Pub Date : 2021-07-03DOI: 10.1080/25723618.2021.2001727
Biswarup Das
ABSTRACT The present study takes as its objective the enunciation of the human condition as presented in Rabindranath Tagore’s 1925 play Red Oleanders. The play is set in the fictional backdrop of Yaksha Town, a place where every person is a slave of the system. Through a detailed analysis of the situation of Yaksha Town, the article first brings to light how a totalitarian society deprives every character of liberty and joy and then examines how all the characters are personally accountable for their confinement in the system. As Tagore intends to present the situation of the real world through that of the town, the story of the enslavement of the characters in the play is also that of humanity in general. For Tagore, the malady of the modern world is rooted in its preoccupation with worldly privileges that detaches a person from the ebullience of nature. So, this article also strives to elaborate from the playwright that it is not the propinquity of a materialistic system but that of nature that can liberate humanity from all social and personal confinement. The whole discussion is put forth in light of the theories of Existentialism and Marxism.
{"title":"Enslavement and the Possibility of Freedom: A Rethinking about the Human Condition through Tagore’s Red Oleanders","authors":"Biswarup Das","doi":"10.1080/25723618.2021.2001727","DOIUrl":"https://doi.org/10.1080/25723618.2021.2001727","url":null,"abstract":"ABSTRACT The present study takes as its objective the enunciation of the human condition as presented in Rabindranath Tagore’s 1925 play Red Oleanders. The play is set in the fictional backdrop of Yaksha Town, a place where every person is a slave of the system. Through a detailed analysis of the situation of Yaksha Town, the article first brings to light how a totalitarian society deprives every character of liberty and joy and then examines how all the characters are personally accountable for their confinement in the system. As Tagore intends to present the situation of the real world through that of the town, the story of the enslavement of the characters in the play is also that of humanity in general. For Tagore, the malady of the modern world is rooted in its preoccupation with worldly privileges that detaches a person from the ebullience of nature. So, this article also strives to elaborate from the playwright that it is not the propinquity of a materialistic system but that of nature that can liberate humanity from all social and personal confinement. The whole discussion is put forth in light of the theories of Existentialism and Marxism.","PeriodicalId":34832,"journal":{"name":"Comparative Literature East West","volume":"1 1","pages":"137 - 155"},"PeriodicalIF":0.1,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75229492","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/25723618.2021.2006427
Yang Wu
ABSTRACT Mo Yan’s novels were first translated into Spanish in 1992. But the direct translation of his works from Chinese into Spanish instead of from English or French didn’t start until 2012.This essay will focus on the latest direct translation (Chinese to Spanish) of the novel Thirteen Steps （《十三步》）, and try to discuss its reception in Spanish-speaking regions from two aspects: one is the reviews and comments from the local Spanish critics; the other is the analysis on variation caused by literary misreading and cultural filtering from the levels of language translation and cultural transmission. The translation and interpretation of Mo Yan’s works could offer us a glimpse of the reception of contemporary Chinese literature in Spanish-speaking regions more generally, while inspiring some new ideas for Chinese literature to “go global.”
{"title":"The Reception of Mo Yan’s Novel Thirteen Steps （《十三步》） in Spanish speaking Regions from the Perspective of Variation Theory","authors":"Yang Wu","doi":"10.1080/25723618.2021.2006427","DOIUrl":"https://doi.org/10.1080/25723618.2021.2006427","url":null,"abstract":"ABSTRACT Mo Yan’s novels were first translated into Spanish in 1992. But the direct translation of his works from Chinese into Spanish instead of from English or French didn’t start until 2012.This essay will focus on the latest direct translation (Chinese to Spanish) of the novel Thirteen Steps （《十三步》）, and try to discuss its reception in Spanish-speaking regions from two aspects: one is the reviews and comments from the local Spanish critics; the other is the analysis on variation caused by literary misreading and cultural filtering from the levels of language translation and cultural transmission. The translation and interpretation of Mo Yan’s works could offer us a glimpse of the reception of contemporary Chinese literature in Spanish-speaking regions more generally, while inspiring some new ideas for Chinese literature to “go global.”","PeriodicalId":34832,"journal":{"name":"Comparative Literature East West","volume":"69 1","pages":"204 - 216"},"PeriodicalIF":0.1,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91013838","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/25723618.2021.2004678
Mohammad Ahmad Al-Leithy Al-Leithy
ABSTRACT This study aims at investigating aspects of colonialism in both novels of the title. The two works expose a number of the evils of colonialism like masked colonization, stereotyping and hybridity. The colonizer’s appointing of national agents to run the country in the colonizer ’s stead, raising nonentities on the political hierarchy and sowing seeds of hatred among citizens of the same nation will be discussed under the first subtitle, masked colonization. Under the second, stereotyping and misrepresenting Africans will be investigated. The paper will discuss ideas of language, culture and religion when dealing with hybridity, the third concept in such a trichotomy, to show how these have been affected by colonization. The paper will respond to the following questions: how do Achebe’s No Longer at Ease and Salih’s Season of Migration to the North question the credibility of achieving independence? How (and why) did the (British) colonizer persistently stereotype African nations? How did the evil aftermath of British colonialism reach and spoil the different aspects of the lives of the colonized nations, as shown in both?
