The translation of Hans Christian Andersen’s fairy tales in China

Babel ◽  
2019 ◽  
Vol 65 (2) ◽  
pp. 153-174
Author(s):  
Xuanmin Luo ◽  
Jiachun Zhu
Keyword(s):  
20Th Century ◽  
Fairy Tales ◽  
Cultural Context ◽  
Social Activity ◽  
Historical Context ◽  
Translation Practice ◽  
Different Ages ◽  
Original Works ◽  
Language Styles ◽  
Target Culture

Abstract Hans Christian Andersen’s fairy tales have been popular among Chinese readers since they were introduced to China through translation a century ago. This paper studies the translation of Andersen’s fairy tales in China by focusing on prominent Chinese translators of Andersen and their landmark translations. Regarding translation as a social activity, the author attempts to interpret the behaviour of the translator in terms of the historical context in which it occurred, as well as the corresponding ideology of literature. It is argued that the language styles and translating strategies adopted by the translators of different ages have varied according to the translator’s understanding of the original works, his purpose of translating, the publishers’ interests and the readers’ expectations in the target culture, as well as the image of Andersen constructed in the socio-cultural context from which the translation emerged. Therefore, the translation practice, which has contributed to the canonization of Andersen in China, is a process of the translators’ negotiations with the fluid Chinese poetics and ideology of the 20th century.

scholarly journals Discourse of the Retention of Cultural Values by Axiological Archetypes in the Visual Art of Primorye in the 60s of the 20th Century - the Beginning of the 21st Century

2020 ◽  
Vol 30 (4) ◽  
pp. 551-559
Author(s):  
Anastasiya Fedorova ◽  
Galina Alekseeva
Keyword(s):  
Cultural Values ◽  
20Th Century ◽  
Visual Arts ◽  
21St Century ◽  
Fine Arts ◽  
Historical Context ◽  
Interdisciplinary Approach ◽  
Personal Characteristics ◽  
Original Works ◽  
Symbolic Images

This article is devoted to the problem of preserving cultural values in the fine arts of the 60s of the 20th century — the beginning of the 21st century in the Primorsky Territory in connection with the period of perestroika in Russia. The regional features of artistic life and the main plots of canvas paintings, conveying traditional archetypes in the visual arts were studied on the basis of the original works of five leading Primorye artists of the 1960s — early 2000s. It is quite predictable that a number of value archetypes in the visual arts of the 20th–21st centuries does not lose its importance; moreover, their self-development in art gives a new driving force to fine art. Among such historically formed archetypes are the Great Mother, Hero, Tree of Life, Road (Ladder) and Fish. These symbolic images are implemented in different ways in the works of famous masters of the Primorsky Territory, such as V.S. Chebotarev, K.I. Shebeko, I.V. Rybachuk, R.V. Tushkin, V.A. Goncharenko, N.P Zhogolev, I.A. Kuznetsov, A.V. Teleshov, G.A. Omelchenko. The authors of the article identify archetypes that change their appearance in a new cultural and historical environment, but are recognizable due to the constant iconographic schemes and personal characteristics of a particular master. A new working term «axiological archetype» is proposed, which is consonant with the concept of «value archetype», which is based on the mental and value attitudes of society, expressed by the artist by means of visual arts, iconographic schemes, revealed through understanding the logic of hidden meaning. The use of an interdisciplinary approach made it possible to adapt the axiological approach to art history analysis and to present the visual arts of Primorye as a value phenomenon in the historical context of the development of Russian fine arts.

