Suchergebnisse

The unique illustrated and annotated 'Chinese‐English Vocabulary' (hereafter 'Vocabulary') in the John Bradby Blake collection in the library of the Oak Spring Garden Foundation is described, along with the composition of individual entries and their arrangement. Analysis of the contents suggests that the Vocabulary was composed in a multi‐layered process beginning with the illustration and main Chinese characters, which were then annotated by two other individuals, most likely John Bradby Blake himself and perhaps Whang at Tong. The layers of the Vocabulary document an attempt at cross‐cultural exchange, with equivalences being proposed, explanations offered, and meanings contested. Situating the Vocabulary in the history of Chinese language learning and the more general history of bilingual wordlists reveals various types of precedents and related material, but it is unique in the history of Chinese‐English lexicography and what it has to teach us about the worldview of its authors and mid‐Qing intellectual knowledge exchange between British and Southern Chinese.

AbstractThe persistence of memory as a trope in works by Chinese writers in Southeast Asia demonstrates that the sense of identity among Chinese in this area is constantly being interrogated and re-negotiated. This article argues that literary texts are one important constituent factor of collective cultural memory, a purposeful activity undertaken to influence social reality. Even as they foreground the issue of an individual's memory of Chinese culture, they are themselves a type of memorializing practice which seeks to preserve certain types of cultural memory and thus shape the individual's identity. In comparing the works of Singaporean and Malaysian writers, I find a rather stark contrast between the figures used to conceptualize China, Chinese culture, and memory. I argue that Singaporean writers use certain figures to reify Chinese culture and determine its unchanging essence, whereas Malaysian Chinese often have a more fluid view of culture. I then consider some of the ramifications for the use of natural metaphors by the Malaysian writers, which I see as participating in a type of wishful colonial mentality, quite distinct from the historical reality of indentured labor and political disempowerment of the ethnic Chinese in the modern nation state of Malaysia. I conclude by proposing the use of "trunk" as a metaphor for cultural memory and identity formation.

Exploring the role of pseudo-translation in the history of translation : Marryat's Pacha of many tales / James St. André -- The war of neologisms : the competition between the newly translated terms invented by Yan Fu and by the Japanese in the late Qing / Max K.W. Huang -- The translation of ethics : the problem of Wang Guowei / Joyce C.H. Liu -- A traveling disease : the "malady of the heart," scientific jargon, and neo-sensation / Peng Hsiao-yen -- Translating the other : on the re-circulation of the tale Sayon's bell / Pei-Yin Lin -- The translator's style in Hemingway's The old man and the sea (1956) / Elaine Yin-ling Ng -- The origin of the family, public property and the communist state : transmitting and translating Kollontai in the early Soviet Union and May Fourth China / Sasha Hsiang-yin Chen -- Transference as narcissistic or traumatic experience : contemporary Chinese poets (mis)-translated from their western predecessors / Yang Xiaobin -- Words by the look : issues in translating Chinese visual poetry / Cosima Bruno -- Text, context and dual contextualization : personal reflections on a thick translation of Gulliver's travel[s] / Te-hsing Shan