Translation of Contemporary Expression of Traditional Culture of Ci Fu "Luo Shen Fu" and Traditional Dance of "Luo Shen Water Fu"

Henan TV’s "Traditional Culture Series" has pushed the contemporary expression of Chinese traditional culture to a climax. Especially with the rejuvenation of domestic traditional culture, the dance "Luo Shen Water Fu" re-creates the traditional poetry "Luo Shen Fu" in five aspects: the creator's perspective, art form, expression technique, character image and creative power. The new expression of modern form has produced a strong contemporary traditional cultural effect. Through a case analysis of this successful act of traditional culture, the article analyzes the translation techniques of contemporary expressions of traditional culture, and provides useful enlightenment for stimulating the creative vitality of traditional culture and boosting the future trend of traditional Chinese culture.

Translation and postcoloniality in Ireland: the particular and peculiar relationship between Irish Gaelic and English

Translations in Ireland (between Irish Gaelic and English) take place in two very different scenarios. In the southern Republic, the Irish language is officially the first national language, but it is now spoken by a bare fraction of the population, and is steadily declining as a living language. Translations between Irish and English are supported by the Republic ’s government in various schemes, but are often viewed with suspicion by many of the Irish Gaelic speakers as yet another colonialist move. In the North (Northern Ireland), the long history of repression has made the language a rallying point for nationalists. It is in this political minefield and threatened linguistic zone that both writer and translator must operate. Creative hybridity is revealed not as free of political enmeshments, but rather the reverse: the creative vitality of this particular bilingual writing zone (of both author and translator) results precisely from its highly pressurized milieu. This article argues that translations are served by the reflexive postcolonial understanding of the role of the translator and translation, as well as the original text, within the larger socio-political context.

Bringing Back in the Spatial Dimension in the Assessment of Cultural and Creative Industries and Its Relationship with a City’s Sustainability: The Case of Milan

The Cultural and Creative Cities Monitor (CCCM) is a valuable tool to measure and compare European cities’ cultural and creative vitality. It addresses three dimensions: the presence of cultural venues and facilities (i.e., Cultural Vibrancy); the jobs and innovations connected to the so-called creative industries (i.e., the Creative Economy); and the enabling conditions for culture and creativity diffusion: human capital, diversity, trust and openness, international accessibility, and connectivity (i.e., an Enabling Environment). Comparing and ranking cities on these different dimensions offer policymakers the possibility of developing strategies related to their development (Montalto et al., 2019). However, as is recognized in the report presenting the CCCM, significant methodological limitations exist. They are related to both the tool and the potential behavioral implications it generates (JRC-OECD Handbook, 2008) and to the difficulties with addressing a multifaceted phenomenon with scant data, which offer limited opportunities to adequately measure cultural and creative cities (Van Puyenbroeck et al., 2021). In this paper, we integrate the CCCM framework to propose a spatially contextualized application at the city level as a tool to support policymakers’ understanding of the potential role of cultural and creative organizations in city development (Soini and Dessein, 2016). We, therefore, build our arguments on a recent stream of research showing the importance of the spatial dimension to understand the relevance of cultural and creative industries within a context and inform decision-makers (Boal-San Miguel and Herrero-Prieto, 2020). This spatial dimension is even more important at the city level, where public, private, and non-profit organizations interact to execute culture-led policies (Bonet and Négrier, 2018). In this case, the location of specific organizations may be critical in offering opportunities at the neighborhood level, paving the way to space-driven local level policies (e.g., the 15 min walking strategy; see e.g., Pisano, 2020).

French Lexical Innovation in Moroccan Mediated Interactions

The French language in Morocco seems to be an evolving research field for linguists and sociolinguists. In everyday chats, Moroccan speakers use a particular lexicon of French on a formal and informal semantic level without much concern for conformity with standard French.Based on a one-off observation of exchange situations, we carried out a qualitative descriptive analysis based on studying the form and meaning of neologisms in the mediated interactions of the users. This study demonstrated a great diversity of lexicon use in the atypical written speeches of Moroccan chatters as well as an important freedom of spelling in relation to standard. The language practices of these chatters testify creative vitality and dynamics of neologisms. It also appears that these practices perform expressive, playful, and ornamental functions.

Materialist dialogues and the granular

This commentary reflects upon the utility of the granular for bringing new materialists’ concerns for materiality into dialogue with historical materialists’ concerns for the historical power relations through which social phenomena emerge. I argue that the granular offers a promising vocabulary for bridging these interests, but suggest that further work is now needed to demonstrate how the granular can reconcile new materialists’ insistence on creative vitality with Marxian historical materialism.

The arresting gaze: Artistic disruptions of antiblack surveillance

This article analyzes a range of art and performance pieces that unearth and problematize the racist cultural underpinnings of surveillance. Drawing upon recent black studies scholarship, I probe the ways that contemporary creative works disrupt dominant signifying regimes that would position racialized surveillance/violence couplings as historical and exceptional rather than as foundational and routine. I argue that such aesthetic disruptions achieve creative vitality by holding in tension exclusionary regimes of white liberal personhood, on one hand, and articulations of hope that depart from those regimes, on the other. Whereas the gaze of surveillance seeks to silence and arrest subjects, creative expression can undermine authorized forms of visuality by focusing on survival and community that persist in spite of it.

Moving from Within The Maternal

With Kristeva’s concept of maternal eroticism (2014) as starting point, the “multiverse” of mother/child erotic sensibilities—the dance of the semiotic chora—is explored and a parallel engagement proposed within the analytic dyad. The dance of psychoanalysis is not the creative product of the patient’s mind alone. Clinical work invites, requires, a choreographic engagement by the clinician in interplay with the patient. The clinician’s analytic activity is thus akin to choreography: the structuring of a dance, or of a session, expresses an inner impulse brought into narrative form. The embodied art of dance parallels the clinician’s creative vitality in contributing to the shaping of the movement of a session. Through formulation of an analytic eroticism, the terrain of what traditionally has been viewed as erotic transference and countertransference can be expanded to clinical benefit.