In recent years,China’s public diplomacy has flourished,with literary exchanges and external communication undoubtedly becoming an essential part.Particularly with the progress of Chinese technology,science fiction l...In recent years,China’s public diplomacy has flourished,with literary exchanges and external communication undoubtedly becoming an essential part.Particularly with the progress of Chinese technology,science fiction literature has become a focal point both domestically and internationally.This paper investigates the background of the Chinese science fiction literature’s national characteristics,the manifestation of these characteristics in works,and the advantages of communication from three aspects.It also explores new ideas for the external communication of Chinese science fiction literature from the perspective of public diplomacy,inspiring new pathways for the integration of Chinese culture with the world,and telling Chinese stories to the world.展开更多
An important motif in science fiction films is the encounter between different species--usually between human kind and alien kind. In films of this type, both anxieties and hopes are imagined and exhibited. By examini...An important motif in science fiction films is the encounter between different species--usually between human kind and alien kind. In films of this type, both anxieties and hopes are imagined and exhibited. By examining three science fiction films made in Hong Kong, Taiwan, and Chinese mainland in the late 1970s and early 1980s--that is, The Super Inframan （Zhongguo chaoren, 1975）, God of War （Zhanshen, 1976）, and Death Ray on Coral Island （Shanhudao shang de siguang, 1980）--this paper analyzes the ideologies and anxieties behind such encounters. These films present different ＂Chinese＂ pictures, revealing the fluidity of Chineseness, as well as the variety of frameworks within the genre of Chinese-language science fiction films. In this time of globalization, it is important to examine these early science fiction films in order to explore the relation between local social concerns and their artistic presentation.展开更多
Contemporary Chinese science fiction author and journalist Han Song's works often cross the lines dividing reality from imagination,science fiction from literary mainstream,technology from the supernatural.This ar...Contemporary Chinese science fiction author and journalist Han Song's works often cross the lines dividing reality from imagination,science fiction from literary mainstream,technology from the supernatural.This article,focusing in particular on Han's novella"The Rebirth Bricks"(Zaisheng zhuan),aims to investigate the role played by the senses in a shift from the science fictional novum to the fictional"uncanny."Featuring technological bricks,haunted by sounds of the dead which are perceived through sight and hearing,this novella is analyzed from the standpoint of this perceptual complementarity which expresses Han Song's"science fictional re-enchantment,"a re-use of supernatural themes of the past that allow him to express the(technological)anomalies of China's current reality.展开更多
基金supported by the foundation of SFLEP National University Foreign Language Teaching Research Project(No.2019SH0039B)and Hebei Provincial Social Science Foundation(No.HB19WW007).
文摘In recent years,China’s public diplomacy has flourished,with literary exchanges and external communication undoubtedly becoming an essential part.Particularly with the progress of Chinese technology,science fiction literature has become a focal point both domestically and internationally.This paper investigates the background of the Chinese science fiction literature’s national characteristics,the manifestation of these characteristics in works,and the advantages of communication from three aspects.It also explores new ideas for the external communication of Chinese science fiction literature from the perspective of public diplomacy,inspiring new pathways for the integration of Chinese culture with the world,and telling Chinese stories to the world.
文摘An important motif in science fiction films is the encounter between different species--usually between human kind and alien kind. In films of this type, both anxieties and hopes are imagined and exhibited. By examining three science fiction films made in Hong Kong, Taiwan, and Chinese mainland in the late 1970s and early 1980s--that is, The Super Inframan （Zhongguo chaoren, 1975）, God of War （Zhanshen, 1976）, and Death Ray on Coral Island （Shanhudao shang de siguang, 1980）--this paper analyzes the ideologies and anxieties behind such encounters. These films present different ＂Chinese＂ pictures, revealing the fluidity of Chineseness, as well as the variety of frameworks within the genre of Chinese-language science fiction films. In this time of globalization, it is important to examine these early science fiction films in order to explore the relation between local social concerns and their artistic presentation.
文摘Contemporary Chinese science fiction author and journalist Han Song's works often cross the lines dividing reality from imagination,science fiction from literary mainstream,technology from the supernatural.This article,focusing in particular on Han's novella"The Rebirth Bricks"(Zaisheng zhuan),aims to investigate the role played by the senses in a shift from the science fictional novum to the fictional"uncanny."Featuring technological bricks,haunted by sounds of the dead which are perceived through sight and hearing,this novella is analyzed from the standpoint of this perceptual complementarity which expresses Han Song's"science fictional re-enchantment,"a re-use of supernatural themes of the past that allow him to express the(technological)anomalies of China's current reality.
