| 1. |
|
|
| 2. |
- Li, Shuangyi
(författare)
-
A “Spiritual Journey” Through the “Middle” Kingdom : Travel and Translation in François Cheng’s Translingual Novel
- 2017
-
Ingår i: Narratives Crossing Borders : The Dynamics of Cultural Interaction - The Dynamics of Cultural Interaction. ; , s. 429-454
-
Bokkapitel (refereegranskat)abstract
- The Franco-Chinese migrant writer François Cheng (Grand Prix de la francophonie de l’Académie française 2001) is the first French Academician of Asian origin. His French-language novel Le Dit de Tianyi (Prix Femina 1998, rather differently translated into English as The River Below) recounts the protagonist’s life trajectory across the turbulent twentieth century, from wartime China to France and back to a radically changed Communist China. The protagonist’s cross-cultural and often painful migrant experience largely mirrors that of the author, yet with the final part of the novel being completely fictional. The novel’s generic and stylistic hybridity demonstrates the author’s strenuous effort to investigate the literary possibilities of comparatively incorporating both Western and Eastern cultural heritages in the creative process.Although Le Dit is not formally categorized as a travelogue, travel motifs permeate the novel. The tripartite structure – ‘epic of departure’, ‘detouring journey’, ‘myth of return’ – is redolent of established models of travel since Odyssey. The characterization of the protagonist as a ‘wandering soul’ (âme errante) going on artistic pilgrimages as well as arduous quests for knowledge both in China and to the West, further complemented by the constant longing and attempt to be reunited with loved ones, is among the key features of travel writing largely shared by both Western and Chinese traditions. These travel motifs interact dynamically with the fundamental conception of the novel as both a Bildungsroman and Künstlerroman that linguistically translates, epistemically transforms, and spiritually transcends the individual’s experience of migrance (migration and errance). Such an interaction, then, inspires informed imagination and provokes lateral thinking about cultural representations, and entails a transcultural aesthetic that simultaneously revisits two great cultural heritages, engendering something ‘new’, or indeed, ‘old’.Drawing on theories of cultural translation (initiated notably by Homi Bhabha) and transculturality (Graham Huggan; Wolfgang Welsch), this article examines how the wide range of travel motifs function as a consistent structural and thematic frame and bring frictional qualities and effects to Cheng’s translingual novel. And I argue that these travel motifs ultimately create a liminal space where both European and Chinese literary and artistic traditions are set in motion towards a planetarian possibility of cultural ‘transcendence’ (Cheng’s own word).
|
|
| 3. |
- Li, Shuangyi
(författare)
-
De-pathologizing Perversion : Proust’s Sexual Discourses and Their Chinese Translations
- 2020
-
Ingår i: Translation Studies. - : Informa UK Limited. - 1478-1700 .- 1751-2921. ; 13:1, s. 43-64
-
Tidskriftsartikel (refereegranskat)abstract
- The sexological aspects of Proust’s work have largely been neglected in its Chinese reception. The paper focuses on the Chinese (re)translations of Proust’s sexual discourses in À la recherche du temps perdu and expounds the epistemic challenges and the evolving strategies of translating sadomasochism and homosexuality into Chinese. It further explores how these observations refract the changing and largely de-pathologizing discourses on, and social attitudes to, sadomasochism and homosexuality in China from the late 1980s until now. A close examination of exemplary passages (from Du côté de chez Swann, Sodome et Gomorrhe, La Prisonnière, and Le Temps retrouvé) in different Chinese translations will reveal a lexical and conceptual appropriation and recontextualization of modern Western as well as traditional Chinese discourses on/of sexology.
