published_or_final_version / Humanities / Master / Master of Philosophy

陳偉文. / 書名原題: 「文化工人」 -- 延安作家的自我形象與身份認同(1937-1945) / 論文(碩士) -- 香港中文大學硏究院歷史學部,1995. / 參考文獻: leaves 114-120. / Chen Weiwen. / Chapter 1， --- 中共與知識分子的關係 --- p.3 / 中外學者眼中的中國知識分子 --- p.4 / 中共與延安作家 --- p.5 / 「文化工人」的自我形象與身份認同 --- p.6 / 小結 --- p.10 / Chapter 2， --- 文人與黨員的雙重身份´ؤ瞿秋白與張聞天 --- p.17 / 左聯的舵手瞿秋白 --- p.17 / 反關門主義的張聞天 --- p.20 / 雙重身份的影響 --- p.22 / Chapter "3 ," --- 左翼作家聯盟與無產階級革命文學 --- p.26 / 時勢造難´ؤ´ؤ「左聯」的崛起 --- p.27 / 「左聯」與蘇聯 --- p.27 / 中共與普羅文學 --- p.28 / 「左聯」的宗旨及其主張 --- p.28 / 「奴隸總管」周揚 --- p.32 / 「女戰士」丁玲 --- p.34 / 三十年代的艾青、蕭軍實味 --- p.37 / 處於過渡階段的「無產階級作家」 --- p.40 / Chapter 4， --- 整風前延安作家的自我形象與身份認同 --- p.47 / 自我形象的探索 --- p.48 / 關於作家「自我形象」的數點補充 --- p.53 / 對人民的認同 --- p.55 / 對國家黨的認同 --- p.62 / 自我批評 --- p.68 / 小結 --- p.70 / Chapter 5， --- 整風後延安作家的自我形象與身份認同 --- p.80 / 延安整風於王實味事件 --- p.80 / 文藝座談會後作家的自我形象 --- p.85 / 文藝座談會後作家對人民的認同 --- p.89 / 文藝座談會後作家對黨國的認同 --- p.91 / 整風後作家的「自我批評」 --- p.97 / 小結 --- p.99 / Chapter 6， --- 無奈的關係--總結 --- p.109 / 參考書目 --- p.114

This dissertation examines the literary and cultural history of information in modern China from 1919 to 1949. This era witnessed a kind of communications revolution, marked by the rapid proliferation of new ways of transmitting and inscribing information, which joined other revolutions (sociopolitical, linguistic) in ushering in the modern subject. In the form of xiaoxi, xinxi, or tongji, “information” became an essential entity by which to understand and implement modern practices cropping up throughout China—from statistical knowledge to political propaganda, from stock speculation to new virtual communities. This dissertation uses four case studies to revisit familiar writers such as Mao Dun (1896-1981), Ding Ling (1904-1986), and Shen Congwen (1902-1988), while also excavating a number of innovative figures such as the avant-garde psychologist, Zhang Yaoxiang (1893-1964), and the communications critic, Xie Liuyi (1898-1945), to show how the rise of a modern literary culture is inseparable from the rise of this early information era, when writers, critics, and artists collectively developed new modes of literary representation, critical reading, and visualizing information. New fiction did not simply passively reflect the spread of information into everyday life or changes in China’s information order. Rather, as writers and critics integrated forms of information into their work, even envisioning literature itself as a kind of medium of information, they contributed to what I call an emergent “aesthetics of information.” Why did forms like the database or the encyclopedia inspire new modes of literary composition? How could literary forms incorporate or critique forms of data organization such as account books or statistical tables? When did information provide new ways of constructing the real—and when did literary realism seem directly opposed to the abstractive and disembodying qualities of information? The aesthetics of information directly and creatively engaged with information in a variety of ways, sometimes by way of a process of absorption and appropriation, and at other times through a more oppositional logic of resistance in the form of critique, unmasking, or satire. Ultimately the lens of “information” sheds new light on the development of modern Chinese literature, while also contributing a crucial piece to the broader mosaic of modern information’s global history. It thereby historicizes the early foundations of many of the hallmarks of postindustrial life and culture in China today: the spread of abstraction, the rise of white-collar information management, and the increasingly important role of network communications in modulating sociality and politics.

