An English-Chinese Dictionary （ 咭唎国译语, Ying Ji Li Guo Yi Yii） and A Portuguese-Chinese Dictionary （播时都噶礼雅话, Bo Lti Duo Ga Li Ya Hua） are reckoned as the coUative dictionaries compiled by the Office of ...An English-Chinese Dictionary （ 咭唎国译语, Ying Ji Li Guo Yi Yii） and A Portuguese-Chinese Dictionary （播时都噶礼雅话, Bo Lti Duo Ga Li Ya Hua） are reckoned as the coUative dictionaries compiled by the Office of Interpreters and Translators （会同四译馆, Hui Tong Si Yi Guan） in Qianlong time （1748）, Qing dynasty. There is only one original manuscript of these books gathered and preserved by the Palace Museum. In the present paper, we intent to introduce the significant value and detailed information of these two official collative dictionaries from social background, process of compilation, and stylistic basis of the book. Meanwhile, we will primarily work out the phonetic principles between Canton dialect and foreign languages also indicate the dialect characteristics after clarifying the faults and errors. The present paper may supply with a rudimentary knowing and resource to the realm of ＂Canton English＂ and ＂Canton Portuguese＂, even to the social status and Chinese dialect in Canton area for certain period. Detailed and specific research, especially for A Portuguese-Chinese Dictionary, still lies for future discovery.展开更多
This article explains how modern European travelers, particularly European women adventurers, described East Asia. Travel writings that are expected to be truthful are not free from travelers＇ own personal, cultural,...This article explains how modern European travelers, particularly European women adventurers, described East Asia. Travel writings that are expected to be truthful are not free from travelers＇ own personal, cultural, social, and political experiences and perceptions. At the turn of the 19th century, Europe was dominated by colonial discourse based on Western-centered textualized or imaginary knowledge of ＂the Orient＇＇1. The imaginary texts affected European travelers. In turn, their travel writings helped substantiate and reinforce the texts. European women travelers, who were in a relatively disadvantageous situation at home, enjoyed going beyond the sexual boundaries imposed on them at home by using their assumed racial superiority in the Orient. However, their marginal position in Western society helped them ponder their own understanding of other peoples and cultures, of themselves, and of their home societies. This article traces not only the surface discourse of travelogues on East Asia, particularly on Korea, but also travel writers＇ inner worlds, focusing on differences between men and women.展开更多
By using tai-yu （min-nan-hua, Taiwan Residents local language） to stage William Shakespeare＇s Macbeth, Po-shen Lu produced an experimental performance in the southern part of Taiwan in 2003. When producing Antigone...By using tai-yu （min-nan-hua, Taiwan Residents local language） to stage William Shakespeare＇s Macbeth, Po-shen Lu produced an experimental performance in the southern part of Taiwan in 2003. When producing Antigone in 2001, Lu was challenged by his critics in three aspects： （1） the tradition of tai-yu theatre of Tainan Jen Theatre and that of Western plays, （2） audience reception in Taiwan, and （3） the advantages and disadvantages of integrating tai-yu with Western classic texts. In spite of these criticisms on his theatrical productions, Lu has continued helping Tainan Jen Theatre transform into a professional theatrical troupe since he became an artistic director in 2002. By analyzing how and why Lu staged his The Witch Sonata--Psalm of Macbeth in the socio-historical context of intercultural adaptation, I propose to re-revaluate Lu＇s artistic contribution to the theatrical development in the southern part of Taiwan. I would argue that Lu is not only challenging Taiwan Residents reading of Shakespeare but also exploring the possibilities of tai-yu＇s theatricality, in a view to bringing new life to Taiwan＇s intercultural theatre.展开更多
Section five of James Joyce＇s A Portrait of the Artist as a Young Man is designed, among other things, to dramatize a young poet＇s ascension to the rank of ＂priest of art,＂ Where Stephen had previously contemplate...Section five of James Joyce＇s A Portrait of the Artist as a Young Man is designed, among other things, to dramatize a young poet＇s ascension to the rank of ＂priest of art,＂ Where Stephen had previously contemplated being a Catholic priest, he now decides to embrace the world girdling Catholicity of global culture and its full range of spiritual traditions. To show how Stephen becomes a priest of art, Joyce has Stephen face three challengers in the form of MacCann, Davin, and Cranly, who all upbraid Dedalus to abandon his apostasy and conform. These three all try to tempt Dedalus away from his devotion to his individuality and personal integrity, and are analogues to the temptations faced by the Buddha on the eve of his enlightenment under the Bo tree. The Buddha faced Kama, the God of Desire; Mara, the Lord of death; and Dharma, who represents Duty. Stephen faces the temptations of social activism （and its attendant ego inflation） in the form of MacCann, a self-destructive Irish Nationalism in the figure of Davin and finally his obligation to his parochial and demanding family as represented by Cranly＇s arguments. Cranly （Dharma） even enjoins Stephen explicitly to make his Easter duty. These are dangerous distractions which can all keep Stephen from his goal, which is the Nibbana of artistic achievement. When Stephen triumphs over these three tempters he has come through the fire of self-doubt and is ready for his larger fate as an artist.展开更多
Discussions on Marx＇s ＂Asiatic mode of production＂ are essentially about the relationship between the universal and the particularistic view of history. Marx adhered to the world history position, but in the course...Discussions on Marx＇s ＂Asiatic mode of production＂ are essentially about the relationship between the universal and the particularistic view of history. Marx adhered to the world history position, but in the course of formulating his theory of the Asiatic mode of production he moved from universal history to a particularistic view of history; whereas the shift from the ＂Russian path＂ and ＂Russian way＂ provided by the Russian revolution to Stalin＇s doctrine of the ＂five forms＂ of social development represented a return from particularistic to universal history. In developing a Chinese view of history, three elements cannot be overlooked： the Chinese pattern of historical development and China＇s present development experience; Marx＇s theory of social forms and his thoughts on Oriental society in his later years; and the ＂Russian path＂ and ＂systemic transformation＂ launched by the October Revolution.展开更多
文摘An English-Chinese Dictionary （ 咭唎国译语, Ying Ji Li Guo Yi Yii） and A Portuguese-Chinese Dictionary （播时都噶礼雅话, Bo Lti Duo Ga Li Ya Hua） are reckoned as the coUative dictionaries compiled by the Office of Interpreters and Translators （会同四译馆, Hui Tong Si Yi Guan） in Qianlong time （1748）, Qing dynasty. There is only one original manuscript of these books gathered and preserved by the Palace Museum. In the present paper, we intent to introduce the significant value and detailed information of these two official collative dictionaries from social background, process of compilation, and stylistic basis of the book. Meanwhile, we will primarily work out the phonetic principles between Canton dialect and foreign languages also indicate the dialect characteristics after clarifying the faults and errors. The present paper may supply with a rudimentary knowing and resource to the realm of ＂Canton English＂ and ＂Canton Portuguese＂, even to the social status and Chinese dialect in Canton area for certain period. Detailed and specific research, especially for A Portuguese-Chinese Dictionary, still lies for future discovery.
