Zou, Meiyang. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (leaves 99-103). / Abstracts in English and Chinese. / Acknowledgements --- p.iii / Abstract --- p.iv / 摘要 --- p.vi / Abbreviations --- p.viii / Chapter Chapter One: --- Introduction --- p.1 / Nation and nationalism: problems and dilemmas --- p.2 / James Joyce and Lu Xun --- p.10 / Critical / ironical nationalism? --- p.16 / Chapter Chapter Two: --- Negative Images of the Homeland --- p.21 / Haunting death and insanity --- p.22 / Problematic national identity and “backward´ح national character --- p.33 / Chapter Chapter Three: --- Doubts Towards the Foreign Powers --- p.39 / Criticizing the self-imposed inferiority --- p.42 / Failed intellectuals --- p.53 / Chapter Chapter Four: --- Rescuing the Nation Through Language --- p.63 / Disillusionment with political revolutions --- p.63 / Literary experimentations as alternative salvation --- p.76 / Chapter Chapter Five: --- Conclusion --- p.83 / After the short stories --- p.83 / Exile and role of the intellectual --- p.89 / Literature and politics --- p.96 / WORKS CITED --- p.99

Tableau d'honneur de la Faculté des études supérieures et postdoctorales, 2011-2012 / Dans le roman Godân (1936) du romancier et nouvelliste du nord de l'Inde Premchand (1880-1936), la notion de service (sevâ) se présente comme la voie morale par excellence lorsqu'elle trouve son achèvement dans la pratique du « service social ». Alors que, dans le monde indien, l'activité de servir implique traditionnellement une forme de soumission, la sevâ est réinvestie d'une valorisation nouvelle à partir du XIXe siècle sous l'impulsion de réformateurs comme Gandhi (1869-1948) et Vivekananda (1863-1902). À une époque où l'Inde cherche à s'affirmer devant l'Occident que représentent le pouvoir colonial britannique et les missions chrétiennes, Premchand, comme d'autres réformateurs avant lui, propose à ses lecteurs un idéal social et religieux dont les referents ne sont plus seulement à chercher dans l'idéologie hindoue traditionnelle.

University of Macau / Faculty of Social Sciences and Humanities / Department of Chinese

