This article believes that ＂Chinese Dream＂ has three dimensions： First, ＂Chinese Dream＂ is the inevitable demands of Chinese reconstruction and it is the deepest desire of Chinese nation since the Chinese modern ...This article believes that ＂Chinese Dream＂ has three dimensions： First, ＂Chinese Dream＂ is the inevitable demands of Chinese reconstruction and it is the deepest desire of Chinese nation since the Chinese modern history. Second, the modernism of socialism with Chinese feature is the process of Chinese modernism. Third, the third theoretical dimension, 1 believe, is the ideal of socialism. I would like to take the film ＂Lost＂ and ＂Peking Monk＂ as examples and analyze the specific form of expression. This article is going to indicate in the end that ＂the revolution of aesthetics＂ and the assignments of critics, which can be recognized as the intuitive ability, could merge the historical affair and the human nature, which literature comprise, together and deliver deeper analyses and appraise The mission of critics is not only to distinctly emerge the aesthetic form of the literal works, but also analyze and seize the ＂aesthetic form＂ of them, that is to say, their mission is to find the aesthetic meanings of aesthetic expression from commonage in order to achieve the goal of leading and stimulating people ensuing the consciousness and liberation of culture. That is the most important mission and responsibility of Marxist literal criticism and literal critics. This is a rather tough task and refers to the new understanding and attitude to the relative questions of literature and culture. In the eyes of some self-complacent intellectuals, the responsibility for literature and critics is the ＂aesthetic entertainment＂ and ＂spiritual redemption＂. The significance of Marxist Aesthetics lies in that it upgrades the general ＂literal principle＂ and ＂aesthetic principle＂ in to a level of social development and national deliverance, and also it regards whether the literature having the function of cultural libration as the more pivotal content. The assignment for the critics and litterateurs is to engage and promote the production and promulgate for this significance, the cultural consciousness and liberation.展开更多
The German aesthetic discourse of modernity is the self-manifestation of German historical development from early modern times. German cultural ecology, comprising German natural, historical, social and intellectual f...The German aesthetic discourse of modernity is the self-manifestation of German historical development from early modern times. German cultural ecology, comprising German natural, historical, social and intellectual factors, has determined the historical fate of the German aesthetic discourse of modernity and also, realistically, its essential characteristics. The Protestant spirit is the soul of the national consciousness, intellectual concepts, cultural understanding and life experience of the Germans, who take culture as the foundation of their nation. German civic cultural ecology--the social structure, way of life and cultural institutions that originated and developed in civil society--to a great extent determined the form of the German aesthetic discourse of modernity. The three salient features of German enlightenment thought, i.e., the establishment of perception and the independence of beauty, the adjustment of rationalism and the birth of value rationality, and the establishment of the public character of art, are the constituent elements of German cultural ecology.展开更多
This paper examines in detail how Zhou Zuo-ren, leading essayist and theoretician of the personal essay in the 1930s, turned the essay, the most free, independent, and informal of all the literary genres, into a vital...This paper examines in detail how Zhou Zuo-ren, leading essayist and theoretician of the personal essay in the 1930s, turned the essay, the most free, independent, and informal of all the literary genres, into a vital medium for the cultural and political self-assertion of the modern Chinese men of letters and for the making of a vernacular aesthetic by incorporating Western values with a rediscovered tradition of individualism and self--expression in classical Chinese literature, thus conforming to the tasks of the New Literature of breaking free from the prison-house of an over-coded cultural system into the refresh, raw experience of the mundane daily world and of transforming the language of the everyday into a refined mode of expression suitable for the expanded horizon of the enlightened individual.展开更多
The main purpose of this paper is to develop useful empirical research methods to advance the understanding of experimental Chinese literary translation. This will be based on an empirical corpus-based study of two mo...The main purpose of this paper is to develop useful empirical research methods to advance the understanding of experimental Chinese literary translation. This will be based on an empirical corpus-based study of two modern Chinese versions of Gabriel Garcfa Marquez＇s One Hundred Years of Solitude. The case study reveals that in translating linguistic events, textual features and cultural phenomena that are unknown to the target audience, for example, magical realism, into Chinese, translators may adopt a range of translation strategies and tactics that lead to significant differences between the genre of the translation and the corre- sponding genre in the target language. New linguistic expressions and writing techniques introduced by experimental literary translation will either be normalised by existing writing conventions or be accepted by the target readership which in turn will expand and enrich the target language and cultural system.展开更多
