Chinese Writers Research Articles

The Rarest Disease of Indian Community: Ocular Tuberculosis

Tuberculosis is an ancient disease and we can find its description in the ancient Buddhist and Chinese writings. Ocular tuberculosis is an extrapulmonary mycobacterial infection with variable manifestations. Mycobacterium tuberculosis is a gram-positive, acid-fast bacillus (AFB) which spreads from person to person through airborne droplets. Prevalence of ocular tuberculosis in India is 0.4–9.8%. The term “ocular TB” describes an infection by the M. tuberculosis species that can affect any part of the eye (intraocular, superficial, or surrounding the eye), with or without systemic involvement. “Secondary ocular TB” is defined as ocular involvement as a result of seeding by hematogenous spread from a distant site or direct invasion by contiguous spread from adjacent structures, like the sinus or cranial cavity. Standard anti-TB treatment (ATT) 6 months of therapy based on WHO recommendations for first 8 weeks is Rifampin, Isoniazid, Ethambutol and Pyrazinamide and for next 18 weeks is Rifampin and Isoniazid.

Rebuilding Home Around Hardened Borders

Anti-Chinese sentiment and sinophobia have arisen as one of the current corona virus’s most serious side effects. These conditions have challenged the Chinese diasporic community’s sense of home. Far from mere diversion in a time of turmoil, Chinese literature has the power to disrupt state narratives and contest polarising claims from politicians. Online literature during the pandemic has not been limited to the Chinese diaspora, and its themes have not been limited to hate crimes. Online literature in the diaspora and in China debunks grand narratives set by the state, and provides a sense of nonphysical homecoming for them. Like these Chinese diasporic writers, we too can find our belonging with each other virtually.

A Study on the Korean ‘Self-Introduction’ Text Writing Education Program -For Chinese Learning Writers-

A Study on the Korean ‘Self-Introduction’ Text Writing Education Program -For Chinese Learning Writers-

The contribution of register analysis to the translation of Red Sorghum

Abstract The Chinese novel Hóng Gāoliáng Jiāzú (红高粱家族, Red Sorghum 2008) was written by the Nobel-winning Chinese writer Mò Yán (莫言). Its Arabic translation (الذرة الرفيعة الحمراء, al-Dhurra al-Rafī‘a al-Hamrā) was published in 2013. By comparing the Chinese source text with the Arabic target text, this paper aims to present an assessment of the Arabic translation based on an awareness of translation theory and, in particular, translation quality assessment or what is widely known as register analysis (House 1997) in order to propose additional solutions for the translation of Chinese literature into Arabic. The paper also surveys the field of translation studies specifically in regard to scholarship concerning translation between Chinese and Arabic, and it attempts to add additional literature for Chinese-Arabic translators or translator trainees. Relying on textual analysis that relates to a wider socio-cultural framework, the paper concludes that the original translation of the novel is not successful, as it lacks an awareness of register characterization which plays an important part in the translation-oriented analysis of literary texts. This results in the misrepresentation of Chinese cultural experience as well as an absence of evaluative meanings at an interpersonal level. For this reason, this study offers alternative translation techniques into Arabic that foreground the author’s style without modifying the cultural elements. This approach will be illustrated through a number of examples representative of many examples translated and assessed by the authors. We suggest that an awareness of register variables results in a more appropriate communication of the Chinese cultural context, and is therefore more likely to be viewed positively by the Arab audience, piquing its curiosity in regard to the cultural specificities found in this foreign culture.

Beyond The Good Earth: Transnational Perspectives on Pearl S. Buck, by Jay Cole and John Haddad, eds.

<i>Beyond</i> The Good Earth: <i>Transnational Perspectives on Pearl S. Buck</i>, by Jay Cole and John Haddad, eds.

Ah Q Travels to Europe

This study focuses on the adaptations of the novella “The True Story of Ah Q” by the Chinese writer Lu Xun (1881-1936), produced by two important European playwrights, Christoph Hein (b. 1944) and Dario Fo (1926-2016), who ‘translated’ Lu Xun’s famous character respectively into a problematic nihilist (Die wahre Geschichte des Ah Q, 1983) and into a revolutionary Chinese Harlequin (La storia di Qu, 1989; 2011). These two plays appropriate the ‘hypotext’ into a new cultural geography, which is neither Chinese nor completely German or Italian, but rather a transcultural space based on the European intellectual tradition of the ‘anarchist’. In this case translation means a thorough transformation and change which allows Lu Xun’s work to ‘live on’ (Fortleben, as in Walter Benjamin’s theory).