Травелоги югославских писательниц первой половины ХХ века: в поисках идентичности

2019 ◽  
Vol 64 (1) ◽  
pp. 27-36
Author(s):  
А. Г. БОДРОВА
Keyword(s):  
20Th Century ◽  
Historical Context ◽  
The Other ◽  
Literary Field ◽  
The Balkans ◽  
Egyptian Women ◽  
Dialogical Philosophy ◽  
And Gender ◽  
Women's Travel ◽  
Gender Boundaries

The paper considers travelogues of Yugoslav female writers Alma Karlin, Jelena Dimitrijević, Isidora Sekulić, Marica Gregorič Stepančič, Marica Strnad, Luiza Pesjak. These texts created in the first half of the 20th century in Serbian, Slovenian and German are on the periphery of the literary field and, with rare exceptions, do not belong to the canon. The most famous of these authors are Sekulić from Serbia and the German-speaking writer Karlin from Slovenia. Recently, the work of Dimitrijević has also become an object of attention of researchers. Other travelogues writers are almost forgotten. Identity problems, especially national ones, are a constant component of the travelogue genre. During a journey, the author directs his attention to “other / alien” peoples and cultures that can be called foreign to the perceiving consciousness. However, when one perceives the “other”, one inevitably turns to one's “own”, one's own identity. The concept of “own - other / alien”, on which the dialogical philosophy is based (M. Buber, G. Marcel, M. Bakhtin, E. Levinas), implies an understanding of the cultural “own” against the background of the “alien” and at the same time culturally “alien” on the background of “own”. Women's travel has a special status in culture. Even in the first half of the 20th century the woman was given space at home. Going on a journey, especially unaccompanied, was at least unusual for a woman. According to Simone de Beauvoir, a woman in society is “different / other”. Therefore, women's travelogues can be defined as the look of the “other” on the “other / alien”. In this paper, particular attention is paid to the interrelationship of gender, national identities and their conditioning with a cultural and historical context. At the beginning of the 20th century in the Balkans, national identity continues actively to develop and the process of women's emancipation is intensifying. Therefore, the combination of gender and national issues for Yugoslavian female travelogues of this period is especially relevant. Dimitrijević's travelogue Seven Seas and Three Oceans demonstrates this relationship most vividly: “We Serbian women are no less patriotic than Egyptian women... Haven't Serbian women most of the merit that the big Yugoslavia originated from small Serbia?” As a result of this study, the specificity of the national and gender identity constructs in the first half of the 20th century in the analyzed texts is revealed. For this period one can note, on the one hand, the preservation of national and gender boundaries, often supported by stereotypes, on the other hand, there are obvious tendencies towards the erosion of the established gender and national constructs, the mobility of models of gender and national identification as well, largely due to the sociohistorical processes of the time.

A.I. Solzhenitsyn Apropos of Russia’s Future: Specific Outlook Features Depending on Different Historical Context

2019 ◽  
Vol 66 ◽  
pp. 327-334
Author(s):  
Inga V. Zheltikova ◽  
Elena I. Khokhlova
Keyword(s):  
Cultural Context ◽  
Historical Context ◽  
The Political ◽  
Social Stability ◽  
Political Situation ◽  
The Future ◽  
Pessimistic Attitude ◽  
Personal Qualities ◽  
Images Of The Future ◽  
The Church

The article considers the dependence of the images of future on the socio-cultural context of their formation. Comparison of the images of the future found in A.I. Solzhenitsyn’s works of various years reveals his generally pessimistic attitude to the future in the situation of social stability and moderate optimism in times of society destabilization. At the same time, the author's images of the future both in the seventies and the nineties of the last century demonstrate the mismatch of social expectations and reality that was generally typical for the images of the future. According to the authors of the present article, Solzhenitsyn’s ideas that the revival of spirituality could serve as the basis for the development of economy, that the influence of the Church on the process of socio-economic development would grow, and that the political situation strongly depends on the personal qualities of the leader, are unjustified. Nevertheless, such ideas are still present in many images of the future of Russia, including contemporary ones.

scholarly journals The heterogeneity of mental representation: Ending the imagery debate

2015 ◽  
Vol 112 (33) ◽  
pp. 10089-10092 ◽  
Author(s):  
Joel Pearson ◽  
Stephen M. Kosslyn
Keyword(s):  
20Th Century ◽  
Mental Representation ◽  
Historical Context ◽  
Internal Representations ◽  
The Past ◽  
Different Types ◽  
Imagery Debate ◽  
Propositional Language

The possible ways that information can be represented mentally have been discussed often over the past thousand years. However, this issue could not be addressed rigorously until late in the 20th century. Initial empirical findings spurred a debate about the heterogeneity of mental representation: Is all information stored in propositional, language-like, symbolic internal representations, or can humans use at least two different types of representations (and possibly many more)? Here, in historical context, we describe recent evidence that humans do not always rely on propositional internal representations but, instead, can also rely on at least one other format: depictive representation. We propose that the debate should now move on to characterizing all of the different forms of human mental representation.

