Pub Date : 2022-09-01DOI: 10.1515/glochi-2022-0013
水法 韩
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Pub Date : 2022-04-01DOI: 10.1515/glochi-2022-2016
L. Han, Z. Wen
Abstract The present paper aims to explore how the critical lens of translanguaging can shed new light on the decolonizing language policy and planning (LPP) issues in Macau. As an illustration, we analyze the Chinese translation of a Portuguese poem, Viola Chinesa, in tandem with the visual art piece by the contemporary Chinese artist Xu Bing’s Square Word calligraphy tailored-made for Macau. In particular, we argue that the visual art piece by Xu Bing represents a visual and ideological turn of translanguaging that creates a hybrid piece of calligraphy to reverse the imagery orientalism reflected in the original Portuguese poem. By physically tracing the alphabets through the characters, viewers can gain an embodied translingual experience, which encompasses the ideological negotiation that transcends the Portuguese language dominance. In this boundary-breaking artwork, we can discern the deterritorialization of the unequal language and ideology dominance. Above all, it is concluded that the emerging translanguaging as a political and decolonizing stance provides new insights to renegotiate with fossilized values and beliefs, which in return, contribute to the decolonizing LPP of Macau.
{"title":"Translanguaging and decolonizing LPP: a case study of translingual practice in Macau","authors":"L. Han, Z. Wen","doi":"10.1515/glochi-2022-2016","DOIUrl":"https://doi.org/10.1515/glochi-2022-2016","url":null,"abstract":"Abstract The present paper aims to explore how the critical lens of translanguaging can shed new light on the decolonizing language policy and planning (LPP) issues in Macau. As an illustration, we analyze the Chinese translation of a Portuguese poem, Viola Chinesa, in tandem with the visual art piece by the contemporary Chinese artist Xu Bing’s Square Word calligraphy tailored-made for Macau. In particular, we argue that the visual art piece by Xu Bing represents a visual and ideological turn of translanguaging that creates a hybrid piece of calligraphy to reverse the imagery orientalism reflected in the original Portuguese poem. By physically tracing the alphabets through the characters, viewers can gain an embodied translingual experience, which encompasses the ideological negotiation that transcends the Portuguese language dominance. In this boundary-breaking artwork, we can discern the deterritorialization of the unequal language and ideology dominance. Above all, it is concluded that the emerging translanguaging as a political and decolonizing stance provides new insights to renegotiate with fossilized values and beliefs, which in return, contribute to the decolonizing LPP of Macau.","PeriodicalId":12769,"journal":{"name":"环球中医药","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72706160","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-01DOI: 10.1515/glochi-2022-2015
C. Lee, Daoning Zhu
Abstract Impoliteness has been a focus of recent research with more emphasis placed on context, situated evaluations and social action. Although talk shows are not the same as everyday conversations, the use of impoliteness to entertain is often an intentional part of the format. This paper uses Chinese talk shows to examine the subtle differences in impoliteness of talk shows in the different Chinese contexts. We compare one TV talk show in Taiwan (Kangxi Laile), and the other in Mainland China (Huahua Wanwu), both with the same hosts and similar program formats, to examine how impoliteness is shown at personal, relational, and group levels. Comparing how this is done in different contexts will help us better understand what is acceptable and what is not in different Chinese communities, as each community is different given the different historical, political, and sociological backgrounds, which will lead to different manifestations of (im)politeness.
{"title":"“Our show is so twisted”: comparing impoliteness in Taiwan and Mainland China talk shows","authors":"C. Lee, Daoning Zhu","doi":"10.1515/glochi-2022-2015","DOIUrl":"https://doi.org/10.1515/glochi-2022-2015","url":null,"abstract":"Abstract Impoliteness has been a focus of recent research with more emphasis placed on context, situated evaluations and social action. Although talk shows are not the same as everyday conversations, the use of impoliteness to entertain is often an intentional part of the format. This paper uses Chinese talk shows to examine the subtle differences in impoliteness of talk shows in the different Chinese contexts. We compare one TV talk show in Taiwan (Kangxi Laile), and the other in Mainland China (Huahua Wanwu), both with the same hosts and similar program formats, to examine how impoliteness is shown at personal, relational, and group levels. Comparing how this is done in different contexts will help us better understand what is acceptable and what is not in different Chinese communities, as each community is different given the different historical, political, and sociological backgrounds, which will lead to different manifestations of (im)politeness.","PeriodicalId":12769,"journal":{"name":"环球中医药","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85961134","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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