Pen Name Research Articles

An Analysis of Volition and Self-Identity Construction in Ai Qing’s Poem

The Chinese poet Ai Qing (pen name of Jiang Zhenghan) advocated expressing one’s innermost thoughts directly through poetry, and his poems often used straightforward language to convey strong volition. This article examines Ai Qing’s poetry from the perspectives of form and the process of imagination, using Coleridge's theory of imagination and Ai Qing’s own poetic philosophy. It seeks to explore the volition embodied in Ai Qing’s poetry and how he constructs his own identity through poetry. In terms of form, Ai Qing adhered to “the prose beauty of poetry,” expressing the hope to break free from constraints, liberate thoughts, and assert personal will. Through the unconventional imagination process in his poems, Ai Qing reveals the unconscious self-agent of the poet to speak for the people and an active perspective on the interplay between the poet’s self-agent and the external world. It is the combination of poetic form and the creative process of imagination that constructs Ai Qing’s identity as a national poet yearning for freedom, revolution, and yet filled with a sense of concern.

Self-identity construction via self-reference in pre-modern Chinese intellectuals’ letters home: A case study

This study explores pre-modern Chinese intellectuals’ identity construction through the choice of self-referring forms in their letters home. Based on a case study of Hu Shih's letters home, it categorizes the self-referring forms he used and self-identities he constructed, and further investigates the underlying sociocultural factors. It shows that Hu Shih employed four categories of self-referring forms, namely first-person pronouns, kinship terms, names, nicknames, and pen names, and appositive expressions. With these forms of self-reference, he constructed himself as a kin member, an independent person, and a scholar. Hu's construction of the first self-identity might have been influenced by the traditional family ethics and ideology prevalent within Chinese social structure, whereas that of the other two could be ascribed to the emerging social changes at the historical turning point, and scholarly principles. The study provides a new perspective for understanding traditional Chinese intellectuals’ letters home in the pre-modern society of China.

REPRESENTATION OF THE GOSPEL CODE IN THE NOVEL “GETTING INTO CHARACTERˮ BY H.L. OLDIE THROUGH THE PRISM OF SHAKESPEARE’S THEATRICAL METAPHOR

In the presented study the novel “Getting into Characterˮ (1991) by Henry Lyon Oldie (the pen name of Dmytro Hromov and Oleh Ladyzhens’ky) is considered as a part of Hamlet`s text of modern Russian-language literature. The peculiarities of the representation of the Gospel code of the novel are analysed. They are conditioned by the author’s concept of the artistic world, which assumes the recreation of reality according to the stage laws. It is established that the transformation of the Gospel code in the novel occurs at the level of the image system (Actor-Hamlet-Christ, mentor/Master-Messiah, pupil/apprentice-follower, stage word as Logos, theatre as religion, abyss as unrealised creative work), motif structure (motifs of mentoring, faith, salvation and resurrection of the soul). The ideological and thematic content of the artistic work is changed (the theme of art and its Creator, the problem of faith and faithlessness, the idea of redemption of human sins – the humanistic mission of the protagonist). It is determined by the theatricality as the most important category of the novel`s poetics, underlying the construction of the artistic reality of “Getting into Characterˮ. Special attention is paid to the representation of Shakespearean theatrical metaphor, as well as to the intertextual connection of H.L. Oldie’s novel with Shakespeare’s “Hamletˮ tragedy.

The Constrained Position of Dalit in Society- Bama’s Seamless Effort for the Evolution of Dalit Community with Reference to Karukku

The novel ‘Karukku’ plays a tectonic role in Dalit society. It was written by Faustina Mary, her pen name is Bama. Karukku probed into the conflicts between the community and the author. It portrays the thirst of a Dalit woman for her progression. She worked not only for her development but also strived a lot for the evolution of her community. This novel depicts three different types of discrimination in the life of Dalit people. It encompasses the caste, class and gender discriminations. The protagonist went under many social tribulations throughout her life. She struggled a lot in the patriarchal society to let her community free. Bama wanted her community to be united and she explained this desire in her novel. Dalits were treated by high borns as untouchables. Bama’s certainty on shrine’s endeavor over Dalits evolution become a failure conception. She only experienced failures in all her endeavor for the betterment of Dalits. All her efforts end in vain. According to her no one leads a civilized route for the evolution of dalits than her, so she quit from the shrine as a nun and started working for her people by her own. Dalit believes that they were created by God because of his likeness. So no one could disdain them. Even though they have lots of issues which beset them they have thousands of reasons to sustain their loyal life. They believe themselves as superior. Above all they too are humans like others. They were segregated by the ethics of human but not by God. Bama want to change this identity of Dalit by becoming an Identity for her ‘Dalit’ Community. She wanted to educate and impart knowledge to her people which is the basic right of human. She used Karukku as a weapon to instill the thought of upper born as wrong. She is the first person to talk about all these taboos faced by Dalit people. As a victim of this tribulations she portrays her pain using this novel. And insisted the need of independence and liberation. This paper aims at revealing Bama’s efforts for the evolution of Dalit Community.

