Pub Date : 2020-01-02DOI: 10.1080/25723618.2020.1782025
Siyu Chen
ABSTRACT Variation studies of literary dissemination, based on the Variation Theory of Comparative Literature, focuses on the heterogeneity and variability in the process of cross-national literary communication, exchange and influence. This paper uses Variation Theory, and elucidates the variation phenomenon when different literatures disseminate and influence each other before proposing the method of variation studies of literary dissemination. Detailed discussions are divided into two categories of case analysis. Firstly, the images of China shown in Western literature experience changes from positive to negative in different periods due to historical milieu, ideology and writers’ personal viewpoints etc. Secondly, the literary text Dee Goong An (Di Gong An) undergoes “China-the West-China” and “Chinese-English-Chinese” circulation. In such a cyclical influence, the text, the image of Judge Dee and Chinese detective novels all experience several instances of recreation and variation, showing that cultural context, readers’ esthetic reception and linguistic variations etc. influence the dissemination of literary texts. Case analysis illustrates that this method conforms to the core idea of Variation Theory, transforming from simply seeking the sameness to filling in the gaps of differences. Thus, a new method is provided for the studies of cross-cultural literary communication.
{"title":"Variation Studies of Literary Dissemination: The Image of China and Dee Goong An (Di Gong An)","authors":"Siyu Chen","doi":"10.1080/25723618.2020.1782025","DOIUrl":"https://doi.org/10.1080/25723618.2020.1782025","url":null,"abstract":"ABSTRACT Variation studies of literary dissemination, based on the Variation Theory of Comparative Literature, focuses on the heterogeneity and variability in the process of cross-national literary communication, exchange and influence. This paper uses Variation Theory, and elucidates the variation phenomenon when different literatures disseminate and influence each other before proposing the method of variation studies of literary dissemination. Detailed discussions are divided into two categories of case analysis. Firstly, the images of China shown in Western literature experience changes from positive to negative in different periods due to historical milieu, ideology and writers’ personal viewpoints etc. Secondly, the literary text Dee Goong An (Di Gong An) undergoes “China-the West-China” and “Chinese-English-Chinese” circulation. In such a cyclical influence, the text, the image of Judge Dee and Chinese detective novels all experience several instances of recreation and variation, showing that cultural context, readers’ esthetic reception and linguistic variations etc. influence the dissemination of literary texts. Case analysis illustrates that this method conforms to the core idea of Variation Theory, transforming from simply seeking the sameness to filling in the gaps of differences. Thus, a new method is provided for the studies of cross-cultural literary communication.","PeriodicalId":34832,"journal":{"name":"Comparative Literature East West","volume":"52 1","pages":"45 - 57"},"PeriodicalIF":0.1,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85756750","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 : 2020-01-02DOI: 10.1080/25723618.2020.1740467
Yongjie Zhou
ABSTRACT Except Chuang Tzu: A New Selected Translation with an Exposition of the Philosophy of Kuo Hsiang, Feng Youlan’s translations themselves are little known, let alone their influence. As a matter of fact, Feng translated seven works from Chinese into English in total, and his English works also contain a lot of translation elements, for example, “Why China Has No Science – An Interpretation of the History and Consequences of Chinese Philosophy” 中国为何无科学 – – 对于中国哲学之历史及其结果之一解释 (1922) and A Short History of Chinese Philosophy 中国哲学简史 (1948). Based on historical documents and the method of empirical analysis, the paper provides an analysis of how Feng Youlan constructed an image of Chinese philosophy in his Chinese-English translations from five perspectives: (1) he argued for the existence of philosophy in China; (2) he created a positive image of Chinese philosophy in the West; (3) he accurately translated Chinese philosophical terms into English; (4) he interpreted Chinese traditional philosophy from a Chinese scholar’s perspective; (5) he translated Chinese academic works.