“Gods… Adorned with the Embroiderer’s Needle”: The Materials, Making and Meaning of a Taino Cotton Reliquary

2012 ◽  
Vol 23 (3) ◽  
pp. 300-326 ◽  
Author(s):  
Joanna Ostapkowicz ◽  
Lee Newsom
Keyword(s):  
Cultural Context ◽  
Intrinsic Value ◽  
Historical Context ◽  
Skeletal Remains ◽  
Radiocarbon Date ◽  
Lesser Antilles ◽  
Hispanic Caribbean ◽  
Manufacture Process ◽  
Animal Hair

AbstractA unique cotton Taíno reliquary—the only extant example currently known—provides an unprecedented window onto the complex mortuary and ritual ceremonies of the pre-Hispanic Caribbean. This study explores its cultural context as recorded by the early Spanish and French chroniclers and missionaries who were witness to the use and beliefs surrounding these objects in both the Greater and Lesser Antilles. It provides the first AMS radiocarbon date for the reliquary, placing it within a firmer historical context. It also examines the woven sculpture in some detail, providing a review of the manufacture process and a detailed study of the components—cotton, animal hair, lianas, gourd, resins and shell—that went into its creation. From the wrapping of important cemís (representations of spirits) in cotton, to the binding of the skeletal remains of venerated ancestors within elaborate weavings, cotton had an intrinsic value as a material that wrapped and bound the ancestors to the living and the living to each other.

scholarly journals Israel and the Middle East: The creation of a Nation

2018 ◽  
Vol 9 (3) ◽  
pp. 47-56
Author(s):  
Antonella Colonna Vilasi
Keyword(s):  
Middle East ◽  
20Th Century ◽  
Historical Context ◽  
Jewish Question ◽  
The Creation ◽  
Political Economic ◽  
Social Debate

Abstract In order to properly study the foundation of a State, a paradigm of thought or any other organization, we should analyze the historical context which produced the conditions for this phenomenon to happen, in all its variables and components. The Jewish question cannot certainly be relegated only to the 20th century, but surely it was the century in which the cultural, political, economic, and social debate was the expression of a collective will to create a Nation and develop and transform it into a key country in the context of global geopolitics.

scholarly journals Transgressive Textualities: Translating References to Gender, Sexuality and Corporeality in Nelly Arcan’s Putain and Paradis, clef en main

2013 ◽  
Vol 3 (1-2) ◽  
Author(s):  
Pauline Henry-Tierney
Keyword(s):  
Comparative Analysis ◽  
Female Body ◽  
The Body ◽  
Sexual Agency ◽  
Writing Style ◽  
Women's Bodies ◽  
Gendered Identity ◽  
Translation Practice ◽  
Neutral Tone ◽  
Target Culture