文摘This article believes that ＂Chinese Dream＂ has three dimensions： First, ＂Chinese Dream＂ is the inevitable demands of Chinese reconstruction and it is the deepest desire of Chinese nation since the Chinese modern history. Second, the modernism of socialism with Chinese feature is the process of Chinese modernism. Third, the third theoretical dimension, 1 believe, is the ideal of socialism. I would like to take the film ＂Lost＂ and ＂Peking Monk＂ as examples and analyze the specific form of expression. This article is going to indicate in the end that ＂the revolution of aesthetics＂ and the assignments of critics, which can be recognized as the intuitive ability, could merge the historical affair and the human nature, which literature comprise, together and deliver deeper analyses and appraise The mission of critics is not only to distinctly emerge the aesthetic form of the literal works, but also analyze and seize the ＂aesthetic form＂ of them, that is to say, their mission is to find the aesthetic meanings of aesthetic expression from commonage in order to achieve the goal of leading and stimulating people ensuing the consciousness and liberation of culture. That is the most important mission and responsibility of Marxist literal criticism and literal critics. This is a rather tough task and refers to the new understanding and attitude to the relative questions of literature and culture. In the eyes of some self-complacent intellectuals, the responsibility for literature and critics is the ＂aesthetic entertainment＂ and ＂spiritual redemption＂. The significance of Marxist Aesthetics lies in that it upgrades the general ＂literal principle＂ and ＂aesthetic principle＂ in to a level of social development and national deliverance, and also it regards whether the literature having the function of cultural libration as the more pivotal content. The assignment for the critics and litterateurs is to engage and promote the production and promulgate for this significance, the cultural consciousness and liberation.
基金the National Social Science Fund Project "Research on the Artistic Aesthetic Discourse of German Cultural Enlightenment and Modernity"(No.:10BZW022)
文摘The German aesthetic discourse of modernity is the self-manifestation of German historical development from early modern times. German cultural ecology, comprising German natural, historical, social and intellectual factors, has determined the historical fate of the German aesthetic discourse of modernity and also, realistically, its essential characteristics. The Protestant spirit is the soul of the national consciousness, intellectual concepts, cultural understanding and life experience of the Germans, who take culture as the foundation of their nation. German civic cultural ecology--the social structure, way of life and cultural institutions that originated and developed in civil society--to a great extent determined the form of the German aesthetic discourse of modernity. The three salient features of German enlightenment thought, i.e., the establishment of perception and the independence of beauty, the adjustment of rationalism and the birth of value rationality, and the establishment of the public character of art, are the constituent elements of German cultural ecology.
文摘This paper examines in detail how Zhou Zuo-ren, leading essayist and theoretician of the personal essay in the 1930s, turned the essay, the most free, independent, and informal of all the literary genres, into a vital medium for the cultural and political self-assertion of the modern Chinese men of letters and for the making of a vernacular aesthetic by incorporating Western values with a rediscovered tradition of individualism and self--expression in classical Chinese literature, thus conforming to the tasks of the New Literature of breaking free from the prison-house of an over-coded cultural system into the refresh, raw experience of the mundane daily world and of transforming the language of the everyday into a refined mode of expression suitable for the expanded horizon of the enlightened individual.
文摘The main purpose of this paper is to develop useful empirical research methods to advance the understanding of experimental Chinese literary translation. This will be based on an empirical corpus-based study of two modern Chinese versions of Gabriel Garcfa Marquez＇s One Hundred Years of Solitude. The case study reveals that in translating linguistic events, textual features and cultural phenomena that are unknown to the target audience, for example, magical realism, into Chinese, translators may adopt a range of translation strategies and tactics that lead to significant differences between the genre of the translation and the corre- sponding genre in the target language. New linguistic expressions and writing techniques introduced by experimental literary translation will either be normalised by existing writing conventions or be accepted by the target readership which in turn will expand and enrich the target language and cultural system.
