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Are languages incommensurate? If so, how do people establish and maintain hypothetical equivalences between words and their meanings? What does it mean to translate one culture into the language of another on the basis of commonly conceived equivalences? This study -- bridging contemporary theory Chinese history, comparative literature, and culture studies -- analyzes the historical interactions among China, japan. and the West in terms of "translingual practice." By this term, the author refers to the process by which new words, meanings, discourses, and modes of representation arose, circulated, and acquired legitimacy in early modern China as it contacted/collided with European/Japanese languages and literatures. In reexamining the rise of modern Chinese literature in this context, the book asks three central questions: How did "modernity" and "the West" become legitimized in May Fourth literary discourse? What happened to native agency in this complex process of legitimation? How did the Chinese national culture imagine and interpret its own moment of unfolding? After the first chapter, which deals with the theoretical issues, ensuing chapters treat particular instances of translingual practice such as national character, individualism, stylistic innovations, first-person narration, and canon formation. The author reexamines the works of Lu Xun, Lao She, Shi Zhicun, Ding Ling, Xiao Hong, and others in this light, and concludes by probing the unprecedented conditions under which Chinese writers and critics moved from confidence in the absolute centrality of their civilization to rethinking Chinese literature and culture as one among many national literatures and cultures.Inshort, what does it mean to be Zhongguo ren (men and women of the Middle Kingdom) in terms of what is not of the Middle Kingdom? An appendix lists and classifies over 1,800 loanwords and neologisms introduced into modern Chinese before 1950, the largest annotated collection to be found a
Speaking about Chinese writing entails thinking about how writing speaks through various media. In the guises of the written character and its imprints, traces, or ruins, writing is more than textuality. The goal of this volume is to consider the relationship of writing to materiality in China's literary history and to ponder the physical aspects of the production and circulation of writing. To speak of the thing-ness of writing is to understand it as a thing in constant motion, transported from one place or time to another, one genre or medium to another, one person or public to another. Thinking about writing as the material product of a culture shifts the emphasis from the author as the creator and ultimate arbiter of a text's meaning to the editors, publishers, collectors, and readers through whose hands a text is reshaped, disseminated, and given new meanings. By yoking writing and materiality, the contributors to this volume aim to bypass the tendency to oppose form and content, words and things, documents and artifacts, to rethink key issues in the interpretation of Chinese literary and visual culture.
The problem of translation has become increasingly central to
critical reflections on modernity and its universalizing processes.
Approaching translation as a symbolic and material exchange among
peoples and civilizations--and not as a purely linguistic or
literary matter, the essays in "Tokens of Exchange" focus on China
and its interactions with the West to historicize an economy of
translation. Rejecting the familiar regional approach to
non-Western societies, contributors contend that "national
histories" and "world history" must be read with absolute attention
to the types of epistemological translatability that have been
constructed among the various languages and cultures in modern
times. "Contributors." Jianhua Chen, Nancy Chen, Alexis Dudden
Eastwood, Roger Hart, Larissa Heinrich, James Hevia, Andrew F.
Jones, Wan Shun Eva Lam, Lydia H. Liu, Deborah T. L. Sang, Haun
Saussy, Q. S. Tong, Qiong Zhang
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