文摘This article explains how modern European travelers, particularly European women adventurers, described East Asia. Travel writings that are expected to be truthful are not free from travelers＇ own personal, cultural, social, and political experiences and perceptions. At the turn of the 19th century, Europe was dominated by colonial discourse based on Western-centered textualized or imaginary knowledge of ＂the Orient＇＇1. The imaginary texts affected European travelers. In turn, their travel writings helped substantiate and reinforce the texts. European women travelers, who were in a relatively disadvantageous situation at home, enjoyed going beyond the sexual boundaries imposed on them at home by using their assumed racial superiority in the Orient. However, their marginal position in Western society helped them ponder their own understanding of other peoples and cultures, of themselves, and of their home societies. This article traces not only the surface discourse of travelogues on East Asia, particularly on Korea, but also travel writers＇ inner worlds, focusing on differences between men and women.
文摘By using tai-yu （min-nan-hua, Taiwan Residents local language） to stage William Shakespeare＇s Macbeth, Po-shen Lu produced an experimental performance in the southern part of Taiwan in 2003. When producing Antigone in 2001, Lu was challenged by his critics in three aspects： （1） the tradition of tai-yu theatre of Tainan Jen Theatre and that of Western plays, （2） audience reception in Taiwan, and （3） the advantages and disadvantages of integrating tai-yu with Western classic texts. In spite of these criticisms on his theatrical productions, Lu has continued helping Tainan Jen Theatre transform into a professional theatrical troupe since he became an artistic director in 2002. By analyzing how and why Lu staged his The Witch Sonata--Psalm of Macbeth in the socio-historical context of intercultural adaptation, I propose to re-revaluate Lu＇s artistic contribution to the theatrical development in the southern part of Taiwan. I would argue that Lu is not only challenging Taiwan Residents reading of Shakespeare but also exploring the possibilities of tai-yu＇s theatricality, in a view to bringing new life to Taiwan＇s intercultural theatre.
文摘Section five of James Joyce＇s A Portrait of the Artist as a Young Man is designed, among other things, to dramatize a young poet＇s ascension to the rank of ＂priest of art,＂ Where Stephen had previously contemplated being a Catholic priest, he now decides to embrace the world girdling Catholicity of global culture and its full range of spiritual traditions. To show how Stephen becomes a priest of art, Joyce has Stephen face three challengers in the form of MacCann, Davin, and Cranly, who all upbraid Dedalus to abandon his apostasy and conform. These three all try to tempt Dedalus away from his devotion to his individuality and personal integrity, and are analogues to the temptations faced by the Buddha on the eve of his enlightenment under the Bo tree. The Buddha faced Kama, the God of Desire; Mara, the Lord of death; and Dharma, who represents Duty. Stephen faces the temptations of social activism （and its attendant ego inflation） in the form of MacCann, a self-destructive Irish Nationalism in the figure of Davin and finally his obligation to his parochial and demanding family as represented by Cranly＇s arguments. Cranly （Dharma） even enjoins Stephen explicitly to make his Easter duty. These are dangerous distractions which can all keep Stephen from his goal, which is the Nibbana of artistic achievement. When Stephen triumphs over these three tempters he has come through the fire of self-doubt and is ready for his larger fate as an artist.
文摘Discussions on Marx＇s ＂Asiatic mode of production＂ are essentially about the relationship between the universal and the particularistic view of history. Marx adhered to the world history position, but in the course of formulating his theory of the Asiatic mode of production he moved from universal history to a particularistic view of history; whereas the shift from the ＂Russian path＂ and ＂Russian way＂ provided by the Russian revolution to Stalin＇s doctrine of the ＂five forms＂ of social development represented a return from particularistic to universal history. In developing a Chinese view of history, three elements cannot be overlooked： the Chinese pattern of historical development and China＇s present development experience; Marx＇s theory of social forms and his thoughts on Oriental society in his later years; and the ＂Russian path＂ and ＂systemic transformation＂ launched by the October Revolution.