{"title":"On Feng Youlan’s Construction of an Image of Chinese Philosophy in his Chinese-English Translation","authors":"Yongjie Zhou","doi":"10.1080/25723618.2020.1740467","DOIUrl":"https://doi.org/10.1080/25723618.2020.1740467","url":null,"abstract":"ABSTRACT Except Chuang Tzu: A New Selected Translation with an Exposition of the Philosophy of Kuo Hsiang, Feng Youlan’s translations themselves are little known, let alone their influence. As a matter of fact, Feng translated seven works from Chinese into English in total, and his English works also contain a lot of translation elements, for example, “Why China Has No Science – An Interpretation of the History and Consequences of Chinese Philosophy” 中国为何无科学 – – 对于中国哲学之历史及其结果之一解释 (1922) and A Short History of Chinese Philosophy 中国哲学简史 (1948). Based on historical documents and the method of empirical analysis, the paper provides an analysis of how Feng Youlan constructed an image of Chinese philosophy in his Chinese-English translations from five perspectives: (1) he argued for the existence of philosophy in China; (2) he created a positive image of Chinese philosophy in the West; (3) he accurately translated Chinese philosophical terms into English; (4) he interpreted Chinese traditional philosophy from a Chinese scholar’s perspective; (5) he translated Chinese academic works.","PeriodicalId":34832,"journal":{"name":"Comparative Literature East West","volume":"13 4 1","pages":"58 - 64"},"PeriodicalIF":0.1,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77892972","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 : 2020-01-02DOI: 10.1080/25723618.2020.1780053
Kar Yue Chan
ABSTRACT Fate is denoted as an explicit theme in the classical Chinese novel Hongloumeng 紅樓夢 [A Dream of the Red Mansion, a.k.a. The Story of the Stone]. The crucial ideas of love, fate and prognostication are entangled with and deliberately interrelated with the narrative techniques of Hongloumeng. Hinted in the dreams and hallucinations, almost all female characters are unable to refrain from falling into the wheels of prognosticated fate. The effects of fate and prognostication also fall upon Jia Baoyu 賈寶玉, amidst a group of charismatic females, who is depicted as being obsessed in feminine passion and desire. In the final chapters, his ultimate release from worldly attachments, believed to be fulfilled by the identity of a Buddhist monk, displays such metamorphosis accompanied by the transmigrated nature of the stone-jade that penetrates the whole story. Love, dreams, illusions and fate work closely in successfully rendering the plot of the novel, under which dreadful predictions disclose themselves in a subconscious sense. The Buddhist ideas that everything is never permanent, which must gradually return to their original void, and people’s attachments to worldly riches and cravings are strongly fated to be hindrances to final enlightenment.
{"title":"Love in Dreams and Illusions: Fate and Prognostication in Hongloumeng","authors":"Kar Yue Chan","doi":"10.1080/25723618.2020.1780053","DOIUrl":"https://doi.org/10.1080/25723618.2020.1780053","url":null,"abstract":"ABSTRACT Fate is denoted as an explicit theme in the classical Chinese novel Hongloumeng 紅樓夢 [A Dream of the Red Mansion, a.k.a. The Story of the Stone]. The crucial ideas of love, fate and prognostication are entangled with and deliberately interrelated with the narrative techniques of Hongloumeng. Hinted in the dreams and hallucinations, almost all female characters are unable to refrain from falling into the wheels of prognosticated fate. The effects of fate and prognostication also fall upon Jia Baoyu 賈寶玉, amidst a group of charismatic females, who is depicted as being obsessed in feminine passion and desire. In the final chapters, his ultimate release from worldly attachments, believed to be fulfilled by the identity of a Buddhist monk, displays such metamorphosis accompanied by the transmigrated nature of the stone-jade that penetrates the whole story. Love, dreams, illusions and fate work closely in successfully rendering the plot of the novel, under which dreadful predictions disclose themselves in a subconscious sense. The Buddhist ideas that everything is never permanent, which must gradually return to their original void, and people’s attachments to worldly riches and cravings are strongly fated to be hindrances to final enlightenment.","PeriodicalId":34832,"journal":{"name":"Comparative Literature East West","volume":"34 1","pages":"28 - 44"},"PeriodicalIF":0.1,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87942963","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 : 2020-01-02DOI: 10.1080/25723618.2020.1794437
L. Brooks
ABSTRACT This article looks at Kafka’s writing as profoundly ambivalent. This ambivalence is articulated within the text as a disjunction between what is promised or expected in the text and what is actually produced and interpreted. I draw comparisons between Kafka and the American television series Seinfeld, where I focus on the disjunction between the order that is demanded of us and the lawlessness of existence. Here, the tragic is transformed into the comic: Kafka’s heroes do not set themselves valiantly against the cruel orders of fate. They find themselves subjected to scenes of hope, of waiting, or promise, of apparent (yet endlessly deferred) revelation. Seinfeld not only allows us to think of Kafka differently, but – more importantly – it allows the problem of humor to generate new ways of thinking about authority and reading.