{"title":"A Comparative Study of Postcolonial Aspects in T. Salih’s Season of Migration to the North and C. Achebe’s No Longer at Ease","authors":"Mohammad Ahmad Al-Leithy Al-Leithy","doi":"10.1080/25723618.2021.2004678","DOIUrl":"https://doi.org/10.1080/25723618.2021.2004678","url":null,"abstract":"ABSTRACT This study aims at investigating aspects of colonialism in both novels of the title. The two works expose a number of the evils of colonialism like masked colonization, stereotyping and hybridity. The colonizer’s appointing of national agents to run the country in the colonizer ’s stead, raising nonentities on the political hierarchy and sowing seeds of hatred among citizens of the same nation will be discussed under the first subtitle, masked colonization. Under the second, stereotyping and misrepresenting Africans will be investigated. The paper will discuss ideas of language, culture and religion when dealing with hybridity, the third concept in such a trichotomy, to show how these have been affected by colonization. The paper will respond to the following questions: how do Achebe’s No Longer at Ease and Salih’s Season of Migration to the North question the credibility of achieving independence? How (and why) did the (British) colonizer persistently stereotype African nations? How did the evil aftermath of British colonialism reach and spoil the different aspects of the lives of the colonized nations, as shown in both?","PeriodicalId":34832,"journal":{"name":"Comparative Literature East West","volume":"1 1","pages":"123 - 136"},"PeriodicalIF":0.1,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89877779","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/25723618.2021.2003606
Junghyun Hwang
ABSTRACT This article undertakes an intertextual reading of French film critic André Bazin’s “The Ontology of the Photographic Image” (1945) and the South Korean film The Journals of Musan (2010). It identifies the genre of The Journals of Musan as ontological affective realism through the film’s symmetrical comparability with Bazin’s theory of cinema. Ontological affective realism is a label applied by this article to a typology of art denoting a film-technique of reproducing reality. It comprises an artistic subjectivity that is naturally entailed when a film’s realism objectively represents its subject. The ontology of being is dramatically revealed through this subjective objectivity in the reproduction of reality on film. Viewers can finally acknowledge the object as the subject through the process of reading an object manifested through realistic affective subjectivity and can simultaneously learn the artistic methodology of reading the other.
{"title":"Identifying the Genre of The Journals of Musan as Ontological Affective Realism","authors":"Junghyun Hwang","doi":"10.1080/25723618.2021.2003606","DOIUrl":"https://doi.org/10.1080/25723618.2021.2003606","url":null,"abstract":"ABSTRACT This article undertakes an intertextual reading of French film critic André Bazin’s “The Ontology of the Photographic Image” (1945) and the South Korean film The Journals of Musan (2010). It identifies the genre of The Journals of Musan as ontological affective realism through the film’s symmetrical comparability with Bazin’s theory of cinema. Ontological affective realism is a label applied by this article to a typology of art denoting a film-technique of reproducing reality. It comprises an artistic subjectivity that is naturally entailed when a film’s realism objectively represents its subject. The ontology of being is dramatically revealed through this subjective objectivity in the reproduction of reality on film. Viewers can finally acknowledge the object as the subject through the process of reading an object manifested through realistic affective subjectivity and can simultaneously learn the artistic methodology of reading the other.","PeriodicalId":34832,"journal":{"name":"Comparative Literature East West","volume":"10 1","pages":"179 - 203"},"PeriodicalIF":0.1,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85389067","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/25723618.2021.2009980
H. Yosimbom
ABSTRACT This paper draws on Francis B. Nyamnjoh’s The Disillusioned African to argue that thinking beyond cosmopolitan borders should be an essential dimension of a cosmopolitan imagination and cosmopolitan politesse that defines the relationship between African leaders and the African masses and Africa, the West, and the rest. Nyamnjoh’s novel affirms that the maintenance of fluid cosmopolitan borders would facilitate cultural encounters and engender cosmopolitan opportunities, which would blur the us/them dichotomies that define and confine relationships between African leadership and Africans and between Africa and the West or the rest. Analyzing the novel from this perspective affirms Nyamnjoh’s belief in nimble-footedness and flexibility in belonging. It is a perspective that foregrounds the author’s informative concepts of incompleteness and conviviality and thus the importance of reciprocal acknowledgment of the Other in her/his otherness among Africans, and between Africans and the West or the rest. The paper argues that this can indeed become the most potent feature and future of a common global cosmopolitan identity.