Adopting a narrow sense of 'literature' as the umbrella term for poetry, drama, and fiction, this research examines the British sinologists' studies on Chinese literature from 1807 to 1901, and addresses the specific question of how both the knowledge about, as well as the collective discourse on, Chinese poetry, drama, and fiction were gradually constructed, narrated, accumulated, and standardized in the English-speaking world in the nineteenth century. This study brings together, for the first time, a wide range of little studied sinologists' writings on Chinese literature, including monographs, journal articles, prefaces and introductions to translations, and chapters on Chinese literature in books surveying different aspects of China. Based on extensive archival investigations, this thesis reconstructs a panoramic view of how these diverse sinological texts acted collectively to create a body of knowledge about Chinese literature. Considering sinological literary studies within the historical and literary contexts which are sketched out in Chapter 2, the remaining three chapters of this thesis examine the three narrative forms I have identified in the sinologists' writings on Chinese literature: the expository, or, direct description and explanation of the characteristics of Chinese literature, the comparative studies between Chinese and English or European literatures, and the historical accounts of Chinese literature. With systematic discourse analysis of these writings, this research aims to unfold the vocabulary and rhetoric, the frameworks and perspectives, and the narrative strategies employed by the sinologists in the discursive formation of the knowledge about Chinese literature. I argue that such knowledge and discourse produced in the sinologists' studies must be understood as the result of the complex dynamics among multiple literary and cultural factors including the English and Chinese literary concepts and criticism, the ambivalent cultural attitudes towards China, the implied influence of British imperial power in China, and the varied purposes and criteria of individual sinologists. A study on the nineteenth-century British sinologists' studies on Chinese literature enables us to trace and explain the historical origins of studies on Chinese literature in the English scholarship.

劉小麗. / Submitted: March 2010. / Thesis (doctoral)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (p. 244-253). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Liu Xiaoli.

This thesis is a re-evaluation of Lin Shu (1852-1924) and his literary translations. Lin Shu is one of China’s most influential translators. He initiated modern literary translation in China, and his translations imported new ideas, literary concepts, styles and techniques from the West. These, in turn, influenced the emergence and development of modern Chinese literature. Nevertheless, Lin Shu and his translations have been belittled and even dismissed for various reasons over the years. The emergence and development of target/culture-oriented translation theories offer the possibility of re-assessing Lin Shu and his translations. The re-assessment of Lin Shu and his translations in this study is based on target/culture-oriented translation theories, which emerged in the 1970s. Target/culture-oriented translation theories focus on the mutual influence between a translation and its target culture, especially on the influence of a translation on the target culture and readers as a criterion for successful translation rather than examining whether the target text is faithful to the source text, as in the traditional linguistic approach. These target/culture-oriented theories can effectively explain the translational phenomenon of Lin Shu, as Lin Shu translated with the needs of the target culture and readers in mind. He attached great importance to the cultural function and influence of his translations during a period of historical transition in China. The criticisms of Lin Shu and his translations in China and elsewhere have largely been negative, often highlighting political issues - his endorsement of the constitutional Qing monarchy and his conservative attitude to the New Culture Movement - as well as his free translation method. Target/culture-oriented translation theories offer a framework for the re-assessment of Lin Shu and his translations that bypasses these narrow approaches. Adopting target/culture-oriented translation theories, this thesis examines Lin Shu’s translations in a trans-cultural context. Lin Shu based his translations on the needs for the Chinese culture and readers of that time, which was clearly embodied in his choice of, and response to, the originals works. The prefaces and postscripts that he wrote for his translations illustrate the new cultural and literary factors that Lin Shu introduced into China. In this respect, Lin Shu’s translation of La Dame aux Camelia is perhaps the most famous case study of his translation method. Through a comparative analysis of the Target Text (TT) and Source Text (ST), the thesis discusses the ‘truthfulness’ of Lin Shu’s translation, and stresses that ‘truthfulness’ lies in seeking poetic equivalence rather than formal equivalence between the target and source texts. We argue that poetic equivalence is similar to Nida’s principle of correspondence, but is beyond his dynamic equivalence. It lays special stress on literary or aesthetic equivalence. Poetic equivalence in Lin Shu’s translations relates to the stylistic expression in China’s literary language and is therefore intrinsic to sinicization. Lin Shu’s skill in classical Chinese is central to our notion of poetic equivalence. However, I argue that Lin Shu’s translation strategy is actually also beyond equivalence. It is primarily embodied in his constant adaptation of the original to the perceived needs of Chinese culture and the acceptability of his translations to Chinese readers. Adaptation includes omission, addition, alteration and abridgment. In terms of target/culture/reader-oriented translation theories, Lin Shu’s adaptations were acceptable in the cultural context of his time. In brief, this study clarifies Lin Shu’s contribution in introducing Western culture and literature into China. The study also stresses the cultural influence of Lin’s translations on modern Chinese culture and on later generation of Chinese writers and translators. This thesis concludes that Lin Shu played a role of utmost importance in the establishment and evolution of early-modern and modern Chinese translation, particularly of modern literary translation in China. Therefore, Lin Shu is the father of modern Chinese literary translation.

