese Ulysses, illustrated with a profusion of enlightening and instructive examples not only from his own work, but also from that of many others, including some world-famous translators. This makes Literary Translation an invaluable reference to translators of literature between almost any pair of languages, not just Chinese and English. It will also be of considerable interest to teachers and critics of twentieth-century literature in English, to students of Modernism, to researchers in comparative literature and in comparative culture, and to teachers of language.
This book provides an in-depth examination of recent research advances in cloud-edge-end computing, covering theory, technologies, architectures, methods, applications, and future research directions. It aims to present state-of-the-art models and optimization methods for fusing and integrating clouds, edges, and devices. Cloud-edge-end computing provides users with low-latency, high-reliability, and cost-effective services through the fusion and integration of clouds, edges, and devices. As a result, it is now widely used in various application scenarios. The book introduces the background and fundamental concepts of clouds, edges, and devices, and details the evolution, concepts, enabling technologies, architectures, and implementations of cloud-edge-end computing. It also examines different types of cloud-edge-end orchestrated systems and applications and discusses advanced performance modeling approaches, as well as the latest research on offloading and scheduling policies. It also covers resource management methods for optimizing application performance on cloud-edge-end orchestrated systems. The intended readers of this book are researchers, undergraduate and graduate students, and engineers interested in cloud computing, edge computing, and the Internet of Things. The knowledge of this book will enrich our readers to be at the forefront of cloud-edge-end computing.
In The Kazakh Khanates between the Russian and Qing Empires, Jin Noda examines the foreign relations of the Kazakh Chinggisid sultans and the Russian and Qing empires during the 18th and 19th centuries. Noda makes use of both Russian and Qing archival documents as well as local Islamic sources. Through analysis of each party’s claims –mainly reflected in the Russian-Qing negotiations regarding Central Eurasia–, the book describes the role played by the Kazakh nomads in tying together the three regions of eastern Kazakh steppe, Western Siberia, and Xinjiang.
The 20th century was a dynamic period for the theatrical arts in China. The four volumes of A History of Chinese Theatre in the 20th Century display the developmental trajectories of Chinese theatre over those hundred years. This volume examines the development of Chinese theatrical art from the Cultural Revolution to the end of the 20th century. The Cultural Revolution had a devastating influence on the theatrical profession, reducing the creation of performance art to serving the political authorities. Adopting a critical view, the author argues that the Reform and Opening-up of the late 1970s not only ended this period of political interference, but also brought about chaos and doubts to the theatrical circle, since neither tradition nor western concepts were a panacea for the problems faced by Chinese theatre. He posits that people should advocate patterns of drama that are rich and colourful in their expression while encouraging the coexistence and competition of different artistic concepts. Scholars and students in the history of the arts, especially the history of Chinese theatre, will find this book to be an essential guide.
This ground-breaking volume documents women's influence on popular culture in twentieth-century China by examining Yue opera. A subgenre of Chinese opera, it migrated from the countryside to urban Shanghai and morphed from its traditional all-male form into an all-female one, with women cross-dressing as male characters for a largely female audience. Yue opera originated in the Zhejiang countryside as a form of story-singing, which rural immigrants brought with them to the metropolis of Shanghai. There, in the 1930s, its content and style transformed from rural to urban, and its cast changed gender. By evolving in response to sociopolitical and commercial conditions and actress-initiated reforms, Yue opera emerged as Shanghai's most popular opera from the 1930s through the 1980s and illustrates the historical rise of women in Chinese public culture. Jiang examines the origins of the genre in the context of the local operas that preceded it and situates its development amid the political, cultural, and social movements that swept both Shanghai and China in the twentieth century. She details the contributions of opera stars and related professionals and examines the relationships among actresses, patrons, and fans. As Yue opera actresses initiated reforms to purge their theater of bawdy eroticism in favor of the modern love drama, they elevated their social image, captured the public imagination, and sought independence from the patriarchal opera system by establishing their own companies. Throughout the story of Yue opera, Jiang looks at Chinese women's struggle to control their lives, careers, and public images and to claim ownership of their history and artistic representations.
As China experiences tremendous economic and social transformation in the reform years, language use in China has also undergone remarkable changes in the past couple decades: the national obsession with learning the global English, which becomes both a resource for modernization and a source of contention; the expanding use of local languages and dialects in mass media, where standard Mandarin is promoted and legally prescribed as the principal language; the emergence of the Internet language that has become a creative source for constructing a distinct youth identity; the Cantonese writing movement that challenges the hegemony of the Chinese writing system, which is traditionally based on northern Mandarin, to name a few. The nine papers collected in this volume examine recent trends in language use in mainland China, and the associated social, economic, political, and cultural manifestations. Drawing on their backgrounds and expertise in sociolinguistics, cognitive linguistics, linguistic anthropology, and cultural studies, the authors offer interdisciplinary, insightful, and critical analysis of linguistic struggles and linguistic politics in contemporary China. As such, the carefully presented details of emerging language use in this book will be of value to scholars interested in language and culture in contemporary China. It may be used as a supplementary text for students in Chinese (socio-)linguistics, Chinese language, Chinese cultural studies, Chinese anthropology, Chinese sociology, and Chinese studies in general.