{"title":"Kafka’s Seinfeldian Humor","authors":"L. Brooks","doi":"10.1080/25723618.2020.1794437","DOIUrl":"https://doi.org/10.1080/25723618.2020.1794437","url":null,"abstract":"ABSTRACT This article looks at Kafka’s writing as profoundly ambivalent. This ambivalence is articulated within the text as a disjunction between what is promised or expected in the text and what is actually produced and interpreted. I draw comparisons between Kafka and the American television series Seinfeld, where I focus on the disjunction between the order that is demanded of us and the lawlessness of existence. Here, the tragic is transformed into the comic: Kafka’s heroes do not set themselves valiantly against the cruel orders of fate. They find themselves subjected to scenes of hope, of waiting, or promise, of apparent (yet endlessly deferred) revelation. Seinfeld not only allows us to think of Kafka differently, but – more importantly – it allows the problem of humor to generate new ways of thinking about authority and reading.","PeriodicalId":34832,"journal":{"name":"Comparative Literature East West","volume":"59 1","pages":"1 - 14"},"PeriodicalIF":0.1,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83694641","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 : 2020-01-02DOI: 10.1080/25723618.2020.1781385
Derong Cao
ABSTRACT In Academic Barbarism, Michael O’Sullivan coins the eponymous term and analyzes its diverse manifestations. He believes that the notion is worthy of more attention both in academia and beyond. This essay examines Nabokov’s Pnin and Qian’s Fortress Besieged in light of Michel Henry’s theory of barbarism as suppression of life. The essay unfolds around three essential questions in academia that concern both authors: the intrusion of the power structure of society into academia; the rampant scientism in academia; and academics’ blind faith in pedagogy. I argue that, writing some sixty years ago, Nabokov and Qian were already aware of the multiple educational problems that beset academia, thus qualifying them as prophets of the academic barbarism that is looming large on the horizon of today’s higher education.
{"title":"Academic Barbarism Reconsidered—A Comparative Study of Vladimir Nabokov’s Pnin and Qian Zhongshu’s Fortress Besieged","authors":"Derong Cao","doi":"10.1080/25723618.2020.1781385","DOIUrl":"https://doi.org/10.1080/25723618.2020.1781385","url":null,"abstract":"ABSTRACT In Academic Barbarism, Michael O’Sullivan coins the eponymous term and analyzes its diverse manifestations. He believes that the notion is worthy of more attention both in academia and beyond. This essay examines Nabokov’s Pnin and Qian’s Fortress Besieged in light of Michel Henry’s theory of barbarism as suppression of life. The essay unfolds around three essential questions in academia that concern both authors: the intrusion of the power structure of society into academia; the rampant scientism in academia; and academics’ blind faith in pedagogy. I argue that, writing some sixty years ago, Nabokov and Qian were already aware of the multiple educational problems that beset academia, thus qualifying them as prophets of the academic barbarism that is looming large on the horizon of today’s higher education.","PeriodicalId":34832,"journal":{"name":"Comparative Literature East West","volume":"37 1","pages":"15 - 27"},"PeriodicalIF":0.1,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90616519","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 : 2020-01-02DOI: 10.1080/25723618.2020.1749407
Peina Zhuang, Yawson Edward Joseph
ABSTRACT This paper discusses and compares the compilation features of Chinese literary history both at home and in the Anglophone world. Throughout the one hundred-year’s long history of compilation; first, from self-exploration to the later turning to others for reference, until today’s continuous innovating has not been without failure, but the efforts towards an unrealizable “perfect literature history” have never ceased. The compilation and research of literature history generally presents a spiraling upward trend, presenting the overall characteristics of “gradual change,” or the so-called “keeping the right and showing the new” by Yuan Xingpei. Comparatively, the compilation process of the English versions of literary history displays an obvious stage-by-stage feature, making it fractured and independent from each other. Thus, both sides can learn from each other. For instance, compilation in the Anglophone world can draw on the domestic versions in order to substantiate the historical materials and promote in-depth analysis.