{"title":"Francis B. Nyamnjoh’s The Disillusioned African: Rigidizing Cosmopolitan Borders, Binarizing Cosmopolitan Opportunities","authors":"H. Yosimbom","doi":"10.1080/25723618.2021.2009980","DOIUrl":"https://doi.org/10.1080/25723618.2021.2009980","url":null,"abstract":"ABSTRACT This paper draws on Francis B. Nyamnjoh’s The Disillusioned African to argue that thinking beyond cosmopolitan borders should be an essential dimension of a cosmopolitan imagination and cosmopolitan politesse that defines the relationship between African leaders and the African masses and Africa, the West, and the rest. Nyamnjoh’s novel affirms that the maintenance of fluid cosmopolitan borders would facilitate cultural encounters and engender cosmopolitan opportunities, which would blur the us/them dichotomies that define and confine relationships between African leadership and Africans and between Africa and the West or the rest. Analyzing the novel from this perspective affirms Nyamnjoh’s belief in nimble-footedness and flexibility in belonging. It is a perspective that foregrounds the author’s informative concepts of incompleteness and conviviality and thus the importance of reciprocal acknowledgment of the Other in her/his otherness among Africans, and between Africans and the West or the rest. The paper argues that this can indeed become the most potent feature and future of a common global cosmopolitan identity.","PeriodicalId":34832,"journal":{"name":"Comparative Literature East West","volume":"4 1","pages":"217 - 236"},"PeriodicalIF":0.1,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89222534","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/25723618.2021.1940680
Junchen Zhang
ABSTRACT This article takes Ang Lee’s Crouching Tiger, Hidden Dragon (CTHD in abbreviation) as an audiovisual translation discourse to explore its cognition, translation and reconfiguration of culture. It constructs an analytical framework that consists of three notions, namely cultural cognition, cultural translation and cultural reconfiguration. Within this framework, the three defined notions are used to guide the analysis of CTHD. The findings reveal that Ang Lee’s CTHD is featured by a diasporic/intercultural Chinese identity that is rooted in his cultural cognition of an imaginatively traditional China. He skillfully tells a Chinese romantic wuxia story that represents the conflicts and negotiations between Chinese classic culture and Western ideological values (e.g., feminism). English subtitle translation plays a role in bridging the gap between Chinese culture and Western audiences, facilitating the dialog between East and West. In short, the romantic imagination of “Cultural China” shaped by Ang Lee presents a multicultural embracement of Chinese and Western cultures, but it objectively reinforces the stereotype of China as an “other” to the Western world.