A Critical Review of Elemental Odes by Pablo Neruda

This paper explores the reconstituted style of the classical Ode by the Chilean poet Pablo Neruda in his Odas Elementales. Pablo Neruda is the pen name of Ricardo Eliecer Neftali Reyes Basoalto. He was born in Parral, Chile on July 12, 1904. Pablo Neruda wrote his odes in the latter half of the twentieth century. His first volume of odes known as Elemental Odes published in 1954. In his odes, Neruda has explored and celebrated the wonder of ordinary things. The simplicity of his odes is very surprising to see that it is an ode, which traditionally meant a poem to be sung in an elevated manner for celebrating a person or an object. Pablo Neruda has written four volumes of Odes, Elemental Odes (1954), New Elemental Odes (1956), Third Book of Odes (1957), and Voyages and Homecomings (1959). In order to distinguish Neruda’s odes from that of the classical prototypes of the ode as a poetic form one needs to dwell briefly on its birth and growth as a poetic form. Therefore, the current research will focus on the comparative study between the traditional ode form and the odes written by Pablo Neruda in his poetry.

Roger Felix V. Salditos and Agrarian Class Struggles in Panay Island, Philippines

Roger Felix V. Salditos was among seven Filipino revolutionaries who were summarily executed by police and military forces in San Jose town, Antique, in the central Philippine island of Panay in 2018. Better known by the pen names Mayamor and Maya Daniel, which he used to sign his paintings and poetry, Salditos was a revolutionary intellectual who spent the better part of his life as a cadre of the Communist Party of the Philippines (CPP) since he left the seminary in 1979. This article examines the underground literary and political writings of Salditos to help illuminate the long history of agrarian class struggles of peasants and Tumandok indigenous peoples in one of the Philippines’ top food-producing regions. His narratives highlight the role of Panay as the only place where the Huk peasant rebellion took root outside Luzon in the 1950s, recalling important episodes of revolutionary contestations in the island amid changing conditions under the Marcos dictatorship and the class offensive of neoliberalism. Despite their partisan character and focus on the local and the superstructural, Salditos’s writings provide an important perspective on the persistence of one of the world’s longest-running rural-based insurgencies, notwithstanding the end of the classical era of peasant wars of the twentieth century and shifting spaces for agrarian contestations in the new century.

Grace E Lavery. Pleasure and Efficacy: Of Pen Names, Cover Versions and Other Trans Techniques

<scp>Grace E Lavery</scp>. <i>Pleasure and Efficacy: Of Pen Names, Cover Versions and Other Trans Techniques</i>

«Налаживаю связь с заграницей по поводу моего “Ял-Мала”»: Письмо харбинского литератора Василия Логинова к Михаилу Осоргину

The article examines the history of the book “Yal-Mal” (1930) by the forgotten Kharbin poet, writer, and journalist Vasily Stepanovich Loginov (1891–1945/1946?). The author uses descriptive and historical-functional research methods. The article focuses on the publication of Loginov’s letter to Mikhail Osorgin, where he responds to Osorgin’s opinions regarding his impressions of “Yal-Mal.” In 1931, Loginov purposefully distributed the book among émigrés. The appendix to the article also contains other reviews and responses to the book that appeared in both eastern (Harbin, Shanghai) and western (Prague) émigré publications. Also, the book appears among publications received by the Parisian journal “Sovremennye Zapiski” for a review. The critics who wrote about the book did not appreciate the dystopian story “Yal-Mal (Half-Rotted Letters in a Box),” however they noted the writer’s skill in addressing Siberian and Ural themes. They also mentioned the book’s cover that reproduced Mikhail Vrubel’s painting “Pan,” and concluded the writer’s inherent pantheism and the literary influence of Knut Hamsun. The author’s hopes for recognition and wide dissemination of the book have failed, but its fate allows us to speak of “Yal-Mal” as an accomplished “literary fact.” The article makes a significant clarification to the writer’s bibliography: the mention of his book “Kharbin in Verse (Everyday Pictures),” printed under the pen name “Captain Cook” in Paris, allows to set the year of its publication as 1927 (not 1932 as it was considered earlier).

