Discourse ideology refers to the position, attitude and guideline employed by a writer or speaker constructing a discourse in relation to the readers/hearers. This paper defines the notion of discourse ideology in the...Discourse ideology refers to the position, attitude and guideline employed by a writer or speaker constructing a discourse in relation to the readers/hearers. This paper defines the notion of discourse ideology in the practice of translation, highlights the relationship between discourse ideology and the translator＇s subjectivity, and illustrates the translation strategies appropriate to the context of publicity of Chinese minority culture to the readers outside China. A tentative conclusion is drawn that the top-down approach from discourse ideology to translation strategies and the bottom-up approach from translation strategies to discourse ideology complement with each other in the Chinese-to-English translation of publicity on Chinese minority culture.展开更多
The rock music in contemporary China is a filed for the folk, official, elite and other multi-element ideology competition. Wang Feng is a winner walking on the ideological balance beam. After deconstructing Cui Jian...The rock music in contemporary China is a filed for the folk, official, elite and other multi-element ideology competition. Wang Feng is a winner walking on the ideological balance beam. After deconstructing Cui Jian＇s grand narrative mode and strong critical feature, his works have been endowed with heavy critical color and reflection value by a grassroots band named ＂Xuriyanggang＂. Besides, Wang Feng＇s works have eliminated the distinction between the official and folk feature, elegance and worldly feature, as well as elite and mass. To a large extent, they have defined the rock music in contemporary China, and pushed the Chinese rock to the mainstream market. Consequently, the Chinese rock has been gradually developed into multiple and compound culture modes.展开更多
Behind what is called ＂Needham＇s Grand Question＂ （why was China overshot by the West in science and technology？） lies a deeper question of how China came to lose the capacity of deeply reflective thought clearly...Behind what is called ＂Needham＇s Grand Question＂ （why was China overshot by the West in science and technology？） lies a deeper question of how China came to lose the capacity of deeply reflective thought clearly present in the ancient Chinese philosophers. This is a loss felt by all Chinese as a psychological sense of hollowness, a loss of identity, made worse by the seeming inaccessibility of the ancient Chinese wisdom to the modern Chinese mind. It is clear that at some historical point China suffered an extreme psychological blow sufficient to traumatise it at the threshold of reflective thought, unable to look inwards any more. The paper identifies that point as the utter devastation wrought by Kublai Khan and the Mongols 750 years ago. What devastates reflective thought is wilfulness, the insistent focusing of all attention and energy on external, material things, and Kublai Khan was wilful in the extreme. What confirms this as the crippling point is that, in response to Kublai Khan＇s Mongol invasion the Chinese, over time, not only completely altered the geography of China itself, moving their capital to the North （Beijing）, but have ever since fought to establish as ＂China＂ all the territory over which Kublai Khan ruled. China is clearly not free of Kublai Khan＇s shadow. But even more precisely, in the process of doing this--and showing their own wilfulness--in building the Forbidden City in Beijing they built it in the shape of the Chinese metaphysical model of the universe, the Chinese version of the Tree of Life metaphysical glyph But it has an error in it. And the error is precisely that in where it places things, it makes what would have been the attributes of reflective thought subservient to wilfulness. The model itself thus shows the hollowness of the Chinese mind from that moment on. The outer form--the ＂appearance＂---of the ancient wisdom was still there. But the content--the ＂substance＂--of it was not. And with no reflective thought, true creativity disappears.展开更多
In the volume of Chinese literature of Ming and Qing dynasties, there are a lot of well-known figures of women rebels, who have been highly spoken of by many later critics for their braveness in breaking the conventio...In the volume of Chinese literature of Ming and Qing dynasties, there are a lot of well-known figures of women rebels, who have been highly spoken of by many later critics for their braveness in breaking the conventional and unfair rules made for women in that male-centered society. In the traditional point of view, the appearance of these literary figures marks the awareness of self-consciousness of women. But this paper, by analyzing two of the representative figures of them, Miss Du Liniang （杜丽娘） in Tang Xianzu＇s drama The Peony Pavilion （牡丹亭） and the women in the Women＇s Kingdom （女儿国） in Li Ruzhen＇s novel Flowers in the Mirror （镜花缘）, tries to figure out and distinguish the superficial gender dependence and the real but hidden role of ＂the other＂ in these characters. It purports to convince that such processes of rebellion are none the less women＇s tragedies, for they serve only to show Chinese women＇s unchangeable position of ＂the second sex＂ in the traditional male-centered society of old China, but merely in some new and different ways.展开更多