{"title":"A Comparative Study of the Compilation of Classical Chinese Literary History between China and the Anglophone World","authors":"Peina Zhuang, Yawson Edward Joseph","doi":"10.1080/25723618.2020.1749407","DOIUrl":"https://doi.org/10.1080/25723618.2020.1749407","url":null,"abstract":"ABSTRACT This paper discusses and compares the compilation features of Chinese literary history both at home and in the Anglophone world. Throughout the one hundred-year’s long history of compilation; first, from self-exploration to the later turning to others for reference, until today’s continuous innovating has not been without failure, but the efforts towards an unrealizable “perfect literature history” have never ceased. The compilation and research of literature history generally presents a spiraling upward trend, presenting the overall characteristics of “gradual change,” or the so-called “keeping the right and showing the new” by Yuan Xingpei. Comparatively, the compilation process of the English versions of literary history displays an obvious stage-by-stage feature, making it fractured and independent from each other. Thus, both sides can learn from each other. For instance, compilation in the Anglophone world can draw on the domestic versions in order to substantiate the historical materials and promote in-depth analysis.","PeriodicalId":34832,"journal":{"name":"Comparative Literature East West","volume":"56 1","pages":"65 - 73"},"PeriodicalIF":0.1,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75277082","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 : 2019-07-03DOI: 10.1080/25723618.2019.1710941
B. Walsh
ABSTRACT This article explores how the concept of the Romantic sublime is presented within the filmography of acclaimed animator Hayao Miyazaki (1941-). Fronting the Japanese animation house Studio Ghibli from 1985, Miyazaki has developed into an auteur figure with his films attracting considerable attention from scholars. The films of Hayao Miyazaki are characterized by a consistent creative philosophy, a philosophy that this article contends is profoundly shaped by the esthetic, philosophical, and artistic traditions of the European Romantic movement. Miyazaki’s engagement with Romanticism can be characterized by his interpretation of the Romantic sublime, a concept inherently linked to the traditions of the Romantic hero, the magical imagination, and the natural realm. This engagement with Romantic ideals is illustrated in this article by analyzing the thematic and visual elements of Miyazaki’s films, highlighting how these particular films reflect, and embody, particular Romantic ideals. In studying these films through a conceptual framework of the Romantic sublime, this article provides a deeper insight into Hayao Miyazaki’s creative philosophy.
{"title":"A Modern-Day Romantic: The Romantic Sublime in Hayao Miyazaki’s Creative Philosophy","authors":"B. Walsh","doi":"10.1080/25723618.2019.1710941","DOIUrl":"https://doi.org/10.1080/25723618.2019.1710941","url":null,"abstract":"ABSTRACT This article explores how the concept of the Romantic sublime is presented within the filmography of acclaimed animator Hayao Miyazaki (1941-). Fronting the Japanese animation house Studio Ghibli from 1985, Miyazaki has developed into an auteur figure with his films attracting considerable attention from scholars. The films of Hayao Miyazaki are characterized by a consistent creative philosophy, a philosophy that this article contends is profoundly shaped by the esthetic, philosophical, and artistic traditions of the European Romantic movement. Miyazaki’s engagement with Romanticism can be characterized by his interpretation of the Romantic sublime, a concept inherently linked to the traditions of the Romantic hero, the magical imagination, and the natural realm. This engagement with Romantic ideals is illustrated in this article by analyzing the thematic and visual elements of Miyazaki’s films, highlighting how these particular films reflect, and embody, particular Romantic ideals. In studying these films through a conceptual framework of the Romantic sublime, this article provides a deeper insight into Hayao Miyazaki’s creative philosophy.","PeriodicalId":34832,"journal":{"name":"Comparative Literature East West","volume":"22 1","pages":"176 - 191"},"PeriodicalIF":0.1,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86703714","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 : 2019-07-03DOI: 10.1080/25723618.2019.1710940
Wole Olugunle
ABSTRACT The interrelatedness of the study of literature and other disciplines such as Psychology is one of the basic tenets of Comparative Literature. Psychoanalysts maintain that the unconscious is the storehouse of our childhood painful experiences and emotions expunged from our consciousness because we do not want to know and be overwhelmed by them. Thus, they organize our current experience: we unconsciously behave in ways that will allow us to “play out”; without acquiescing it to ourselves, our conflicted feelings about the painful experiences and emotions we repress. With psychoanalytic criticism as the theoretical framework and textual analysis as our methodology, the objective of this study is to establish how Literature and Psychology, the two different disciplines, interplay through the archetypes; Yaremi and Emma Bovary in Lonely Days (2006) and Madame Bovary (1857). This study analyzes the personalities of these heroines and how they react to their instinctual impulses as their id remains in search of their lost object petit a in the face of the psychological events of their daily lives. We discover the creators’ societal criticism through these archetypes; while one is narcissistic and the other pessimistic as a result of their ego’s excessive deployment of defense mechanisms.