{"title":"Re-dissecting Ang Lee’s Crouching Tiger, Hidden Dragon from the Perspectives of Cognition, Translation and Reconfiguration of Culture","authors":"Junchen Zhang","doi":"10.1080/25723618.2021.1940680","DOIUrl":"https://doi.org/10.1080/25723618.2021.1940680","url":null,"abstract":"ABSTRACT This article takes Ang Lee’s Crouching Tiger, Hidden Dragon (CTHD in abbreviation) as an audiovisual translation discourse to explore its cognition, translation and reconfiguration of culture. It constructs an analytical framework that consists of three notions, namely cultural cognition, cultural translation and cultural reconfiguration. Within this framework, the three defined notions are used to guide the analysis of CTHD. The findings reveal that Ang Lee’s CTHD is featured by a diasporic/intercultural Chinese identity that is rooted in his cultural cognition of an imaginatively traditional China. He skillfully tells a Chinese romantic wuxia story that represents the conflicts and negotiations between Chinese classic culture and Western ideological values (e.g., feminism). English subtitle translation plays a role in bridging the gap between Chinese culture and Western audiences, facilitating the dialog between East and West. In short, the romantic imagination of “Cultural China” shaped by Ang Lee presents a multicultural embracement of Chinese and Western cultures, but it objectively reinforces the stereotype of China as an “other” to the Western world.","PeriodicalId":34832,"journal":{"name":"Comparative Literature East West","volume":"19 1","pages":"103 - 122"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77711875","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/25723618.2021.1942603
Min-Hua Wu
ABSTRACT This study attempts to compare and contrast Pound’s Chinese-English translation with the translation rendered by Xu Yuanchong (1921-), winner of the “Aurora Borealis” Outstanding Literary Translation Award. This study endeavors not just to cast light on the dialectic nature of poetry translation, but it seeks to reveal what has been lost and what has been gained in the Poundian rendition. The new contribution of the current study lies, therefore, in its novel undertaking that employs Xu Yuanchong as a touchstone to examine the loss and gain in Pound’s literary translation, and Pound as another to sieve whatever sievable inasmuch as the esthetic essence of Tang poetry is concerned. It strives to unveil the cross-cultural esthetic transmigration of Tang poets in lending their lifetime character alchemy, a Chinese alchemy in which image rhymes with music, to the forging of the new in American Imagism during the era of Ezra Pound.
{"title":"Xu Yuanchong as a Touchstone for Ezra Pound’s Translation of Tang Poetry","authors":"Min-Hua Wu","doi":"10.1080/25723618.2021.1942603","DOIUrl":"https://doi.org/10.1080/25723618.2021.1942603","url":null,"abstract":"ABSTRACT This study attempts to compare and contrast Pound’s Chinese-English translation with the translation rendered by Xu Yuanchong (1921-), winner of the “Aurora Borealis” Outstanding Literary Translation Award. This study endeavors not just to cast light on the dialectic nature of poetry translation, but it seeks to reveal what has been lost and what has been gained in the Poundian rendition. The new contribution of the current study lies, therefore, in its novel undertaking that employs Xu Yuanchong as a touchstone to examine the loss and gain in Pound’s literary translation, and Pound as another to sieve whatever sievable inasmuch as the esthetic essence of Tang poetry is concerned. It strives to unveil the cross-cultural esthetic transmigration of Tang poets in lending their lifetime character alchemy, a Chinese alchemy in which image rhymes with music, to the forging of the new in American Imagism during the era of Ezra Pound.","PeriodicalId":34832,"journal":{"name":"Comparative Literature East West","volume":"7 1","pages":"88 - 102"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77598447","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/25723618.2021.1940465
Amrollah Hemmat
ABSTRACT Based on observations of strategies adopted in Western interpretation and translation of the Chinese classic I Ching, this paper draws parallels between such strategies and Western developments in hermeneutics philosophy. In relation to this parallelism, three approaches of Western encounters with Chinese ancient literature – “conservative,” “dialogical,” and “radical” – will be identified. Cultural manifestations of such developments in twentieth century poetry, music, and the arts will be discussed.
{"title":"Hermeneutical translation of classics and cultures: the case of the I Ching and China’s inter-civilizational dialogue","authors":"Amrollah Hemmat","doi":"10.1080/25723618.2021.1940465","DOIUrl":"https://doi.org/10.1080/25723618.2021.1940465","url":null,"abstract":"ABSTRACT Based on observations of strategies adopted in Western interpretation and translation of the Chinese classic I Ching, this paper draws parallels between such strategies and Western developments in hermeneutics philosophy. In relation to this parallelism, three approaches of Western encounters with Chinese ancient literature – “conservative,” “dialogical,” and “radical” – will be identified. Cultural manifestations of such developments in twentieth century poetry, music, and the arts will be discussed.","PeriodicalId":34832,"journal":{"name":"Comparative Literature East West","volume":"55 1","pages":"15 - 28"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81426375","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/25723618.2021.1923367
Y. Kardgar
ABSTRACT Comparative study of literature across nations is an important part of literary research. In this regard, making a comparison between masterpieces and popular works is of special importance because such studies can reflect human mute eloquence and pave the way for global unity and the union of hearts. Using a descriptive, analytic, and comparative method, the present study aims to make a comparison between Fruits of the Earth by Andre Gide and Hašt Ketāb (Eight Books) by Sohrāb Sepehri as two seminal works that have aroused the interest of the audiences and received their approval. Gide and Sephri have a close affinity for highlighting human concerns. Their common tastes and interests including purity, naturalism, love for travel, satirical writing, scriptural tone, and ecstatic and melancholic reflections have made their resemblance more conspicuous, insomuch that the predominant ideology in Hašt Ketāb and Fruits of the Earth, apart from some trivial nuances, is identical. The significance of observation, rejecting preference, detachment, and living in the present moment (carpe diem) are the gist of the above-mentioned books, implying an affinity between Gide’s and Sepehri’s ideas.