Ideology presents a tendency of thought and value diversification under the promotion of globalization which also brings about some peoples loss of mainslream value. It needs mainstream ideology to lead people＇s mind...Ideology presents a tendency of thought and value diversification under the promotion of globalization which also brings about some peoples loss of mainslream value. It needs mainstream ideology to lead people＇s minds to realize the Chinese dream of the great rejuvenation of Chinese nation which is put forward by general secretary, People＇s consc：iously practice is the key to the socialist core values. Socialist core values play an important role in the development of socialism with Chinese characteristics.展开更多
The process ofHua Guofeng＇s image shows how political manipulates the literature and art, it is also a performance process of ideology. As Mao＇s successor, Hua Guofeng used the the model of god-man to copy-write his...The process ofHua Guofeng＇s image shows how political manipulates the literature and art, it is also a performance process of ideology. As Mao＇s successor, Hua Guofeng used the the model of god-man to copy-write his own image, which is naturally related to the CCP＇s leadership, and related to psychological expectations of the Chinese people in time. And the image-shaping process ofHua Guofeng has the obvious transitional characteristic and was a sense of its apotheosis, meanwhile it was a humanization too. The paradox and mix of the two gives us a great space of research.展开更多
This paper is built on the study of one key blog-Wang Xiaofeng＇s No Guess （2006-2011） to explore how a Chinese intellectual uses his satirical skills in the blogosphere, how his blog reshapes the form of political ...This paper is built on the study of one key blog-Wang Xiaofeng＇s No Guess （2006-2011） to explore how a Chinese intellectual uses his satirical skills in the blogosphere, how his blog reshapes the form of political culture, and how the blogosphere through such interventions proceeds in the development of political communications in China. Two key issues are addressed in the paper. Firstly, drawing on the concept of ＂blogging culture＂, the author argues that blogging has potentially reconfigured political information around people＇s everyday lives, offering alternative modes of ＂public talk＂. The case of Wang Xiaofeng shows that satire can be used to make fun of the state, policies, and established ideologies, improving a previously restricted communicative environment toward more open. Secondly, the rise in the value placed on individualism in China, and the rise of peer-to-peer media mean that bloggers who pursue self-expression simultaneously through such self-expression. In other words, Wang Xiaofeng＇s No Guess blog demonstrates that individual opinions across the blogosphere have implicitly challenged political discourse; however, they always have to struggle with an ongoing censorship, negotiate an unstable discursive space and thus, can only enjoy a limited success.展开更多
The concept of ＂Independent film＂ comes from the middle of last century＇s in Hollywood. Hollywood at that time, because of the monopolization of the so-called ＂eight movie companies＂, the shooting and operation o...The concept of ＂Independent film＂ comes from the middle of last century＇s in Hollywood. Hollywood at that time, because of the monopolization of the so-called ＂eight movie companies＂, the shooting and operation of a film followed rigorous steps of ＂producer system.＂ The target of the ＂producer system＂ entirely aimed at the market in order to get the maximum profits; therefore, although this system brought a lot of money to the film industry, it also limited the filmmakers＇ play space. Thus, a group of filmmakers got rid of the eight movie companies＇ control and made self-financing, or even wrote and direct red by themselves, they shot a lot of strong ideological films which were different with commercial films, known as the＂ Independent Film ＂.展开更多
The discourse we would like to go over and analyze is an episode of crossover. Crossover is a popular program of the international channel of CCTV （Chinese central television） news, which is broadcasted in English. ...The discourse we would like to go over and analyze is an episode of crossover. Crossover is a popular program of the international channel of CCTV （Chinese central television） news, which is broadcasted in English. In this paper, one of these topics, law of marriage is selected for our analysis, in which the interlocutors intend to discuss about the debate among people towards the new addition of marriage law. Corresponding to the development of every aspects of Chinese society, people＇s ideology, mindsets, and attitudes towards marriage are constantly changing; consequently, some traditional values are collapsed. Therefore, it is of great significance to have an insight into the ongoing changes of peoples＇ value towards marriage. The participants of this discourse cooperate very well to carry on their conversation in a very interesting way in a broadcast studio. This paper will primarily cover textual analysis, context analysis, and make a clear comparison from other genres of discourse to highlight its characteristics.展开更多