Interrogating The Politics Of Anonymity Among The Writers Of Detective Fiction : A Study

If we go through the Bengali detective fictions which are greatly inspired by Conan Doyle's Sherlock Holmes's stories, we can notice an interesting fact. Stories like ''HarimotirHatyakando'', ''OdbhutHatyakari'', ''Sindhuker lash'', ''Jal Raja'' etc. have been published anonymously (SekalerGoyendaGolpo, ed. by Arindam Dasgupta) There is a possibility that these stories are written by women writers and like many women writers and artists they could not expose their name, which was a common picture of Victorian age in our country and also in Europe. The Bronte Sisters, Mary Anne Evans and many of the women novelists had to use pen names to pursue their creative genius. This problem has been addressed by Gilbert and Gubar in their work The Mad woman in the Attic" as "Anxiety of Authorship". I think the anonymity of the above mentioned detective fictions calls for a thorough research. Who are these anonymous writers? Can this identification open a new room or Bengali women writers? This paper would try to address these questions.

The system of characters in the novel «Erenger» by Mari writer M. Shketan

This article is devoted to the analysis of the correlation of characters with each other, their individual characteristics in the novel by Yakov Pavlovich Mayorov (pen name is Shketan) «Erener». The artistic significance of literary characters in revealing the ideological and thematic content of the work, its problems, ways of expressing their character are revealed. Such heroes as Evai Petr, Vanka Savelyev, Verush, Orina, Shamrai Shumat, Klavdia Algaeva, being in the center of the prose writer’s attention and having a firm character and strong will, are actively transform the artistic reality. Through actions, deeds performed, external and internal manifestations of the personality of the main character Evai Petyr, the author’s basic concept of peace and man in it is expressed. This large art canvas reflects the history, life, culture of the Mari people of the early 20th century; the spiritual appearance and character of the Soviet people. The writer managed to reveal the individual originality of the character traits of each hero of the work, psychologically subtly outline his inner world, thoughts and experiences. Revealing the fate of typical heroes of different social strata: the social formation of communists, rural intelligentsia, wealthier peasants and merchants, poor peasants who were the first to support Soviet regime, M. Shketan tells about the life of the Mari people in the period before the October Revolution of 1917, in the first decade of Soviet regime. The wide coverage of political, social problems and deep coverage of life processes in all their complexity and versatility, a vivid character system determined the artistic significance of the work. The main feature in the depiction of the novel’s characters is that their life is shown in a creative relationship: influencing each other, changing the social system, the way of life, they change the heroes themselves.

광산 김씨 김노헌 가문의 내방가사 작품 고찰

The fact that women in the Kim no-heon family have been creating Naebanggasa for generations is significant in that it led to the creation of modern Naebanggasa. Kim no-heon, whose pen name was Songseok, left behind a collection of works called 『Songseokyugo』. With his wife, Jeonju Yoo, he gave birth to four sons and two daughters. His wife, Jeonju Yoo, wrote Susimtan, his second daughter, Kim gi-rye, wrote Hoehongyeongchukga, and his granddaughter, Kim Seong-jong, wrote Susindonggyeongga.&#x0D; Susimtan is a work with a total of 114 lines and 231 phrases written by Jeonju Yoo in late spring of 1921 when she was 70 years old, lamenting the worries that settled in her heart. The root of her anxiety was, among other things, due to the fact that she had suffered from a disease in one of her legs, making my daily life become inconvenient. The work consists of 7 paragraphs. What is noteworthy in terms of the author's consciousness is that the location of her parents' house is conveyed from the perspective of aspect of geomantic theory of feng shui theory, and conveyed that his parents' family members are leading a comfortable life in a famous place. In terms of expression, it can be seen that various rhetorical techniques are used, including exclamatory endings.&#x0D; Hoehongyeongchukga is a song with a total of 106 lines and 201 phrases containing the contents of congratulating the party, when Kim no-heon and his wife held the wedding feast on March 17, 1927, their 60th wedding anniversary. The work consists of five paragraphs. Looking through her works, the author is identified as a woman with very high self-esteem, bright and energetic, and with a sense of honoring her family. In terms of her expression, she uses various rhetorical techniques alone or in combination to enhance her literary beauty. In addition, looking at the narrative of her work, it can be seen that she was influenced by Susimtan in the way she developed the poetic sentiment.&#x0D; Susindonggyeongga is a work of 98 lines and 191 phrases written by the author in 1912 celebrating the birthday party of her grandparents who celebrated their 60th birthday at the same age. The entire work consists of eight paragraphs. The author has a good sense of humor, and is a woman having a sense of honoring her family. In particular, through her works, the author's taoist consciousness is brought into focus. In terms of expression, it can be seen that she is enhancing her literary beauty through the use of various rhetorical techniques and word play. In addition, it is noticeable that she appropriately uses various poetic words cheering the atmosphere up throughout her work to convey the excitement of the party.