Ah Q Travels to Europe Christoph Hein’s Die wahre Geschichte des Ah Q (1983) and Dario Fo’s La storia di Qu (2011)

This study focuses on the adaptations of the novella “The True Story of Ah Q” by the Chinese writer Lu Xun (1881-1936), produced by two important European playwrights, Christoph Hein (b. 1944) and Dario Fo (1926-2016), who ‘translated’ Lu Xun’s famous character respectively into a problematic nihilist (Die wahre Geschichte des Ah Q, 1983) and into a revolutionary Chinese Harlequin (La storia di Qu, 1989; 2011). These two plays appropriate the ‘hypotext’ into a new cultural geography, which is neither Chinese nor completely German or Italian, but rather a transcultural space based on the European intellectual tradition of the ‘anarchist’. In this case translation means a thorough transformation and change which allows Lu Xun’s work to ‘live on’ (Fortleben, as in Walter Benjamin’s theory).

Metadiscourse, Cohesion, and Engagement in L2 Written Discourse

The current study examines how L2 Chinese writers at different proficiencies employed various metadiscourse devices to shape their written descriptive discourse and also whether various metadiscourse features may distinguish levels of writing proficiency. The study also looks at how L2 learners’ use of metadiscourse devices is related to their linguistic performances in descriptive writing. The findings revealed differential metadiscourse use by learners at different proficiencies on local, global, and textual organizational dimensions. For instance, compared to low-proficiency writers, more proficient writers used significantly more conditional/hypothetical markers, frame markers, and engagement markers. Multiple metadiscourse features also demonstrated significant positive and negative correlations with each other, suggesting patterns of decreases and increases in the use of particular organizational features. Several metadiscourse features characteristic of more advanced writers also displayed positive relationships with linguistic features.

The theatrical imagining of diasporic modernity in Shih-I Hsiung’s Lady Precious Stream

ABSTRACT Lady Precious Stream (1934) is an English spoken drama adapted from Peking Opera by the Chinese British writer Shih-I Hsiung. Its commercial success in the Anglo American context during the 1930s is often seen as a result of its expression of the Chinese diasporic voice. This article explores the nature of this expression by situating the play within two processes of transcultural practice: first, the translation of the form of spoken drama from the west to China, and second, British chinoiserie forms of appropriating Chinese culture. The play’s reconfiguration of gender, class, and international relations bears close thematic and ideological affinities with Chinese spoken drama, and thus can be seen as a “national allegory” of modern China. This context of “translated modernity” underwrites the play’s intervention in British chinoiserie discourses and the way it challenges binary thinking about China in Britain.

The Reception of George Eliot in China

Abstract George Eliot is the first English female writer translated and introduced into China to guide Chinese women during the late Qing Dynasty (1644–1912) and the Republican period (1912–49). While most of her novels have already been translated into Chinese more than once, there are still two novels, Felix Holt: The Radical and Daniel Deronda, which have been long neglected. Most of Eliot's essays (the only collection of essays translated into Chinese being Silly Novels by Lady Novelists1) and all her poems are still not translated into Chinese yet. On the other hand, though Chinese scholars have applied a variety of perspectives to analyze Eliot as a novelist or a producer of literature, they have still overlooked her importance as a cultural critic. In addition, the mutual interaction and influences between Eliot and China remain not fully exhausted, such as the Chinese elements in her works and her impact upon Chinese writers. Generally speaking, with the International Bi-Century Conference held in 2019, it is apt and appropriate to offer an account of Eliot's reception, with a thorough discussion of the social reasons behind it in China. This study is also expected to shed new light on the future directions of Chinese studies on Eliot.

DECODING AND CANONIZATION THROUGH TRANSLATION: THE RECEPTION OF DECODED IN THE ENGLISH-SPEAKING WORLD

Decoded (解密) is the debut novel of contemporary Chinese writer Mai Jia (麦家). 1 After the publication of Decoded in Chinese in 2002, more of his novels have been published, including In the Dark (暗算...