Ph.d.-projektet undersøger konstruktioner af national identitet i kinesisk samtidslitteratur, ved at fokusere på spændingen imellem forfattere, der arbejder henholdsvist indenfor eller udenfor det officielle litterære system i Folkerepublikken Kina. Projektet følger dette systems forestillede grænser, ved at læse de diskurser, der forsøger at opretholde systemet, ved siden af dem, der prøver at overskride eller omstyrte det. Undersøgelse af den historiske konstruktion af begrebet 'national litteratur' i Kina i det tidlige tyvende århundrede afslører, at denne var betinget at en ide om 'verdenslitteratur,' der rakte videre end den konventionelle teoretiske dualisme imellem 'Øst' og 'Vest,' dog uden at vriste sig fuldkommen fri af dennes symbolske stigmatisering. Fra omkring 1930erne, ses desuden tilsynekomsten af en gruppe 'internationale' kinesiske forfattere, der kan karakteriseres ved eksil, oversættelse, og fra 1949, litterær og politisk modstand overfor systemet under opbyggelse på fastlandet. Perioden fra begyndelsen af 1980erne kan ses som central i etableringen af et 'modsystem,' dels som følge at øget internationalisering af litteratur (og det sociale rum generelt) i Kina, og dels på grund af en stigende udvandring af forfattere, der ofte vælger at tilbring længere perioder i udlandet, og somme tider bosætte sig permanent i eksil. Projektet undersøger disse fysiske of forestillede rejser, samt deres indflydelse på den globale kulturpolitiske balance.

published_or_final_version / Chinese / Master / Master of Philosophy

Self-translation is essentially a translation activity that involves one undertaking the task of rendering his/her own writings. A fundamental difference between conventional or third-party translators and self-translators is the fact that the latter has better access to their original intentions and the original cultural context of their work than the former. In spite of this seemingly ideal condition, together with the fact that self-translation has been practiced for centuries, the amount of academic interest it has received does not accurately reflect its true value and potential. Consequently, this dynamic practice has been underrated and frowned upon in literary studies until recent years. On the other hand, for many years, Yu Kwang-chung has been noted as a prolific and versatile poet and prose-writer but not so much as a translator and still less as a self-translator. This study, therefore, seeks to identify the efforts and contributions made by Yu Kwang-chung within the translation arena and to raise awareness on the usefulness of self-translations in helping us to understand Yu Kwang-chung’s works as a whole. Through conducting detailed investigations on existing literature, this study reveals the conscientious attitude Yu holds towards his translation career. Based on a complementary reading and analysis of Yu’s views on translation and the self-translation strategies he employs in rendering his bilingual book, The Night watchman, this research project identifies two unique features of Yu’s self-translation: in terms of sound, Yu tends to give musicality priority over mere correctness so as to maximize the musical qualities in his self-translation; with regards to sense, Yu’s manipulation on the meanings of imageries and cultural allusions reflects and reinforces the bicultural consciousness that is unique to Yu Kwang-chung’s works and himself as a literary figure. Two contrastive studies are also conducted to contrast the nature and characteristics of self-translation and third-party translations. These two studies demonstrate that Yu treats his self-translations and his translations of other people’s work very differently. While Yu generally follows the original closely when translating the works of other poets, his self-translations are proved to be much more liberal and flexible in nature. Finally, this study attempts to answer the question of whether Yu’s self-translation is a translation or a new creation. Despite the numerous alterations made, Yu faithfully translates the essence of his own originalities and tries to stay true to himself in the English text. In addition, since no translation can be completely new, this study takes the stance that Yu’s self-translation is not a new creation although the few extreme cases found in The Night Watchman may be treated as rewritings of the original. / published_or_final_version / Chinese / Master / Master of Philosophy

“Lianzhu” style (連珠體) is a kind of miniature parallel prose (駢文) created by Yang Xiong (揚雄53 B.C.–18 A.D.) in Western Han Dynasty (西漢).It was one of the most popular literary styles in Six Dynasties (六朝).The first great author of “Lianzhu” style was Lu Ji (陸機261 – 303) in Jin Dynasty (晉代). His “Lianzhu”, named “Yanlianzhu” (演連珠). After Lu Ji, Yu Xin’s (庾信513–581) “Nilianzhu”(擬連珠) presented the most successful achievement of Southern and Northern Dynasties (南北朝). “Nilianzhu” presented his sorrows of home country (鄉關之思), whose contents were completely different from the traditional Yang Xiong’s and Lu Ji’s “Lianzhu” styles. His consummate techniques influenced the later authors. It is undeniable that Yu Xin was one of the best authors of “Lianzhu” style. Consequently, this dissertation aims at discussing the literary value of Yu Xin’s “Nilianzhu”. The dissertation consists of 8 chapters. The first chapter introducesthe purpose of research, results of previous studies ,framework and method of this dissertation. The second chapter is divided into two parts. The first part aims at defining “Lianzhu” style and Yu Xin’s “Nilianzhu”. The second part is a brief introduction of 6 representative writers before Yu Xin. The third chapter introduces the biography of Yu Xin and investigates on the creation year of Yu Xin’s “Nilianzhu”. The fourth chapter is a version inquiry of Yu Xin’s “Nilianzhu”. / published_or_final_version / Chinese Language and Literature / Master / Master of Arts