Sexual Anarchy Versus Sexual Tranquility- An Insight in the Select Works of Kamala Das

Anglo-Indian Literature is written by Englishmen who are interested in Indian themes and subjects. Indo-Anglian literature and Indian English literature are closely related. Indo-Anglian literature frequently addresses social and domestic themes. It's an English-language genre created by Indian writers. There is a distinction between Indo-Anglian and Anglo-Indian literature. A few contemporary genius authors, like Mulk Raj Anand, R. K. Narayan, Kamala Das, Raja Rao, and Nirad Chaudhuri, are accountable for giving Indo-Anglian literature its specific label, standing, and renown even if it is separate from Anglo-Indian literature. It has been acknowledged that Kamala Das was a pivotal person and voice of her contemporary era. She distinguished and emphasized the Indian identity, setting an example for others to follow rather than copying the techniques of the English modernists. Her poetry is impassioned, energizing, and breaks from the past. Acclaimed for being the most candid and controversial writer, she rose to prominence as the "Voice of Women's Sexuality." Before converting to Islam, she wrote in English under the pen name Kamala Das and published in Malayalam under the pseudonym Madhavikutty. Her bad sexual relationship with her husband, Madhava Das, has been openly discussed, and it is mostly to blame for her notoriety in Kerala.

Voicing the Voiceless Dalits with Special reference to Bama’s Karukku

In India, Dalit Literature has become a prominent concept or genre in the field of literature in several Indian languages. Dalit literature is a distinct genre that offers a voice to those who have experienced humiliation, exploitation, marginalization, and revolt in India's underprivileged communities. The discourse of the dissenting Dalit writer Bama Faustina, whose work provides a comprehensive and integrated portrayal of Dalit's suffering, gives Dalit literature a gendered perspective. Faustina Mary Fatima Rani, better known by her pen name Bama, she was lauded as India's first Dalit woman writer with her autobiography ‘Karukku’. Her work depicts the situation of Dalit women, about their suffering and persecution at the hands of patriarchs. This paper focuses on the suppressed voice of Dalits and represents Bama as a voice of Voiceless Dalits. 'Karukku' examines many forms of brutal persecution of Dalits, as well as the atrocities perpetrated upon oppressed women in the paraiyar caste. In light of the growing relevance and awareness of Dalit Literature, this research aims to depict the sufferings of women both inside and outside the community. This paper also tries to demonstrate how a Dalit woman expresses herself by accepting and embracing Dalit society's paradoxes.

