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RISS 인기검색어
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- 저자 : Kar Yue (검색결과 4 건)
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Chinese Familiarity vs Otherness : The Self Gendered Voice in the Translation of Female Poetry
Chan Kar Yue 한국통번역교육학회 2017 통번역교육연구 Vol.15 No.2
The traditional Chinese literati realm rested predominantly with male poets, which resulted in negligence of those poems written by women poets. Some famous surviving female poems were ‘impersonated’ by the males, with prevalent feminine gendered voice, thoughts and psychology embedded. If poetry literally written by women poets has to be sorted out for analysis, researchers always witness a familiar disdainful sentiment against traditional Chinese conventions in the poems. These might hardly be comprehended or interpreted by English readers should they be subsequently translated into English. The otherness revealed in the poetic lines is, no matter handled by either the celebrated methods of domestication or foreignization in translation, substantially conducive to retrospective yearning or resistance to traditional norms. Such resistance is often due to the conventional suppression of women in every aspect upon an invincible faith towards the superior male and inferior female statuses in the imperial society. With such an understanding, classical poetry written by Chinese poetesses has to be emphasized on a level of displaying the persona’s voice when translation is in progress, as there is a specific gendered voice in relation to the inferior bearings of women. The typical Chinese feminine poetic voice is usually melancholic, vividly deprived, and grief-stricken. The elements causing such sentiment in the poems are to be strengthened in the translation by explicit magnification of the original implicit behaviour. And, there is always a question of whether the implicitness should be transformed into explicit components in translation. This controversy will also be discussed in this article.
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Sexuality and Gender Variations in Traditional Chinese Folk Literature
Chan. Kar Yue 한국통번역교육학회 2018 통번역교육연구 Vol.16 No.2
Despite popular literature forming a relatively minor body of literature as compared with serious literature, folk literature in premodern China is also seen as a vital heritage in the literary history. Most folk stories described a mythical sequence, and some served allegorical functions for the masses. Unsurprisingly, some of these literary tropes contain various hidden representations of sexuality and gender issues, including homosexuality, gender segregation, and sexual identity reversal. Though constrained by the limitations of the translation process, to a certain degree differences between conceptions of gender and sexuality in Chinese and Western traditions may be hinted at. The variations typical of Chinese popular literature may be depicted by referring to different interpretations of such conceptual ideas in three example folk stories, Flowers in the Mirror, The Butterfly Lovers and Strange Stories from a Chinese Studio.
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Chan, Kar Yue 한국통번역교육학회 2019 통번역교육연구 Vol.17 No.2
Cantonese opera, usually regarded as a traditional treasure especially in Southern China and Hong Kong, is a regional cultural product embedded with rich classical Chinese legacy. Apart from performing on the stage, the sophisticatedly written opera scripts were also put to research and translation into English. An act of reframing from the indigenous origin of the Chinese to the Western context is thus witnessed, which has resulted in a logical spread of some popular Cantonese opera lyrics and scripts being translated into English. In the 21st century, some on-stage performances of the Cantonese opera titles have been equipped with both Chinese and English surtitles, serving as a feasible way to promote the traditional art. Underdeveloped still, translation of Cantonese opera has to be improved by some specific ways which is discussed in this paper by specifically referring to one of the most renowned opera titles: The Flower Princess.
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Chan,Kar Yue 한국통번역교육학회 2019 통번역교육연구 Vol.17 No.2
Cantonese opera, usually regarded as a traditional treasure especially in Southern China and Hong Kong, is a regional cultural product embedded with rich classical Chinese legacy. Apart from performing on the stage, the sophisticatedly written opera scripts were also put to research and translation into English. An act of reframing from the indigenous origin of the Chinese to the Western context is thus witnessed, which has resulted in a logical spread of some popular Cantonese opera lyrics and scripts being translated into English. In the 21st century, some on-stage performances of the Cantonese opera titles have been equipped with both Chinese and English surtitles, serving as a feasible way to promote the traditional art. Underdeveloped still, translation of Cantonese opera has to be improved by some specific ways which is discussed in this paper by specifically referring to one of the most renowned opera titles: The Flower Princess.
KCI
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