Contemporary Chinese cultural criticism is facing traditional three factors. That are： literary criticism, belletristic criticism and Chinese-style criticism; contemporary transformation from western cultural critici...Contemporary Chinese cultural criticism is facing traditional three factors. That are： literary criticism, belletristic criticism and Chinese-style criticism; contemporary transformation from western cultural criticism and consciousness of problems in contemporary Chinese culture together form a problem domain of cultural criticism; during the 30 years, literary discipline knowledge has evolved from the aesthetic to the culture and the weakening and missing of beauty and poetry become a weakness of cultural criticism. Concerning about the study of repression mechanism for appreciation as well as strengthening the aesthetic nature is the proper attitude literary researcher should have while intervening cultural criticism.展开更多
文摘Discourse ideology refers to the position, attitude and guideline employed by a writer or speaker constructing a discourse in relation to the readers/hearers. This paper defines the notion of discourse ideology in the practice of translation, highlights the relationship between discourse ideology and the translator＇s subjectivity, and illustrates the translation strategies appropriate to the context of publicity of Chinese minority culture to the readers outside China. A tentative conclusion is drawn that the top-down approach from discourse ideology to translation strategies and the bottom-up approach from translation strategies to discourse ideology complement with each other in the Chinese-to-English translation of publicity on Chinese minority culture.
文摘The rock music in contemporary China is a filed for the folk, official, elite and other multi-element ideology competition. Wang Feng is a winner walking on the ideological balance beam. After deconstructing Cui Jian＇s grand narrative mode and strong critical feature, his works have been endowed with heavy critical color and reflection value by a grassroots band named ＂Xuriyanggang＂. Besides, Wang Feng＇s works have eliminated the distinction between the official and folk feature, elegance and worldly feature, as well as elite and mass. To a large extent, they have defined the rock music in contemporary China, and pushed the Chinese rock to the mainstream market. Consequently, the Chinese rock has been gradually developed into multiple and compound culture modes.
文摘Behind what is called ＂Needham＇s Grand Question＂ （why was China overshot by the West in science and technology？） lies a deeper question of how China came to lose the capacity of deeply reflective thought clearly present in the ancient Chinese philosophers. This is a loss felt by all Chinese as a psychological sense of hollowness, a loss of identity, made worse by the seeming inaccessibility of the ancient Chinese wisdom to the modern Chinese mind. It is clear that at some historical point China suffered an extreme psychological blow sufficient to traumatise it at the threshold of reflective thought, unable to look inwards any more. The paper identifies that point as the utter devastation wrought by Kublai Khan and the Mongols 750 years ago. What devastates reflective thought is wilfulness, the insistent focusing of all attention and energy on external, material things, and Kublai Khan was wilful in the extreme. What confirms this as the crippling point is that, in response to Kublai Khan＇s Mongol invasion the Chinese, over time, not only completely altered the geography of China itself, moving their capital to the North （Beijing）, but have ever since fought to establish as ＂China＂ all the territory over which Kublai Khan ruled. China is clearly not free of Kublai Khan＇s shadow. But even more precisely, in the process of doing this--and showing their own wilfulness--in building the Forbidden City in Beijing they built it in the shape of the Chinese metaphysical model of the universe, the Chinese version of the Tree of Life metaphysical glyph But it has an error in it. And the error is precisely that in where it places things, it makes what would have been the attributes of reflective thought subservient to wilfulness. The model itself thus shows the hollowness of the Chinese mind from that moment on. The outer form--the ＂appearance＂---of the ancient wisdom was still there. But the content--the ＂substance＂--of it was not. And with no reflective thought, true creativity disappears.
文摘In the volume of Chinese literature of Ming and Qing dynasties, there are a lot of well-known figures of women rebels, who have been highly spoken of by many later critics for their braveness in breaking the conventional and unfair rules made for women in that male-centered society. In the traditional point of view, the appearance of these literary figures marks the awareness of self-consciousness of women. But this paper, by analyzing two of the representative figures of them, Miss Du Liniang （杜丽娘） in Tang Xianzu＇s drama The Peony Pavilion （牡丹亭） and the women in the Women＇s Kingdom （女儿国） in Li Ruzhen＇s novel Flowers in the Mirror （镜花缘）, tries to figure out and distinguish the superficial gender dependence and the real but hidden role of ＂the other＂ in these characters. It purports to convince that such processes of rebellion are none the less women＇s tragedies, for they serve only to show Chinese women＇s unchangeable position of ＂the second sex＂ in the traditional male-centered society of old China, but merely in some new and different ways.
