Reviewer Acknowledgements for English Language and Literature Studies, Vol. 14, No. 1, 2024.
英语语言文学研究》审稿人致谢，第 14 卷第 1 期，2024 年。
{"title":"Reviewer Acknowledgements for English Language and Literature Studies, Vol. 14, No. 1","authors":"Alice Ding","doi":"10.5539/ells.v14n1p83","DOIUrl":"https://doi.org/10.5539/ells.v14n1p83","url":null,"abstract":"Reviewer Acknowledgements for English Language and Literature Studies, Vol. 14, No. 1, 2024.","PeriodicalId":511367,"journal":{"name":"English Language and Literature Studies","volume":"2 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140430484","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article aims to investigate the trope of “home” and the representation of women’s leaving home experiences in mother-daughter narrative in post-1990s Chinese American fiction. Amy Tan’s The Valley of Amazement (2013), Celeste Ng’s Everything I Never Told You (2014), and Little Fires Everywhere (2017) are selected in the case study to illustrate the new characteristics of women’s leaving home experiences and the changing cultural connotations of “home” in Chinese American fiction in the new era.
本文旨在研究 "家 "这一特例，以及90年代后华裔美国小说中母女叙事对女性离家经验的表现。案例选取了陈慧娴（Amy Tan）的《惊奇谷》（The Valley of Amazement，2013）、吴蔚然（Celeste Ng）的《我从未告诉你的一切》（Everything I Never Told You，2014）和《小火遍地》（Little Fires Everywhere，2017），以说明新时期华裔美国小说中女性离家经验的新特点和 "家 "的文化内涵的变化。
{"title":"Women’s Leaving Home Experiences in Mother-Daughter Narrative in Post-1990s Chinese American Fiction","authors":"Tongtong Zhang","doi":"10.5539/ells.v14n1p59","DOIUrl":"https://doi.org/10.5539/ells.v14n1p59","url":null,"abstract":"This article aims to investigate the trope of “home” and the representation of women’s leaving home experiences in mother-daughter narrative in post-1990s Chinese American fiction. Amy Tan’s The Valley of Amazement (2013), Celeste Ng’s Everything I Never Told You (2014), and Little Fires Everywhere (2017) are selected in the case study to illustrate the new characteristics of women’s leaving home experiences and the changing cultural connotations of “home” in Chinese American fiction in the new era.","PeriodicalId":511367,"journal":{"name":"English Language and Literature Studies","volume":"52 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140430847","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Mao Zedong, the great leader of China, is also one of the greatest poets in China. His poetry is regarded as the treasure of Chinese literary, in which Qinyuan Chun·Changsha plays an leading position. With the background of “Chinese literary going out”, the translation of the poem seems really meaningful. So in this paper, the author compare seven English versions with the three theories proposed by Professor Xu Yuanchong, the distinguished translator who bend himself to Chinese and English Translation in the field of Chinese poetry so as to provide a reference for promoting the English translation activity of Chinese ancient poetry.
{"title":"Translation Criticism on Qinyuan Chun•Changsha Based on Xu Yuanchong’s Art of Beautifulization","authors":"Guorong Lu, Yingxin Li","doi":"10.5539/ells.v14n1p74","DOIUrl":"https://doi.org/10.5539/ells.v14n1p74","url":null,"abstract":"Mao Zedong, the great leader of China, is also one of the greatest poets in China. His poetry is regarded as the treasure of Chinese literary, in which Qinyuan Chun·Changsha plays an leading position. With the background of “Chinese literary going out”, the translation of the poem seems really meaningful. So in this paper, the author compare seven English versions with the three theories proposed by Professor Xu Yuanchong, the distinguished translator who bend himself to Chinese and English Translation in the field of Chinese poetry so as to provide a reference for promoting the English translation activity of Chinese ancient poetry.","PeriodicalId":511367,"journal":{"name":"English Language and Literature Studies","volume":"15 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140431155","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper reexamines the classic fairy tale “Little Red Riding Hood” and, in conjunction with Angela Carter's adaptations, “The Werewolf”, “The Company of Wolves”, and “Wolf-Alice”, reimagining and analyzing the story from the perspective of literary ethics. Both the original version of “Little Red Riding Hood” and Carter’s adaptations exhibit strong ethical consciousness. Carter’s artistic creation is deeply influenced by European traditional fairy tales in many aspects. The tragic endings of “Little Red Riding Hood” and Carter’s adapted version, “The Company of Wolves”, symbolize the disruption of ethical order. In both versions, the breakdown of ethical order is a result of violating ethical taboos, usurping ethical identities, and allowing free will to dominate, disregarding rational will. The conclusions of these two ethical tragedies serve as a warning to people: any violation of ethical taboos, trespassing on identity, and disruption of ethical order will bring punishment. Meanwhile, Carter’s adapted versions also illustrate the artistic charm and value of tragedy, as well as the practical significance of upholding ethical order. The paper analyzes key themes such as gender, power, morality, and self-awareness in the adaptation and explores how these themes can be reinterpreted through literature, placing the story in a contemporary context to enhance its relevance.