{"title":"The Interplay of Literature and Psychology in Literary Productions: Lonely Days and Madame Bovary","authors":"Wole Olugunle","doi":"10.1080/25723618.2019.1710940","DOIUrl":"https://doi.org/10.1080/25723618.2019.1710940","url":null,"abstract":"ABSTRACT The interrelatedness of the study of literature and other disciplines such as Psychology is one of the basic tenets of Comparative Literature. Psychoanalysts maintain that the unconscious is the storehouse of our childhood painful experiences and emotions expunged from our consciousness because we do not want to know and be overwhelmed by them. Thus, they organize our current experience: we unconsciously behave in ways that will allow us to “play out”; without acquiescing it to ourselves, our conflicted feelings about the painful experiences and emotions we repress. With psychoanalytic criticism as the theoretical framework and textual analysis as our methodology, the objective of this study is to establish how Literature and Psychology, the two different disciplines, interplay through the archetypes; Yaremi and Emma Bovary in Lonely Days (2006) and Madame Bovary (1857). This study analyzes the personalities of these heroines and how they react to their instinctual impulses as their id remains in search of their lost object petit a in the face of the psychological events of their daily lives. We discover the creators’ societal criticism through these archetypes; while one is narcissistic and the other pessimistic as a result of their ego’s excessive deployment of defense mechanisms.","PeriodicalId":34832,"journal":{"name":"Comparative Literature East West","volume":"129 7 1","pages":"163 - 175"},"PeriodicalIF":0.1,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79599820","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 : 2019-07-03DOI: 10.1080/25723618.2019.1696264
Q. Yang
ABSTRACT The Chinese stories on Monkey King have offered a popular theme in American literature, but are also transformed in the American cultural context through cross-cultural communication. The Chinese character Monkey King is one of the most representative legends in Chinese culture, representing resistance, longing for freedom, and a somewhat individualistic heroism, and is also the protagonist in the Chinese classical novel Journey to the West written by Wu Chengen in the Ming Dynasty. When stories about Monkey King travel to the heterogeneous cultural context, variations of such cultural images inescapability occur. This article will compare aspects of the novel with the Monkey King in Chinese American writer Maxine Hong Kingston’s novel Tripmaster Monkey: His Fake Book (1990) and in Native American writer Gerald Vizenor’s novel Griever: An American Monkey King in China (1987). Supported by concepts from the variation theory of comparative literature, which focuses on changes, or variations, in the cross-cultural literary transfer processes, this article shows how and why variations between the Chinese cultural legend and the American re-writings is determined by cross-cultural variation by changing the cultural context, which can be seen as a framework for the study of cross-cultural communication.