奎章閣 書吏 金德亨의 삶과 문예 고찰

This paper examines the life, literature and art of Kim Deok-hyeong(金德亨) from Gyeongajeon in the late 18th century and early 19th century. In the meantime, there has been mention of his existence, which is excellent in flower painting, but his specific life history or literature such as poetry and calligraphy were not dealt with. Accordingly, in this paper, I tried to comprehensively examine his life and literature by examining various documents that mentioned him, such as 『Naegag-illyeog(내각일력)』, 『Jinhuisokgo(震彙續攷)』, 『Ihyanggyeonmunrok(里鄕見聞錄)』, etc.&#x0D; Kim Deok-hyeong’s name received upon reaching adulthood is Kangjung, his pen name is Samyangjae and Hwasanja, and is from the Gimhae Kim family. Kim Deok-hyeong performed the duties of Gakri(閣吏), the secretary of Kyujanggak, among Gyeongajeon, and the duties were passed on to his son Kim Shin-won(renamed Kim Ye-won) and his grandson Kim Geon-shik(金健植). In September 1780, he served as Byeongjo Seori(書吏), and in December 1781, he became Gakri(閣吏), a secretary at Kyujanggak, and served until 1795. He served as secretary at Kyujanggak for a total of 15 years, but as he has been associated with Kang Se-hwang(姜世晃), Shim Sa-jeong(沈師正), Heo Pil(許佖), Choi Buk(崔北), and Kim Hong-do(金弘道) since childhood, he had a chance to sharpen his eyesight. Thanks for this, even after becoming a Gakri, he displayed his special abilities in the field of literature and art. Through his poems such as 『Pungyosamseon』, we were able to get a glimpse of Kim Deok-hyeong's elegant spiritual world and poetic world, and through the records of Ma Seong-rin, who was the same Yeohangin, we confirmed his excellent calligraphy. Through the reviews of Yu Deuk-gong, Park Je-ga, and Yoon Haeng-im, he showed his painting skills, and he showed his special skills in painting rather than writing, and in painting flowers. The fact that he had no choice but to excel in flower painting was also due to his love for and exploration of real flowers. As a result, his teacher, Kang Se-hwang, regarded his flower paintings as treasures and kept them. Through the above research, the existence of Kim Deok-hyung as Yeohangin and the fact that he was a non-professional artist from Suri, apart from being a professional painter of painted books, have given us a glimpse into a part of Yeohang’s culture that promoted late Joseon Dynasty literature.

CLASSIFICATION AND ANALYSIS OF SOME TEXTUAL REFLECTING ALEVI- BEKTASHI ORAL TRADITION IN POLITICAL AND SOCIOLOGICAL CONTEXT

Abstract&#x0D; First, it should be noted that the Alevi culture was created, transmitted and maintained mainly as an oral discourse. Alevi poetry played the biggest role in this process. In this study on Alevi poetic discourse, cem, poetry, dance, semah, prayer and recitation of hymns, which are an Alevi ritual, will be discussed. The Alevi poetry, which is the creation of Bektaşi, urbanite Alevi poets who used the poetical forms of the classical Ottoman literature, or court literature will be excluded from my discussion. These forms include gazel, kaside, kıt’a, terciibend, terkib-i bend, mersiye etc which follow the form, style and the metric system used mainly by the Medresse educated court poets. Up until now the Alevi-Bektashi people have maintained their beliefs, thoughts, policy, philosophy, traditions and practices through some cultural instruments (muhabbet) which they perform in or out of cem rituals (worship gatherings), such as folk poems, folk songs (nefes, deyiş, duvazimam and so on) and folk dances (semah). Cem rituals have social, educational, cultural and political dimensions as well as their inherent religious dimension. Cem rituals, folk poems and dances change from one region to another. Despite the differences between them, it is believed that their "essence" is same. We can say that the saying "there is one path but a thousand ways" is the major notion in their cosmology. In our research, the belief structure of the Alevi culture and the way of worship are discussed based on the mâni and the koşma. In addition, the syllable structure and meanings of mâni, koşma and deyiş are presented with Turkish and English examples. Alevi ashıks, such as Kaygusuz Abdal, Hatayi and Muhiddin Abdal inserted their pen name in that short poetical form and transformed it into an individual creation. The koşma, may be known by several names, such as deyiş, deme, düvaz imam, mersiye, depending on musical tune it is associated with in the local tradition, social context, the geographic area, other performance components. These word structures and formulas reveal the Alevi cultural structure in religious rituals, music and art. Brief history of the Alevi-Bektashi society, which forms the basis of this belief structure, is also evaluated in our study. The Alevi poetry, which is the creation of the Alevi aşıks, minstrel, played a major role in transmitting the Alevi moral principles, the social and individual behaviors, the history of the Alevi community, the legendary life stories of the Alevi Babas and Dede’s and most importantly, the Alevi religious beliefs and ritual.