{"title":"“New Wine in Old Bottles”: Ethical Literary Criticism, Adaptations and Angela Carter’s Little Red Riding Hood","authors":"Anqi Peng, Xi Chen","doi":"10.5539/ells.v14n1p9","DOIUrl":"https://doi.org/10.5539/ells.v14n1p9","url":null,"abstract":"This paper reexamines the classic fairy tale “Little Red Riding Hood” and, in conjunction with Angela Carter's adaptations, “The Werewolf”, “The Company of Wolves”, and “Wolf-Alice”, reimagining and analyzing the story from the perspective of literary ethics. Both the original version of “Little Red Riding Hood” and Carter’s adaptations exhibit strong ethical consciousness. Carter’s artistic creation is deeply influenced by European traditional fairy tales in many aspects. The tragic endings of “Little Red Riding Hood” and Carter’s adapted version, “The Company of Wolves”, symbolize the disruption of ethical order. In both versions, the breakdown of ethical order is a result of violating ethical taboos, usurping ethical identities, and allowing free will to dominate, disregarding rational will. The conclusions of these two ethical tragedies serve as a warning to people: any violation of ethical taboos, trespassing on identity, and disruption of ethical order will bring punishment. Meanwhile, Carter’s adapted versions also illustrate the artistic charm and value of tragedy, as well as the practical significance of upholding ethical order. The paper analyzes key themes such as gender, power, morality, and self-awareness in the adaptation and explores how these themes can be reinterpreted through literature, placing the story in a contemporary context to enhance its relevance.","PeriodicalId":511367,"journal":{"name":"English Language and Literature Studies","volume":"3 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139524313","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article aims to analyze Gopal Sukhu’s singular misreading of the Chinese poem “Lisao” in his English translation, examine the reasons and types of his misreading, and explore the wider implications of misreading for literary translation. Misreading is integral to poem translation due to the semiotic nature of language, the aesthetic appeal of poetry, the idiosyncrasy of translator, and the communicative purpose of translation. It is found that in his translation of “Lisao”, Sukhu makes deliberate misreading in four dimensions, namely, retelling the allegorical story, turning ambiguity into clarity, making adaptation on rhetoric devices, and creating textual cohesion. Sukhu’s creative misreading endows a renewed poetic value to the original.
{"title":"Poetry Translation and Creative Misreading—on Gopal Sukhu’s English Rendering of “Lisao”","authors":"Qimin Chen","doi":"10.5539/ells.v14n1p20","DOIUrl":"https://doi.org/10.5539/ells.v14n1p20","url":null,"abstract":"This article aims to analyze Gopal Sukhu’s singular misreading of the Chinese poem “Lisao” in his English translation, examine the reasons and types of his misreading, and explore the wider implications of misreading for literary translation. Misreading is integral to poem translation due to the semiotic nature of language, the aesthetic appeal of poetry, the idiosyncrasy of translator, and the communicative purpose of translation. It is found that in his translation of “Lisao”, Sukhu makes deliberate misreading in four dimensions, namely, retelling the allegorical story, turning ambiguity into clarity, making adaptation on rhetoric devices, and creating textual cohesion. Sukhu’s creative misreading endows a renewed poetic value to the original.","PeriodicalId":511367,"journal":{"name":"English Language and Literature Studies","volume":"82 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139611194","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
“The Man from Mars,” a short story by Margaret Atwood, is a potent critique of Westerners’ common misconceptions and stereotypes about Asians that prompt the exclusion of the Asian hero from Canadian society. Atwood intentionally challenges the deeply ingrained prejudices against individuals from Eastern cultures in Western epistemes by enveloping the unnamed hero in mystery. Drawing on Edward Said’s Orientalism, the study debunks recurrent stereotypes concerning the hero’s “peculiarities” by analyzing their external triggers and highlighting their universal nature. It promotes a deeper comprehension of the intricate interplays between personal experiences, cultural adaptations, and psychological variables.
{"title":"Unveiling Orientalism: The Mystification, Stereotyping, and Exclusion in Margaret Atwood’s “The Man from Mars”","authors":"Jie Li, Fangyu Zhao","doi":"10.5539/ells.v14n1p1","DOIUrl":"https://doi.org/10.5539/ells.v14n1p1","url":null,"abstract":"“The Man from Mars,” a short story by Margaret Atwood, is a potent critique of Westerners’ common misconceptions and stereotypes about Asians that prompt the exclusion of the Asian hero from Canadian society. Atwood intentionally challenges the deeply ingrained prejudices against individuals from Eastern cultures in Western epistemes by enveloping the unnamed hero in mystery. Drawing on Edward Said’s Orientalism, the study debunks recurrent stereotypes concerning the hero’s “peculiarities” by analyzing their external triggers and highlighting their universal nature. It promotes a deeper comprehension of the intricate interplays between personal experiences, cultural adaptations, and psychological variables.","PeriodicalId":511367,"journal":{"name":"English Language and Literature Studies","volume":"75 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139611077","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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