Discursive Heterogeneity in Chinese Literature

2016 ◽  
Vol 12 (4) ◽  
Author(s):  
Lelia Gándara ◽  
María Florencia Sartori
Keyword(s):  
Chinese Literature ◽  
Culture Contact ◽  
People’S Republic Of China ◽  
People's Republic Of China ◽  
Mo Yan ◽  
Literary Works ◽  
Language And Culture ◽  
Republic Of China ◽  
Discursive Strategies ◽  
Contemporary Chinese

AbstractIn this paper we explore the marks of discursive heterogeneity in literary works produced in situations of language and culture contact. We analyze novels written by contemporary Chinese authors who live outside the People’s Republic of China and produce their work in English and French: Qiu Xiaolong (裘小龙) and Dai Sijie (戴思杰), respectively. We address marks of heteroglossia and discursive heterogeneity and explore the construction of the narrator and the narratee in their novels. In order to validate our analysis, we compare these authors with a Chinese writer who lives and produces his work in China: Mo Yan’s on his French and Spanish translated novels. Taking into account the discursive strategies deployed and the polyphonic marks, we demonstrate that Qiu and Dai construct Chinese narrators and Western narratees, while Mo Yan constructs Chinese narrators and narratees. In our analysis we apply notions of polyphony from Bakhtin and Ducrot, rhetoric concepts from Olbrecht-Tyteca and Per elman, the notion of discursive heterogeneity by Authier, and the discursive ethos analysis proposed by Maingueneau.

“HOW MUCH TRUTH CAN A BLADE OF GRASS CARRY?”: Ch'en Ying-chen and the Emergence of Native Taiwanese Writers

1973 ◽  
Vol 32 (4) ◽  
pp. 623-638 ◽  
Author(s):  
Joseph S. M. Lau
Keyword(s):  
Chinese Literature ◽  
Modern Chinese Literature ◽  
People’S Republic Of China ◽  
People's Republic Of China ◽  
The West ◽  
Republic Of China ◽  
Modern Chinese ◽  
Ying Chen ◽  
Nationalist Government

Though Taiwan has since 1949 been the seat of the Nationalist Government and the domicile of several millions of exiled Chinese, no serious literature has been produced until the late fifties.1 Explanations are not difficult to give. For one thing, since nearly all the important figures of modern Chinese literature have remained in the People's Republic of China,” their works are therefore proscribed for political reasons. Cut off from their mainland base, the disinherited young Taiwanese writers, having no native idols to emulate and anxious to create a tradition of their own, could only import from the West whatever “isms” they considered to be the literary fashions of the day—symbolism, surrealism, existentialism, futurism, modernism, phenomenalism, etc. Quite often, however, what they regarded as daring experiments at the time of initiation later turned out to be

scholarly journals Guo Moruo on Marx and Confucius

Asian Studies ◽  
2019 ◽  
Vol 7 (1) ◽  
pp. 129-151
Author(s):  
Bart DESSEIN
Keyword(s):  
People’S Republic Of China ◽  
People's Republic Of China ◽  
Literary Works ◽  
Republic Of China ◽  
Confucian Temple

Through the analysis of two of Guo Moruo’s literary works––his “Marx Enters a Confucian Temple” published in 1926, and “Confucius Eats” published in 1935––Guo Moruo’s assessment of Confucius and Marx is discussed. It is shown how Guo Moruo, although being a self-declared Marxist, kept on adhering to some Confucian principles, and how this attitude of his helps to explain why Guo Moruo, after having been criticized in the “pi Kong pi Lin” campaign, is now, within the revival of Confucianism in the People’s Republic of China, being revaluated.

scholarly journals Development of linguistic and political competences of Russian students studying Chinese: Cultural meanings of Chinese state Symbols

2021 ◽  
pp. 151-161
Author(s):  
Elena A. Nakhimova ◽  
Yu Sun
Keyword(s):  
Extracurricular Activities ◽  
The State ◽  
Modern China ◽  
People’S Republic Of China ◽  
People's Republic Of China ◽  
Cultural Meanings ◽  
Language And Culture ◽  
Republic Of China ◽  
Initial Stage ◽  
Independent States

The active development of cooperation between the friendly peoples of the Russian Federation and the People’s Republic of China requires intensified training of specialists capable of ensuring intercultural communication between citizens of China, Russia and other Commonweath of Independent States members. In accordance with modern linguodidactics, the development of a foreign language should be linked with culture studies, which ensure the development of the linguistic and cultural competences. It is essential that Russian students fully understand cultural meanings of China’s state symbols. The paper proves the need to acquaint Russian students studying Chinese language and culture with the state symbols of the People’s Republic of China (flag, coat of arms and anthem) at the initial stage of training. It is important that Russian students fully understand the cultural meanings of the state symbols of modern China, the country that is proud of its history and looks boldly into the future. Didactic materials that can be used in the classroom on the topic “State Emblem of the People’s Republic of China”, as well as additional materials for educational or extracurricular activities are presented in the study. Comparable components of Chinese and Russian (Soviet) state symbols, their national and historical features are highlighted in the paper as confirmation of the prospects of using the comparative principle in the classroom with Russian students.

scholarly journals Face and politeness in fandom in China

2021 ◽  
Vol 36 ◽  
Author(s):  
Aiqing Wang
Keyword(s):  
Social Media ◽  
Collective Identity ◽  
People’S Republic Of China ◽  
People's Republic Of China ◽  
Group Discussions ◽  
Republic Of China ◽  
Discursive Strategies ◽  
Epistemic Stance ◽  
Media Interaction

Face and politeness in fandom in the People's Republic of China are driven by a dominating focus on rank, which entails a prodigious amount of social media interaction, primarily occurring as posts and comments on the microblogging website Weibo. When interacting with their fellows in the same fandom, fans refer to a collective identity in order to maintain or enhance rapport with their interlocutors. Fan members use deliberately opaque and alien terminology for their in-group discussions, intertwining their fandom's discourse with that of their idols' fans and thereby intertwining notions of face. To further differentiate their fan base from other counterparts, thus reinforcing their collective identity as a distinctive community, fans use neologisms that are exclusive to their own fan space, thereby creating unconventional and discursive strategies of politeness similar to mock politeness. When preserving face, expressing politeness, and maintaining rapport with fellow fans, fans use carefully selected semantic strategies that act as epistemic stance markers. When interacting with idols, fans use self-referential terms that show politeness, giving face to idols and enhancing rapport between idols and fans.

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