In this paper I examine how transgressive references to gender, sexuality and the body are translated in two texts by the Québécoise writer Nelly Arcan, her debut autofictional narrative Putain (2001) and her final (retroactively auto)fictional title Paradis, clef en main (2009). Throughout her oeuvre, Arcan seeks to liberate women from stereotypical frameworks of reference by asserting women’s gendered, sexual and corporeal subjectivities in previously taboo discourses on prostitution, incest, sexuality, anorexia, matrophobia and suicide. Through her candid and explicit writing style, Arcan elaborates her own specific écriture au féminin which incorporates a linguistic, thematic and physical visualization of women within her texts.These two novels have been translated into English as Whore (2005) by Bruce Benderson and Exit (2011) by David Scott Hamilton respectively. However, analysis of the target texts suggests that neither translator adopts a gender-conscious approach which compromises the specificity of Arcan's idiolect in the Anglophone context. Through a comparative analysis of examples from the source texts and translations under the categories of gender, sexuality and the body, I discuss how the translation practices work counterproductively to obfuscate Arcan’s textual visualisations of women. In terms of references to gendered identity, by removing or neutralising Arcan's grammatically feminised language in Putain, the translator obfuscates Arcan's idea of the importance gender plays in shaping maternal relationships. Similarly, in Exit, Arcan's subversive feminist wordplay is distorted resulting in women being reinserted into patriarchal frameworks of reference. My analysis on Arcan's portrayal of sexuality underlines how sexual euphemisms in the translation downplay the narrator's potential for sexual agency in Whore, while misleading translation choices for feminist neologisms relating to women's sexuality in Exit eschew Arcan's efforts to verbalise women's lived sexual realities. Lastly, inconsistency in the translation of female corporeal vocabulary distorts the neutral tone Arcan employs in Putain to ensure women's bodies are not eroticised and the translator's decision to condense references to the female body in Exit undermines the significance Arcan places on corporeal connections between women. Thereafter, I move on to consider the wider implications of the translative process such as how paratextual elements also have an impact upon Arcan's reception in the target culture. I argue that in both Whore and Exit, the paratranslators intentionally sensationalise the autofictional elements of Arcan's texts. In short, my analysis contends that through a non-gender conscious translation practice, the celebrity of Arcan is promoted in the Anglophone context but to the detriment of Arcan’s écriture au féminin.

scholarly journals Śmierć porwana. O terezińskiej sztuce Hledáme strašidlo Hanuša Hachenburga z 1943 roku

2019 ◽  
Vol 168 ◽  
pp. 327-335
Author(s):  
Agata Firlej
Keyword(s):  
20Th Century ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Point Of View ◽  
Main Character ◽  
Zygmunt Bauman ◽  
The Holocaust ◽  
German Speaking ◽  
Puppet Theatre ◽  
East And West

The stolen death: About the play Hledáme strašidlo by Hanuš Hachenburg from 1943The puppet theatre play Hledame strašidlo by Hanuš Hachenburg was written in the Terezín/Theresienstadt ghetto in 1943 and over 50 years was hidden in the archive until it was presented to readers and viewers in the 1990s — but it turned out to be still surprisingly valid and cogent. The author, a 14-year-old prisoner of the ghetto, used the conventions of the puppet theatre, the carnival and the fairy tales. The mythical or fairy-tale-like “timelessness” allowed him to show the absurdity of Nazism and — yet unnamed — the Holocaust. The main character of the play, the King, captures Death itself, which soon becomes so ordinary and kitschy that no one is afraid of her. The confinement of Death — a motif known, among others, from the myth of Sisyphus — is an important theme of the theatre in Terezín; it appears also in the German-speaking opera by Peter Kien and Viktor Ullmann, Der Keiser von Atlantis Emperor of Atlantis. In this article, I show how the old themes of enslaved Death and the dance macabre between extasy and destruction become the symbols of the war, and indeed of the 20th century, which culminates in the devastating forces of the great ideologies and in which there can be found the origins of retrotopia, which is now, according to Zygmunt Bauman, the dominating point of view in East- and West-European and in American discourse.  Únos smrti. O terezίnske divadelnί hře Hledáme strašidlo Hanuše Hachenburga z roku 1943Divadelní hra Hledáme strašidlo od Hanuše Hachenburga byla napsána v ghettu Terezín / Theresienstadt v roce 1943 a více než padesát let byla ukryta v archivu, aby v 90. letech si našla cestu pro své čtenáře a diváky — a ukázalo se, že je překvapivě platná a přitažlivá. Autor, čtrnáctiletý vězeň ghetta, využil konvencí loutkového divadla, karnevalu a pohádek. Mýtická nebo pohádková „nadčasovost“ mu umožnila ukázat absurditu nacismu a — tehdy ještĕ nemenovaného — holocaustu. Hlavní postava hry, Král, zachytí samotnou Smrt, která se brzy stane tak obyčejnou a kyčovitou, že se ji nikdo nebude bát. Únos smrti — motiv známý mimo jiné i z mýtu Sisyfa — je důležitým tématem divadla v Terezíně; objevuje se také v německojazyčné operě Petera Kiena a Viktora Ullmanna Der Keizer von Atlantis Císař Atlantidy. V tomto textu ukazuji, jak se staré motivy zotročené Smrti a danse macabre mezi extázi a zničení stávají symbolem války a celého dvacátého století, v který vyvrcholily ničivými sily velké ideologie a kde lze nalézt počátky retrotopie, která je podle Zygmunta Baumana dominantním hlediskem ve východním, západoevropským a americkým diskurzu.