|
|
| 4. |
|
|
| 5. |
|
|
| 6. |
|
|
| 7. |
- Li, Shuangyi
(författare)
-
Novel, Film, and the Art of Translational Storytelling : Dai Sijie's Balzac et la petite tailleuse chinoise
- 2019
-
Ingår i: Forum for Modern Language Studies. - : Oxford University Press (OUP). - 0015-8518 .- 1471-6860. ; 55:4, s. 359-379
-
Tidskriftsartikel (refereegranskat)abstract
- This article examines the novel and film, Balzac et la petite tailleuse chinoise, by the Franco-Chinese writer and filmmaker Dai Sijie, the story of which takes place against the background of the Cultural Revolution. The first part of my analysis will make clear how the film illuminates and dramatizes the special texture, aesthetic, and structure of the novel. I then move on to investigate the linguistic aspects of the various translations between the novel and the film among French, Mandarin Chinese, and Sichuanese. The aesthetic effects of dubbing, in particular, will allow me to investigate new possibilities of reading exophone literature. Finally, this paper will highlight the centripetal role of oral storytelling in the Chinese tradition in/through various forms of translation, interlingual as well as intermedial. In so doing, the paper will further nuance and enrich current debates on issues such as intercultural misreading and exoticism in Dai's works.
|
|
| 8. |
|
|
| 9. |
- Li, Shuangyi
(författare)
-
Proust, China and intertextual engagement : Translation and transcultural dialogue
- 2017
-
Bok (refereegranskat)abstract
- The book traces the literary journey that Proust's work made to China and back by means of translation, intertextual engagement, and the creation of a transcultural dialogue through migrant literature. It begins with a translation history of Proust's work in China and studies the different (re)translations and editions of La Recherche highlighting their culturally conditioned thematic emphases and negligence, such as time and memory over anti-Semitism and homosexuality. The book then moves on to explore three contemporary mainland Chinese writers' creative intertextual engagement with Proust against the backdrop of China's explosive development from modernity to post-modernity in the 1990s. Finally, back to France, the book examines the multifarious literary relations between Proust and the Franco-Chinese migrant writer François Cheng. It demonstrates how the cultural heritages of China and the West can be re-negotiated and put into dialogue through the fictional and creative medium of literature, as well as providing a means of understanding the economic, political, and cultural exchanges in our current global context.
|
|
| 10. |
- Li, Shuangyi, et al.
(författare)
-
(Sino)graphs in Franco(n)texts : The multilingual and the multimodal in Franco-Chinese literature and visual arts
- 2021. - 1
-
Ingår i: Multilingual Literature as World Literature. - 9781501360091 ; 1, s. 27-50
-
Bokkapitel (refereegranskat)abstract
- This chapter examines the aesthetic of the sinograph in the French-language novels, calligraphic works, and picture books by two first-generation Chinese migrant writers and artists in France, François Cheng and Shan Sa. It begins with an illustration of Cheng's and Shan's 'Chinese' calligraphic works (accompanied by the artists' French texts) (Et le Souffle devient signe: Portrait d’une âme à l’encre de Chine [2001] & Le Mirroir d’un calligraphe [2002]), and explicate their artistic sensibilities and visions informed by traditional Chinese aesthetic concepts, e.g. yin-yang, mountain-water, sentiment-scenery. These calligraphic images are then 'read' into their respective French novelistic fabric (Le Dit de Tianyi [1998] & L’Impératrice [2003]). Our knowledge of the sinograph is key to the revelation of these writers' transcultural stylistic innovations and diegetic configurations, a kind of (in)visible multilingualism and multimodality beyond the obvious linguistic translation and lexical borrowing. Franco-Chinese writers and artists have a rather complex and sometimes paradoxical attitudes and relations to the Chinese script, especially facing a primarily francophone audience. Yet, I will argue that this conscious visual poeticization of/through the sinograph in the French language is still a defining aesthetic of Franco-Chinese literature and visual arts. While problematizing the notion of 'Chineseness' that is seemingly essentialized by the sinograph in diasporic Chinese literature and visual arts, I will also draw on the theories of ‘imagetext’ (Mitchell 1994) and ‘the translational’ (Tong King Lee 2013) to investigate the multilingual and multimodal aspects of cultural translation in the critical framework of World Literature.
|
|
