As a systematic work, there are very close links between the various aspects of the English translation of Chinese modern and contemporary literary works, whether they are translated into the main body, translated con...As a systematic work, there are very close links between the various aspects of the English translation of Chinese modern and contemporary literary works, whether they are translated into the main body, translated content and other links, or a specific translation approach, are not segmentation. Many translators, sinologists and books, magazines and so on have played a very important role in the process of translating modern and contemporary literary works in China. However with English-Chinese “borrowism” compared with, English work that translates the Chinese present current literature work, no matter in quantity and quality, infi uence and other aspects that the work itself has appear the relative backwardness. In order to promote the modern and contemporary Chinese literary works in the world, it is necessary to analyze and study the English translation of Chinese modern and contemporary literary works and the research methods.展开更多
Since the mid-1980s Chinese calligraphy art has undergone a radical change and has opened itself to experimentation. A vivid debate on CCC （Contemporary Chinese Calligraphy） （Zhongguo xiandai shufa） is involving a...Since the mid-1980s Chinese calligraphy art has undergone a radical change and has opened itself to experimentation. A vivid debate on CCC （Contemporary Chinese Calligraphy） （Zhongguo xiandai shufa） is involving art critics in China nowadays. WANG Dongling and the modernists think that, despite many changes and influences, we can still refer to the traditional calligraphic lexicon to describe the calligraphic production of contemporary Chinese art. They still remain deeply rooted in the signified system of Chinese writing, even if they break with the strict rules of Chinese classical aesthetic （contamination of Western elements and focus on the stylistic exploration）. WANG Nanming and the Avant-garde think that ＂contemporary calligraphy is not calligraphy yet＂： It is ＂anti-calligraphy＂, annihilates Chinese tradition, rejects the use of legible characters, experiments with new languages and new media within the idiom of international contemporary art. The result is the creation of works of art that could be assimilated to Abstract art, Abstract expressionism, Conceptual art, Performance art, Contemporary dance, Multimedia art, and even Street art. This paper aims at showing how still valid and extremely productive are both these two theoretical and creative/practical approaches to Chinese calligraphy in China nowadays. They turned the art of calligraphy into a medium for global comprehension and communication.展开更多
文摘As a systematic work, there are very close links between the various aspects of the English translation of Chinese modern and contemporary literary works, whether they are translated into the main body, translated content and other links, or a specific translation approach, are not segmentation. Many translators, sinologists and books, magazines and so on have played a very important role in the process of translating modern and contemporary literary works in China. However with English-Chinese “borrowism” compared with, English work that translates the Chinese present current literature work, no matter in quantity and quality, infi uence and other aspects that the work itself has appear the relative backwardness. In order to promote the modern and contemporary Chinese literary works in the world, it is necessary to analyze and study the English translation of Chinese modern and contemporary literary works and the research methods.
文摘Since the mid-1980s Chinese calligraphy art has undergone a radical change and has opened itself to experimentation. A vivid debate on CCC （Contemporary Chinese Calligraphy） （Zhongguo xiandai shufa） is involving art critics in China nowadays. WANG Dongling and the modernists think that, despite many changes and influences, we can still refer to the traditional calligraphic lexicon to describe the calligraphic production of contemporary Chinese art. They still remain deeply rooted in the signified system of Chinese writing, even if they break with the strict rules of Chinese classical aesthetic （contamination of Western elements and focus on the stylistic exploration）. WANG Nanming and the Avant-garde think that ＂contemporary calligraphy is not calligraphy yet＂： It is ＂anti-calligraphy＂, annihilates Chinese tradition, rejects the use of legible characters, experiments with new languages and new media within the idiom of international contemporary art. The result is the creation of works of art that could be assimilated to Abstract art, Abstract expressionism, Conceptual art, Performance art, Contemporary dance, Multimedia art, and even Street art. This paper aims at showing how still valid and extremely productive are both these two theoretical and creative/practical approaches to Chinese calligraphy in China nowadays. They turned the art of calligraphy into a medium for global comprehension and communication.