杜宇·望帝·杜鵑고사 試探

Ancient event related to Duwu, Mangje, and Duogyeon is a favorite subject of many Korean and Chinese writers. In the literature, this story is revealed by the feelings of 'Tragedy', 'Bitter grief, and 'Sorrow.' However, Duwu, Mangje, and Duogyeon in the writings of such writers are a little different from the early historical records. Such early records show that the people were saddened by the king who had gone away from the throne because of his powerlessness and private correspondence. If we accord such a early record, Ancient event related to Duwu, Mangje, and Duogyeon cannot contain such a sad emotion. Thus, in this paper, we looked at the substance of the Du-Wu, Mang-Je and Du-Gyun tests through other materials. As a result, Du-Wu(Mang-Je) was a leader who ruled Chok nation well, but he was an unfortunate king who was unjustly killed by his Chancellor after being overthrown by his throne. For the loss of such a great king, the people were saddened by the sound of Duogyeon vomiting blood. Such an entity could also be found in images of the Duwu, Mangje and Duogyeon, which were painted in the poems of Korean and Chinese writers.

关于鲍则岳(William G. Boltz)对汉字的起源与早期发 展的研究的述评

윌리엄 볼츠는 이집트의 상형문자와 수메르 문자를 한자와 비교 연구하였다. 그는 “모든 한자는 반드시 표음 성분을 갖는다”라는 대원칙 아래에 한자를 “表意文字”가 아닌 “表詞文字”로 규정하려는 경향을 보였다. 윌리엄 볼츠에 의하면, 한자는 自源文字(다른 문자에 의존하지 않고 독립적으로 만들어진 문자)로서 그림에 기원한다. 또한 “前文字”에서 “文字”로의 전환은 돌발 적이고 순식간에 이루어진 과정이다. 한자는 “문자” 단계로 진입 후, “그림문자 단계”, “다의적 문자부호 단계”, “語音 및 語意 성분 제한 단계”의 3단계 발전 과정을 거쳤다. 하지만 최종적으 로 拼音化 단계는 밟지는 않았는데, 이는 중국어 자체가 지니는 언어적 제약과 중국인들이 가진 사상 및 이념의 영향 때문이라고 할 수 있다. 윌리엄 볼츠는 이처럼 총체적 시각에서 한자의 기원과 초기 전개 과정을 서술함과 동시에, 또한 한자의 기원과 관련된 전설, “六書”와 『說文解字』, 초기 한자의 규범화 및 표준화 등과 관련된 문제도 다루었다.

A Post-Colonial Approach to The Man Who Ended History: A Documentary

The Man Who Ended History: A Documentary is a science fiction by Chinese American science fiction writer Ken Liu (1976-). Based on the theory of Post-Colonial Criticism, this paper makes a concrete analysis of the text from the perspectives of three eminent contemporary theorists, aiming at the readers&amp;rsquo; better understanding of the work, and eliminating ethnocentrism, racism, unilateralism and hegemony; keeping history in mind and justifying the names of innocent humans who have been persecuted; safeguarding world peace, and building a community with a shared future for mankind.

The Possible Absence of 1920’s Chinese New-Literature Writings : Focus on the Gap between Theory and Its Writing

The Possible Absence of 1920’s Chinese New-Literature Writings : Focus on the Gap between Theory and Its Writing

How Does Affective Disorder Relate to Creativity? The Pathography of the Chinese Writer Yu Dafu

Background: Yu Dafu, arguably one of the greatest writers in modern Chinese history, is characterized by critics as having a sentimental and decadent style. His life is clearly marked by mood bipolarity, and it seems that his creativity was affected by extreme emotional states. However, this link remains unclear. Methods: Yu’s self-assessments in his works and letters are analyzed from the perspective of current psychiatric classifications. Examples are extracted from his writing career and habits to help illuminate the relationship between mental disorders and literary creativity. Results: Yu’s writing career seems to be divided into four blocks. He was in a deep depression when he studied abroad and taught in China and experienced a hypomanic episode afterward, when he created a magazine and fell in love. The pattern of his mood changes is consistent with the symptoms of bipolar II disorder. His maintenance of a high degree of literary productivity alongside his anguish during depressive episodes may suggests mixed states. Conclusions: Mood changes shaped Yu’s life and writing career. Depressive and hypomanic moods enhanced his creativity in several ways, and some situations in his life indicate that writing and literary pursuits also have reverse effects on one’s mental state. The perspective that mental disorders are seen as a certain profile of literary career can help us to better understand the writers.