Translated from the original French publication, this book provides a comprehensive analysis of 20th century Chinese literature and examines the relationship between Chinese literary theory and modernity. The author surveys the work of leading writers including Zhang Ailing, Beidao, and Mu Dan. The author seeks to answer some fundamental questions in the study of Chinese literary history, such as: How does contemporary Chinese literature go from historical narrative to the narrative of the I, where rhythm and epic merge into writing, and where the instinctive load of the rhythm substantiates the epic? What are the steps and the forms of mediation that allow such a transition? Is the subject the only agent of the transition? What is its status? What is the role of poetic language that led to the birth of the subject and which separates it from empiricism? What are the difficulties faced by Chinese writers today? Young Chinese writers set off in search of a totally new writing to rediscover subjectivity, which is in no way limited to literature; it also covers areas such as the law, and the expression of the I confronted to an overpowering we.
L’histoire nous a failli, mais qu’importe. Début des années 1930. Dans un petit village coréen, la jeune Sunja se laisse séduire par les belles paroles et tendres attentions d’un riche étranger. Lorsqu’elle découvre qu’elle est enceinte et que son amant est déjà marié, elle est confrontée à un choix : devenir, comme tant d’autres jeunes femmes dans sa situation, une seconde épouse, une « épouse coréenne » ou couvrir sa famille de déshonneur. Elle choisira une troisième voie : le mariage avec Isak, un pasteur chrétien qu’elle connaît à peine et qui lui offre une nouvelle existence au Japon. Cette décision est le point de départ d’un douloureux exil qui s’étendra sur huit décennies et quatre générations. Avec une justesse historique remarquable et une écriture précise et dépouillée, Min Jin Lee nous offre, à travers un siècle de relations nipp-ocoréennes, un hymne intime et poignant à tous les sacrifices que font les immigrés pour trouver leur place en pays étrangers. « UN VÉRITABLE HOMMAGE AUX GENS QUE L’HISTOIRE SEMBLE DÉTERMINÉE À EFFACER. » - The Guardian Née à Séoul, Min Jin Lee a immigré aux États-Unis avec sa famille à l’âge de sept ans. Elle a également vécu à Tokyo, où elle a écrit Pachinko, son deuxième roman. Elle vit aujourd’hui à New York. Finaliste du National Book Award en 2017, Pachinko s’est immédiatement hissé au rang de bestseller international et est resté plus d’un an en tête des ventes du New York Times. Il a été traduit dans 30 langues et est en cours d’adaptation cinématographique.
The story took place in Snowy Mountain in the coldest part of Manchuria, one Winter's morning in 1781. The Dragon Lodge party ran into the Horse Spring Banditry who were there to unearth a buried casket. They were waylaid yet by the Peking Overland Convoy. All three parties had designs on the metal casket, supposedly housing a poniard, which was an heirloom of the Martial Brotherhood. A monk arrived on the scene and the invited the parties to the eyrie on the summit. The lord of the eyrie happened to be away summoning help to fight Fox Volant of the Snowy Mountain, who was scheduled to arrive on the summit at noon. While waiting, each one in the parties began recounting incidents which took place some twenty years before. The excitement, intrigue and action in these incidents are well dramatized, with one event firmly intertwining with others in the past, developing into a vendetta involving the offspring of several families. The story ends with a fight between Fox, the hero of the story, and his sworn enemy, but the result of the fight is untold, left to the imagination and creative power of individual readers.
The translators, Tan Jing Quee, Loh Miaw Gong and Hong Lysa have helped revive this almost lost Singapore novel - Ju Lang, was its original title - to add it to the country's literary heritage. The novel's central feature is the anti-colonial movement against the British in the Singapore of the early 1950s. It follows a group of middle class students who started campaigning in 1954 for exemption from national service imposed by their British rulers and ends with the triumph of their party in the 1959 elections.
I årene inden første verdenskrig falder den unge koreanske fiskerdatter Sunja for en velhavende fremmed. Han lover hende en gylden fremtid, men da hun opdager, at hun er gravid, og at hendes store kærlighed er gift, blegner Sunjas udsigter pludselig. Som en sidste udvej siger hun ja til en ung, svagelig præsts ægteskabstilbud, da han er på gennemrejse på vej til Japan. Dette bliver begyndelsen på en familiesaga om usædvanlige mennesker i eksil fra et hjemland, de aldrig har kendt. I Japan mødes Sunjas slægt af voldsomme racemæssige uretfærdigheder og stor fattigdom, men glæden slipper også ind mellem sprækkerne, mens Sunja og hendes efterkommere finder vej og plads i det japanske samfund. En roman om ambitioner og modgang, fordomme og traditioner, arv og ophav, om det at høre hjemme.
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