"Trzeba cnoty i miłości". Robactwo, moralność i natura w twórczości Edwarda Żeligowskiego

This work presents an analysis of literary works by Edward Żeligowski, who usually published under the pen name of Antoni Sowa. The analysis takes a zoomorphic perspective, identifying in the text terms related to objects usually referred to as vermin. The function of the followingnames was determined: “insect”, “mosquito”, “butterfly”, “ant”, “fly”, “little fly”, “wisp” (in the meaning of “glow worm”), “wasp”, “spider”, “spider’s web”, “bee”, “vermin”, “worm” and “locust”. The majority of these names were used to characterise the moral and social attitudes ofa person – serving to expose the virtues or sins of the given individual. Only the names of some particular animals/creatures were used to present the world of nature, which, together with other image-creating elements, highlight the omnipotence of nature and indicate the Creator’s love. The conclusion emerges that Żeligowski’s creative works are outstanding in moral and social sensitivity as well as the tension between a great idea and the reality which obliterates it.

The homily “On fasting” by Rǝtuʿa Haymanot (CAe 6587). Edition and translation

This article provides an editio princeps and a translation of a Gǝʿǝz homily, “On fasting” (CAe 6587), attributed to the author known under the pen name Rǝtuʿa Haymanot. The edition is based on two manuscript witnesses from the 14th century: EMML 1763, f. 162r–164r and BritLib Orient. 8192 f. 31v–34r. One can assume that the homily is an indigenous Ethiopian work. The homily focuses on the ethical aspects of Christian fasting and teaches that, in order for the fast to be valid, abstaining from food must be accompanied by proper moral conduct.

A Postcolonial Reading of Donald Sinderby’s The Jewel of Malabar: An Analysis of Colonial Engagement in Twentieth-Century Malabar

Abstract Several historical accounts of colonialists’ entanglements in Malabar have been recorded. Colonialist historiography aimed to popularize the achievements of Europeans stationed in the empire. The representation of European characters in The Jewel of Malabar, a novel published in 1927 by the English soldier and writer Donald Ryder Stephens under the pen name Donald Sinderby, accepts the colonizers’ righteous intent of introducing Western culture and religion and the scientific temperament into the colonies. The article argues that a power nexus existed between the colonizers and natives (perceived as elites by various social groups) and shows how the social transactions between the two led to an internalization and proliferation of the need of the white savior. A close analysis of The Jewel of Malabar examines the nature of social transactions between the colonizer and the colonized, and demonstrates the creation of a dependency that is perceived as a symbiotic arrangement, by which some natives are protected from others while giving the colonizers a firmer command of the colony’s resources. Furthermore, the article also explores how Western modernization was used to provide a righteous intent cloaking the colonizers’ motives (conquest and exploitation) while intensifying the existing binary within colonies, that of nondangerous natives needing protection from dangerous ones, with Hindus and Moplahs playing these roles.

Soloùp’s graphic memoir Aivali: Reconstructing a deconstructed community

In 2014, the graphic memoir Aivali created by the prolific comics artist with the pen name Soloùp was published in Greece with great success. His book constitutes a mosaic of personal experiences relating mainly to the cities of Aivali, Chania and the island of Lesbos. More precisely, Soloùp’s sequential art recounts his own personal experiences and reminiscences from a day trip in Aivali sometime in the 2000s, the autobiographical memories of three Greek authors that refer to their lives in the same city before and during the Greco-Turkish war in Asia Minor and the story of a Turkish young man, a family member of the Turkish writer Ahmet Yorulmaz, who resided in Chania until his settlement in Aivali in 1923. The purpose of this article is to examine the way in which the spirit of community is revived, how the city of Aivali is socially reconstructed and finally, the manner in which community and space are connected with each other and also with social memory. The notions of community, space and social memory will be approached through the lens of classical sociology theories formulated by Ferdinand Tönnies, Emile Durkheim and Maurice Halbwachs.

Representation and Reception of the Female Images in the English Version of Stories of the Sahara

San Mao (English pen name Echo), a famous wandering female writer from Taiwan, China, has influenced the growth of several generations of Chinese people, especially Chinese women, with her works and life experiences. Taking the English version of San Mao’s most famous work, Stories of the Sahara, as an example, this paper analyzes the English version, especially the translator Mike Fu's representation of San Mao's female image. The article holds that San Mao, as a narrator, bystander and witness of Saharan life, has a rich personal image, which is influenced by both eastern culture and western culture. Translator Mike Fu insists on "faithfulness" and has androgynous translation consciousness, which successfully reproduces the image of San Mao. Through the foreign translation platforms of China literature, such as Paper-Republic, and the promotion of foreign mainstream medias, the English version has gained more readers and comments, and San Mao has formed an irreplaceable female image through the understanding of different readers.