文摘Ideology presents a tendency of thought and value diversification under the promotion of globalization which also brings about some peoples loss of mainslream value. It needs mainstream ideology to lead people＇s minds to realize the Chinese dream of the great rejuvenation of Chinese nation which is put forward by general secretary, People＇s consc：iously practice is the key to the socialist core values. Socialist core values play an important role in the development of socialism with Chinese characteristics.
文摘The process ofHua Guofeng＇s image shows how political manipulates the literature and art, it is also a performance process of ideology. As Mao＇s successor, Hua Guofeng used the the model of god-man to copy-write his own image, which is naturally related to the CCP＇s leadership, and related to psychological expectations of the Chinese people in time. And the image-shaping process ofHua Guofeng has the obvious transitional characteristic and was a sense of its apotheosis, meanwhile it was a humanization too. The paradox and mix of the two gives us a great space of research.
文摘This paper is built on the study of one key blog-Wang Xiaofeng＇s No Guess （2006-2011） to explore how a Chinese intellectual uses his satirical skills in the blogosphere, how his blog reshapes the form of political culture, and how the blogosphere through such interventions proceeds in the development of political communications in China. Two key issues are addressed in the paper. Firstly, drawing on the concept of ＂blogging culture＂, the author argues that blogging has potentially reconfigured political information around people＇s everyday lives, offering alternative modes of ＂public talk＂. The case of Wang Xiaofeng shows that satire can be used to make fun of the state, policies, and established ideologies, improving a previously restricted communicative environment toward more open. Secondly, the rise in the value placed on individualism in China, and the rise of peer-to-peer media mean that bloggers who pursue self-expression simultaneously through such self-expression. In other words, Wang Xiaofeng＇s No Guess blog demonstrates that individual opinions across the blogosphere have implicitly challenged political discourse; however, they always have to struggle with an ongoing censorship, negotiate an unstable discursive space and thus, can only enjoy a limited success.
文摘The concept of ＂Independent film＂ comes from the middle of last century＇s in Hollywood. Hollywood at that time, because of the monopolization of the so-called ＂eight movie companies＂, the shooting and operation of a film followed rigorous steps of ＂producer system.＂ The target of the ＂producer system＂ entirely aimed at the market in order to get the maximum profits; therefore, although this system brought a lot of money to the film industry, it also limited the filmmakers＇ play space. Thus, a group of filmmakers got rid of the eight movie companies＇ control and made self-financing, or even wrote and direct red by themselves, they shot a lot of strong ideological films which were different with commercial films, known as the＂ Independent Film ＂.
文摘The discourse we would like to go over and analyze is an episode of crossover. Crossover is a popular program of the international channel of CCTV （Chinese central television） news, which is broadcasted in English. In this paper, one of these topics, law of marriage is selected for our analysis, in which the interlocutors intend to discuss about the debate among people towards the new addition of marriage law. Corresponding to the development of every aspects of Chinese society, people＇s ideology, mindsets, and attitudes towards marriage are constantly changing; consequently, some traditional values are collapsed. Therefore, it is of great significance to have an insight into the ongoing changes of peoples＇ value towards marriage. The participants of this discourse cooperate very well to carry on their conversation in a very interesting way in a broadcast studio. This paper will primarily cover textual analysis, context analysis, and make a clear comparison from other genres of discourse to highlight its characteristics.
文摘Contemporary Chinese cultural criticism is facing traditional three factors. That are： literary criticism, belletristic criticism and Chinese-style criticism; contemporary transformation from western cultural criticism and consciousness of problems in contemporary Chinese culture together form a problem domain of cultural criticism; during the 30 years, literary discipline knowledge has evolved from the aesthetic to the culture and the weakening and missing of beauty and poetry become a weakness of cultural criticism. Concerning about the study of repression mechanism for appreciation as well as strengthening the aesthetic nature is the proper attitude literary researcher should have while intervening cultural criticism.