scholarly journals TEMUAN FRAGMEN GERABAH SEBAGAI INDIKASI PERMUKIMAN KUNO DI SITUS BOROBUDUR

2013 ◽  
Vol 33 (2) ◽  
pp. 211-226
Author(s):  
Agni Sesaria Mochtar
Keyword(s):  
20Th Century ◽  
Cultural Context ◽  
The Other ◽  
Back Side ◽  
The South ◽  
South West ◽  
Pottery Sherds ◽  
Few Data ◽  
The Temple

Borobudur temple has been famously known as one of the Indonesian heritage masterpiece. Various aspects of it had been studied thoroughly since the beginning of 20th century A.D. Those studies tended to be monumental centric, giving less attention to the cultural context of the temple and its surroundings. Settlement in the nearby places is one of the topics which not have been studied much yet; leaving a big question about how the settlement supported continuity of many activities in the temple, or even the other way around; how the temple affected the settlement. There is only a few data about old settlement found in situ in Borobudur site, only abundance of pottery sherds. The analysis applied on to the potteries find during the 2012 excavation had given some information about the old settlement in Borobodur site. The old settlement predicted as resided in the south west area, in the back side of the monument.

scholarly journals PHILOSOPHICAL AND PSYCHOLOGICAL-PEDAGOGICAL BASES OF CREATIVE ACTIVITY OF CHILDREN OF SENIOR PRESCHOOL AGE

2020 ◽  
pp. 231-237
Author(s):  
Iulia KOTELIANETS ◽  
Keyword(s):  
Fairy Tales ◽  
Aesthetic Experience ◽  
Social Activity ◽  
Preschool Education ◽  
Folk Art ◽  
Preschool Age ◽  
Theory And Practice ◽  
Creative Activity ◽  
Complex Integral ◽  
Educational Potential

The article substantiates the relevance of the formation of children's creative activity with the help of folklore in the process of integration of different types of artistic activities in the theory and practice of preschool education. It is noted that the highest form of human’s activity and at the same time his characteristic is creativi-ty, at the same time creative activity is defined as human activity in a particular type of creativity, which acquires essential and specific features of creativity. As a result we can mention that creativity and activity are interrelated, interpenetrating concepts that influence each other. Different approaches of understanding the essence of the concepts "creativity", "activity" are revealed and the main interpretations of these terms in philosophy, psy-chology and pedagogy are reflected. It is determined that in the studying of creativity there are two approaches: creativity as an activity; creativity as a personality trait. Based on the research of philosophers on the prob-lems of education of social activity, artistic creativity, we consider creative activity as a complex, integral quality of personality, which is a dialectical unity of general, peculi-ar to all types of social activity, and especially specific only as a measure of personality’s activity in art, has two interconnected aspects: external and internal. The external side involves the implementation of ac-tions and deeds which have creative nature. Internal involves a conscious, meaningful attitude to the activities performed, the manifestation of volitional qualities associ-ated with achieving the result. Older preschool age is the basis for the formation of creative activity and children's creativity in general, as the developmental perception of the child is the causative agent of the child's activity and creative activity in gen-eral. One of the means that contributes to younger genera-tion personality’s formation, which carries enormous educational potential, is folk art, because it contains wis-dom, the best people’s moral and aesthetic experience. In addition, it contributes to the formation of children’s crea-tivity. Based on the analysis of research, the possibilities of such types of oral folk art as fairy tales, proverbs and sayings, riddles in the formation of creative activity, based on their nature and content.

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