中国的孙悟空故事在美国文学中是一个流行的主题，但也通过跨文化交流在美国文化语境中进行了转化。孙悟空是中国文化中最具代表性的传奇人物之一，代表着反抗、向往自由和带有个人主义色彩的英雄主义，也是明代吴承恩小说《西游记》中的主人公。当孙悟空故事在异质文化语境中传播时，这些文化形象不可避免地会发生变异。本文将比较这部小说与美籍华裔作家汤亭亭的小说《Tripmaster Monkey: His Fake Book》(1990)和美国原住民作家Gerald Vizenor的小说《悲伤者:一位美国美猴王在中国》(1987)中的孙悟空的各个方面。本文以比较文学变异理论的概念为支撑，着重研究文学跨文化迁移过程中的变化或变异，揭示了中国文化传说与美国改写之间的变异是如何以及为什么由文化语境的改变而产生的跨文化变异所决定的，这可以作为跨文化交际研究的一个框架。
{"title":"Cross-cultural Variation: Chinese Monkey King Legend as a Trickster in America","authors":"Q. Yang","doi":"10.1080/25723618.2019.1696264","DOIUrl":"https://doi.org/10.1080/25723618.2019.1696264","url":null,"abstract":"ABSTRACT The Chinese stories on Monkey King have offered a popular theme in American literature, but are also transformed in the American cultural context through cross-cultural communication. The Chinese character Monkey King is one of the most representative legends in Chinese culture, representing resistance, longing for freedom, and a somewhat individualistic heroism, and is also the protagonist in the Chinese classical novel Journey to the West written by Wu Chengen in the Ming Dynasty. When stories about Monkey King travel to the heterogeneous cultural context, variations of such cultural images inescapability occur. This article will compare aspects of the novel with the Monkey King in Chinese American writer Maxine Hong Kingston’s novel Tripmaster Monkey: His Fake Book (1990) and in Native American writer Gerald Vizenor’s novel Griever: An American Monkey King in China (1987). Supported by concepts from the variation theory of comparative literature, which focuses on changes, or variations, in the cross-cultural literary transfer processes, this article shows how and why variations between the Chinese cultural legend and the American re-writings is determined by cross-cultural variation by changing the cultural context, which can be seen as a framework for the study of cross-cultural communication.","PeriodicalId":34832,"journal":{"name":"Comparative Literature East West","volume":"17 1","pages":"205 - 215"},"PeriodicalIF":0.1,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74170406","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 : 2019-07-03DOI: 10.1080/25723618.2019.1709341
T. D’haen
ABSTRACT The economic rise, first of Japan and Korea, then, even stronger, China, and in its wake perhaps soon much of South and South-East Asia, has brought about a major geopolitical recalibration from the Atlantic to the Pacific, and from Europe, or what we are used to call the “Western world,” to Asia. In his 1998 book ReOrient, Andre Gunder Frank argued that this in fact merely marks a return to the pre-1800 situation, when China, India and places in-between, likewise were at the center of the world economy. Consequently, he asks Western scholars to look at the world with different eyes than their customarily Euro- or Western-centric ones. In many ways, this chimes with other such appeals launched since the 1970s, also in literary studies. Initially, this call was loudest from the side of postcolonial studies. Since the turn of the millennium world literature studies has joined the chorus. In the present essay, I consider what the implications of such a shift might be for the discipline of Comparative Literature. I will be particularly concerned with the role China and Chinese literature play in this.
{"title":"Re-Orient?","authors":"T. D’haen","doi":"10.1080/25723618.2019.1709341","DOIUrl":"https://doi.org/10.1080/25723618.2019.1709341","url":null,"abstract":"ABSTRACT The economic rise, first of Japan and Korea, then, even stronger, China, and in its wake perhaps soon much of South and South-East Asia, has brought about a major geopolitical recalibration from the Atlantic to the Pacific, and from Europe, or what we are used to call the “Western world,” to Asia. In his 1998 book ReOrient, Andre Gunder Frank argued that this in fact merely marks a return to the pre-1800 situation, when China, India and places in-between, likewise were at the center of the world economy. Consequently, he asks Western scholars to look at the world with different eyes than their customarily Euro- or Western-centric ones. In many ways, this chimes with other such appeals launched since the 1970s, also in literary studies. Initially, this call was loudest from the side of postcolonial studies. Since the turn of the millennium world literature studies has joined the chorus. In the present essay, I consider what the implications of such a shift might be for the discipline of Comparative Literature. I will be particularly concerned with the role China and Chinese literature play in this.","PeriodicalId":34832,"journal":{"name":"Comparative Literature East West","volume":"17 1","pages":"113 - 127"},"PeriodicalIF":0.1,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85869043","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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