Thesis (MPhil (Afrikaans and Dutch))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: This thesis is an analysis of The True Story of Ah Q in English translation (in Chinese-English bilingual format). By applying new translation theories, specifically those of Christiane Nord and Lawrence Venuti, and by demonstrating their applicability it is hoped that this research project will contribute to these theories becoming more accepted in China. The skopos theory and the concepts domestication and foreignisation are the main translation theories utilised in this thesis. The research was begun with the hypothesis that the translators domesticated the English target text, based on Venuti’s belief that the majority of English translations domesticate the original. The two main research questions are: What is the dominant translation strategy utilised by the translators? Does this strategy fulfil the skopos (i.e. the aims of the translation)? The research will also give suggestions for an improved translation and a more effective translation strategy in light of the skopos. In addition, the study will determine whether the bilingual format is suited for the fulfilment of the current skopos. As pointed out in the publisher’s note, this Chinese-English bilingual version of The True Story of Ah Q is intended to exhibit this modern Chinese classic as a great piece of Chinese literature. The primary aim of the translation is to give readers a real experience of the depth and the heights of Chinese culture. The secondary aims of the translation focus on language learning as well as the function for translators (namely to use this translation as an example for future translations). This research project will determine if the translation has fulfilled these aims. The translation theories on which the analyses in this thesis are based are presented in the literature study (chapter 2). This provides the foundation for the comparison between the Chinese ST and the English TT, the evaluation of the translation, and subsequent conclusions. Chapters 3 and 4 present the application of the theory, divided into an analysis of the macro and microstructures respectively. Translation decisions are analysed on these two levels within the theoretical insights presented in chapter 2. It will be these chapters that provide the foundation for the research findings of this thesis. In cases where improvements of the translation are proposed, suggestions will be made and motivated by theoretical insights. The final chapter (chapter 5) will answer the research questions in detail, based on the individual analyses made in chapters 3 and 4 and motivate these answers based mainly on the translation theories of Nord and Venuti. These answers as well as the suggestions for an improved translation are the main contributions that this thesis makes to translation studies. Lastly, suggestions for further research are made in order to stimulate further research on English translations produced in China. / AFRIKAANSE OPSOMMING: In hierdie tesis word die Engelse vertaling van The true story of Ah Q geanaliseer. Met die studie word daar onder meer gepoog om, deur die toepassing van nuwe vertaalteorieë soos dié van Christiane Nord en Lawrence Venuti, en deur die illustrasie van die teorieë se toepasbaarheid, daartoe by te dra dat dié teorieë meer in China aanvaar word. Die skoposteorie en die konsepte domestikering (‘domestication’) en vervreemding (‘foreignisation’) verteenwoordig die vernaamste vertaalteorieë waarop hierdie tesis berus. Ter aanvang van die studie word die hipotese gestel dat die vertalers ’n domestikerende inslag aan die Engelse teks gegee het. Dit word gebaseer op die mening van Venuti wat glo dat die meerderheid Engelse vertalings ’n domestikerende weergawe van die oorspronklike teks verteenwoordig. Die twee primêre probleemstellings wat in hierdie studie gestel word, lui soos volg: Wat is die dominante vertaalstrategie wat deur die vertalers aangewend word? Vervul hierdie strategie die skopos (met ander woorde die doelstellings van die vertaling)? Die studie doen voorts ook voorstelle vir ’n verbeterde vertaling aan die hand en stel ook ’n meer effektiewe vertaalstrategie op grond van die skopos voor. Verder stel die studie ook vas of die tweetalige format inderdaad gepas is om die bestaande skopos te verwesenlik. Volgens die nota van die uitgewer, is die doel van hierdie Chinees-Engelse weergawe van The true story of Ah Q om dié moderne Chinese klassieke werk as ’n belangrike Chinese literêre teks daar te stel. Die primêre doelstelling van die vertaling is om lesers ’n ware ervaring te gee van die omvattendheid van die Chinese kultuur. Die sekondêre doelstellings van die vertaling fokus op die aanleer van taal, sowel as op die pragmatiese waarde daarvan vir vertalers (naamlik om die vertaling as voorbeeld te neem vir toekomstige vertalings). Hierdie ondersoek sal bepaal of die vertaling wel hierde doelstellings vervul het. Die vertaalteorieë waarop die analise in hierdie tesis berus, word in die literatuurstudie (hoofstuk 2) aangebied. Dit verskaf die basis vir die vergelyking tussen die Chinese .bronteks en die Engelsedoelteks, die evaluering van die vertaling, en die daaropvolgende gevolgtrekkings. Hoofstuk 3 en 4 handel oor die toepassing van die teorie, en is verdeel in die analise van die makro- en mikrostruktuur onderskeidelik. Besluite ten opsigte van die vertaling word op hierdie twee vlakke, en op grond van die teoretiese insigte wat in hoofstuk 2 aangebied word, gëevalueer. Dit is hierdie hoofstukke wat die basis vorm vir die navorsingsresultate van hierdie tesis. In gevalle waar verbeterings vir die vertaling aangebied word, word voorstelle op grond van die relevante teoretiese insigte gegee en gemotiveer. Die slothoofstuk (hoofstuk 5) beantwoord die navorsingsvrae in groter detail en is gebaseer op die afsonderlike analises in hoofstuk 3 en 4. Motiverings vir die antwoorde op hierdie vrae word gebaseer op die vertaalteorieë van veral Nord en Venuti. Hierdie antwoorde, sowel as die voorstelle ter verbetering van die vertaling, is die primêre bydrae van hierdie tesis tot vertaalstudie in die algemeen. Ten slotte word voorstelle vir verdere navorsing gemaak om só verdere ondersoeke oor Engelse vertalings wat in China geproduseer word, te stimuleer.