The absurd as method: The Chinese absurdist hero, enchanted power, and the alienated poor in Yan Lianke's military literature

AbstractAs one of the most prolific and outspoken of contemporary Chinese writers, Yan Lianke has won international recognition for his writing from the margins. However, while his novels have been extensively studied, Yan's military literature has received much less scholarly attention. This paper explores Yan's adaptation of the absurd in Western literature to Chinese military literature, investigates how he constructs Chinese absurdist heroes, and reconstructs the concepts of “the poor” and “power” in his narratives. Focusing in particular on his 2009 collection of military novellas Sihao jinqu (Prohibited Area Number Four), this paper argues that the absurd in Yan's military texts serves not only as a formal experiment for exploring the alternative imagination of the alienated and marginalized peasant soldiers in contemporary China but also as an implicit means of articulating Yan's own socio‐political commentary, one which cannot allow itself to be explicitly political.

Soviet engravings and the Chinese writer Lu Xun

This article analyzes the relations between the Chinese writer Lu Xun and Soviet engravings. Lu Xun is attributed to one of the most prominent Chinese literary figures of the past century. His significant contribution to the development of culture also consists in the fact that in the 1930&amp;rsquo;s he collected, edited and published a substantial amount of Soviet engravings. This is why his is known in China as the &amp;ldquo;Founder of the collection of wood engravings&amp;rdquo;. The article represents an cross-disciplinary research in the field of art history, culturology and literature, particular in the area of history of Soviet art and Chinese literature. The research elucidates the key milestones of life path of Lu Xun, associated with the increase of cultural level of Chinese young students through familiarization of majority of the population with Soviet engraving. However, his relations with the Soviet art, and namely Soviet engraving, are insufficiently covered. The article talks about the forgotten achievements in the area of Soviet arts in China.

Pleasure and Sin

Abstract This article offers a reconstruction of the intellectual dialogue between Kantian aesthetician Li Zehou 李澤厚 (1930–) and humanist literary critic Liu Zaifu 劉再復 (1941–). By comparing Li's ruminations on “cultures of pleasure” (legan wenhua 樂感文化) and Liu's treatises on “literatures of sin” (zuigan wenxue 罪感文學), the author shows how religious ethics became a crucial medium for them to reflect on the theologico-political aspects of Chinese revolutionary culture. In particular, Li's cultures of pleasure were grounded in the May Fourth aesthetic discourse that highlighted the inculcation of secular humanity as an alternative to religious transcendence. Meanwhile, Liu underscored the transcendence of literatures of sin to stimulate an inner morality through which to excise all secular political commands from human interiority. Whereas Li prioritized a realistic ethical and psychological noumenon in Confucian aesthetics to refute the romantic and sublime figure of the proletarian subject, Liu's espousal of religious transcendence provided Chinese writers with a spiritual dimension to actualize literature's breakaway from the tutelage of the revolutionary state. Their reflections on this-worldly pleasure and otherworldly sin have merged in exorcising the myth of Mao's revolutionary utopia.

Single author self-reference: Identity construction and pragmatic competence

Chen and Yang (forthcoming) find that, in published work, authors of academic writing in English (AWE) in the area of language studies predominantly use the 1st-person singular, I, to refer to themselves as single authors in their publications. Authors of academic writing in Chinese (AWC), however, largely avoid the 1st-person singular pronoun for single author self-reference. Based on interview data and available literature, we propose that the avoidance of the 1st-person singular by AWC writers for single author self-reference is motivated by modesty, a notion that has been shown to be a key value of Chinese culture.How do Chinese writers of AWE self-refer? The present paper reports on a series of survey studies aimed at answering this question. It is found that Chinese writers of AWE are like neither AWE writers nor AWC writers: they use both I and other NPs that are not I. In addition, they differ in the degree to which they chose such in-between linguistic behaviors depending on where they are in their academic career (e.g., as bachelor’s thesis writers, as master’s thesis writers, as doctoral dissertation writers, or as conference abstract writers). It is argued that they do so because they are caught between the conventions of the two languages. In such a bind, they strive to find the best way to “construct a credible representation of themselves and their work …. ” (Hyland, 2002: 1091) but, in absence of formal instruction, the best way they end up finding largely do not conform to the conventions of AWE. These findings reveal much about how cultural values influence the development of pragmatic competence in academic writing and have important pedagogical implications.