{"title":"An Intellectual Affinity Between Hašt Ketāb (Eight Books) by Sepehri and Fruits of the Earth by Gide","authors":"Y. Kardgar","doi":"10.1080/25723618.2021.1923367","DOIUrl":"https://doi.org/10.1080/25723618.2021.1923367","url":null,"abstract":"ABSTRACT Comparative study of literature across nations is an important part of literary research. In this regard, making a comparison between masterpieces and popular works is of special importance because such studies can reflect human mute eloquence and pave the way for global unity and the union of hearts. Using a descriptive, analytic, and comparative method, the present study aims to make a comparison between Fruits of the Earth by Andre Gide and Hašt Ketāb (Eight Books) by Sohrāb Sepehri as two seminal works that have aroused the interest of the audiences and received their approval. Gide and Sephri have a close affinity for highlighting human concerns. Their common tastes and interests including purity, naturalism, love for travel, satirical writing, scriptural tone, and ecstatic and melancholic reflections have made their resemblance more conspicuous, insomuch that the predominant ideology in Hašt Ketāb and Fruits of the Earth, apart from some trivial nuances, is identical. The significance of observation, rejecting preference, detachment, and living in the present moment (carpe diem) are the gist of the above-mentioned books, implying an affinity between Gide’s and Sepehri’s ideas.","PeriodicalId":34832,"journal":{"name":"Comparative Literature East West","volume":"29 1","pages":"58 - 73"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72846049","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/25723618.2021.1940679
Jianghua Han
ABSTRACT The spread of Chinese Wuxia culture in Thailand is mainly realized through the Thai translation of modern Chinese Wuxia novels and the screening of Chinese Wuxia film and TV series. Chinese Wuxia culture can be widely spread in Thailand and accepted and recognized by the Thai people, on the one hand, the cultural exchanges between China and Thailand have a long history and have similar cultural acceptance psychology; on the other hand, the ethical value advocated by Chinese Wuxia culture is in line with the Buddhist ethical values believed by the Thai people. After a long period of spreading in Thailand, the profound influence of Chinese Wuxia culture on Thai society is mainly manifested in the following two aspects: influencing the ethical and moral orientation of Thai society and promoting the emerging of Thai “Wuxia style” literary and native Thai Wuxia novels.
{"title":"The Chinese Wuxia Culture in Thailand: Dissemination and Influence","authors":"Jianghua Han","doi":"10.1080/25723618.2021.1940679","DOIUrl":"https://doi.org/10.1080/25723618.2021.1940679","url":null,"abstract":"ABSTRACT The spread of Chinese Wuxia culture in Thailand is mainly realized through the Thai translation of modern Chinese Wuxia novels and the screening of Chinese Wuxia film and TV series. Chinese Wuxia culture can be widely spread in Thailand and accepted and recognized by the Thai people, on the one hand, the cultural exchanges between China and Thailand have a long history and have similar cultural acceptance psychology; on the other hand, the ethical value advocated by Chinese Wuxia culture is in line with the Buddhist ethical values believed by the Thai people. After a long period of spreading in Thailand, the profound influence of Chinese Wuxia culture on Thai society is mainly manifested in the following two aspects: influencing the ethical and moral orientation of Thai society and promoting the emerging of Thai “Wuxia style” literary and native Thai Wuxia novels.","PeriodicalId":34832,"journal":{"name":"Comparative Literature East West","volume":"25 1","pages":"1 - 14"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76122832","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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