Being an integral part of cultural modernity, literary modernity is an on-going, self-negating, and self-rejuvenating process. It has always been engaged in a dialectical relationship with tradition and is inseparable from the quest for reality based on artistic autonomy and communicative intersubjectivity. In the first half of my thesis, I attempt to show how and why literary tradition has played a decisive role in the process of literary modernity, how and why the Chinese literary tradition is different from its Western counterpart; how and why Chinese literary modernity is influenced by, but different from Western literary modernity; and what is the specific path that Chinese writers have been taking to achieve literary modernity, as is distinct from the route that has been followed in the West, i. e., from romanticism to realism to modernism and to postmodernism. The second half of my thesis comprises a detailed study of two of China's foremost writers, Lu Xun and Shen Congwen, by way of illustrating my arguments. The first two chapters investigate some core concepts in the Western and Chinese literary traditions and the formative roles that they have played respectively in. shaping the process of literary modernity in the West and China. In our study of Chinese literary modernity and modern Chinese writers, we should pay special attention to the important role of the Chinese literary tradition, while taking into consideration the impact of Western literature and China's historical contingency. The interactions between these three factors constitute the special character of China's literary modernity. The third and the fourth chapters deal with respectively the fiction of Lu Xun and Shen Congwen, as well as their conceptions of literature. Through a close investigation of a few selected stories by these two writers, I wish to demonstrate how their works embody the general ideas of literary modernity, and at the same time reveal the peculiar features of China's own literary modernity. In conclusion, I suggest that modernity and tradition have always been intertwined in a complex, dynamic, and dialectic relationship, which has proved to be not only the motive force, but also the unfailing source for the achievements of modern literature, both Chinese and Western; and subjective reflection should be integrated with the lifeworld, and combined with inter subjective communication.

Dynasties of Demons: Cannibalism from Lu Xun to Yu Hua focuses on the issue of representations of the body in modern Chinese fiction. My interest concerns the relationship, or correspondence between "textual" bodies and the physical "realities" they are meant to represent, particularly where those representations involve the body as a discursive site for the intersection of state ideology and the individual. The relationship between the body and the state has been a question of profound significance for modern Chinese literati dating back to the late Qing, but it was Lu Xun who, with the publication of his short story "Kuangren riji" (Diary of a Madman), in 1918, initiated the literaty discourse on China's "apparent penchant for cannibalizing its own people. In the first chapter of my dissertation I discuss L u Xun's fiction by exploring two distinct, though not mutually exclusive issues: (1) his diagnosis of China's debilitating "spiritual illness," which he characterized as being cannibalistic; (2) his highly inventive, counter-intuitive narrative strategy for critiquing traditional Chinese culture without contributing to or stimulating his reader's prurient interests in violent spectacle. To my knowledge I am the first critic of modern Chinese literature to write about Lu Xun's erasure of the spectacle body. In Chapters II, III and IV, I discuss the writers Han Shaogong, Mo Yan, and Yu Hua, respectively, to illustrate that sixty years after Lu Xun's madman first "wrote" the prophetic words, chi ren A (eat people), a number of post-Mao writers took up their pens to announce that the human feast did not end with Confucianism; on the contrary, with the advent of Maoism the feasting began in earnest. Each of these post-Mao writers approaches the issue of China's "spiritual dysfunction" from quite different perspectives, which I have characterized in the following way: Han Shaogong (Atavism); Mo Yan (Ambivalent-Nostalgia); and Yu Hua (Deconstruction). As becomes evident through my analysis of selected texts, despite their very significant differences (personal, geographic, stylistic) all three writers come to oddly similar conclusions that are, in and of themselves, not dissimilar to the conclusion arrived at by Lu Xun's madman.

No description available.

Dynasties of Demons: Cannibalism from Lu Xun to Yu Hua focuses on the issue of representations of the body in modern Chinese fiction. My interest concerns the relationship, or correspondence between "textual" bodies and the physical "realities" they are meant to represent, particularly where those representations involve the body as a discursive site for the intersection of state ideology and the individual. The relationship between the body and the state has been a question of profound significance for modern Chinese literati dating back to the late Qing, but it was Lu Xun who, with the publication of his short story "Kuangren riji" (Diary of a Madman), in 1918, initiated the literaty discourse on China's "apparent penchant for cannibalizing its own people. In the first chapter of my dissertation I discuss L u Xun's fiction by exploring two distinct, though not mutually exclusive issues: (1) his diagnosis of China's debilitating "spiritual illness," which he characterized as being cannibalistic; (2) his highly inventive, counter-intuitive narrative strategy for critiquing traditional Chinese culture without contributing to or stimulating his reader's prurient interests in violent spectacle. To my knowledge I am the first critic of modern Chinese literature to write about Lu Xun's erasure of the spectacle body. In Chapters II, III and IV, I discuss the writers Han Shaogong, Mo Yan, and Yu Hua, respectively, to illustrate that sixty years after Lu Xun's madman first "wrote" the prophetic words, chi ren A (eat people), a number of post-Mao writers took up their pens to announce that the human feast did not end with Confucianism; on the contrary, with the advent of Maoism the feasting began in earnest. Each of these post-Mao writers approaches the issue of China's "spiritual dysfunction" from quite different perspectives, which I have characterized in the following way: Han Shaogong (Atavism); Mo Yan (Ambivalent-Nostalgia); and Yu Hua (Deconstruction). As becomes evident through my analysis of selected texts, despite their very significant differences (personal, geographic, stylistic) all three writers come to oddly similar conclusions that are, in and of themselves, not dissimilar to the conclusion arrived at by Lu Xun's madman. / Arts, Faculty of / Asian Studies, Department of / Graduate

Being an integral part of cultural modernity, literary modernity is an on-going, self-negating, and self-rejuvenating process. It has always been engaged in a dialectical relationship with tradition and is inseparable from the quest for reality based on artistic autonomy and communicative intersubjectivity. In the first half of my thesis, I attempt to show how and why literary tradition has played a decisive role in the process of literary modernity, how and why the Chinese literary tradition is different from its Western counterpart; how and why Chinese literary modernity is influenced by, but different from Western literary modernity; and what is the specific path that Chinese writers have been taking to achieve literary modernity, as is distinct from the route that has been followed in the West, i. e., from romanticism to realism to modernism and to postmodernism. The second half of my thesis comprises a detailed study of two of China's foremost writers, Lu Xun and Shen Congwen, by way of illustrating my arguments. The first two chapters investigate some core concepts in the Western and Chinese literary traditions and the formative roles that they have played respectively in. shaping the process of literary modernity in the West and China. In our study of Chinese literary modernity and modern Chinese writers, we should pay special attention to the important role of the Chinese literary tradition, while taking into consideration the impact of Western literature and China's historical contingency. The interactions between these three factors constitute the special character of China's literary modernity. The third and the fourth chapters deal with respectively the fiction of Lu Xun and Shen Congwen, as well as their conceptions of literature. Through a close investigation of a few selected stories by these two writers, I wish to demonstrate how their works embody the general ideas of literary modernity, and at the same time reveal the peculiar features of China's own literary modernity. In conclusion, I suggest that modernity and tradition have always been intertwined in a complex, dynamic, and dialectic relationship, which has proved to be not only the motive force, but also the unfailing source for the achievements of modern literature, both Chinese and Western; and subjective reflection should be integrated with the lifeworld, and combined with inter subjective communication. / Arts, Faculty of / Asian Studies, Department of / Graduate

University of Macau / Faculty of Social Sciences and Humanities / Department of Chinese