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All Journal DIKSI Lingua Didaktika: Jurnal Bahasa dan Pembelajaran Bahasa Language Circle : Journal of Language and Literature LingTera LINGUAL: Journal of Language and Culture Al-Adyan: Jurnal Studi Lintas Agama Transformatika: Jurnal Bahasa, Sastra, dan Pengajarannya Anaphora: Journal of Language. Literary and Cultural Studies Heritage of Nusantara: International Journal of Religious Literature and Heritage TRANSFORMATIKA: Jurnal Bahasa, Sastra, dan Pengajarannya
Wang, Aiqing
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Emergence and Development of Bullet Comments in China Wang, Aiqing
Language Circle: Journal of Language and Literature Vol 16, No 1 (2021): October 2021
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/lc.v16i1.30406

Abstract

Danmu denotes user-generated dynamic and contextualised comments scrolling across the screen. Owing to its resemblance to a bullet curtain, such a text-over-screen technology is referred to as ‘bullet comment/message’ or ‘barrage subtitling’. Since being adopted from Japan, danmu has expeditiously developed from a niche subcultural entity into a prominent property of Chinese online video culture. Danmu obtains popularity among young audiences, in that it establishes social media co-viewing, creates a sense of belonging, allows self-expression and facilitates social connectedness. Moreover, danmu enables creators to demonstrate a sense of existence, especially via informative, alerting and spoiler comments. The popularity of danmu in China is ascribed to diversified and concise literacy practice. More significantly, it is attributed to linguistic and cultural prerequisites: the Chinese written language is featured by a high information density and robust parafoveal preview effects; the Chinese culture is marked by a high level of polychronicity and collectivism, as well as conspicuous social and peer pressure.
Westernised Chinese in Yu Hua’s Chronicle of a Blood Merchant Wang, Aiqing
Language Circle: Journal of Language and Literature Vol 16, No 2 (2022): April 2022
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/lc.v16i2.32966

Abstract

Yu Hua is one of the most illustrious avant-garde and post-modernist writers in contemporary China, whose chefs-d’oeuvre can be exemplified by a 1995 novel Chronicle of a Blood Merchant. Notwithstanding widespread accolades, Yu Hua’s fiction is excoriated by his peer Han Han for resembling works translated from Western literature. In this research, I scrutinise the language deployed in Chronicle of a Blood Merchant under the framework postulated by Yu Kwang-chung. I propound that the language in Chronicle of a Blood Merchant bears similitude to Westernised/Europeanised Chinese, in that it involves conspicuous light verbs, nominalisation, bei passivisation, subordinating and coordinating conjunctions, plural forms, as well as premodifiers and particles, a considerable proportion of which are redundant and impinged upon by the English language.
Gruesome nursery rhymes in Chinese Mother Goose rhymes Wang, Aiqing
Diksi Vol. 31 No. 2: DIKSI (SEPTEMBER 2023)
Publisher : Fakultas Bahasa, Seni, dan Budaya, Universitas Negeri Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21831/diksi.v31i2.59103

Abstract

孺子歌图 Ruzi Ge Tu "˜Chinese Mother Goose Rhymes' is an anthology cumulated, rendered and illustrated by Isaac Taylor Headland (1859-1942) in 1900, which comprises 152 nursery rhymes predominantly prevailing in Beijing during the Qing (1644-1912) dynasty and aims to nurture sympathy for Chinese children and paint portraits of the masses from both ends of the social spectrum. Chinese nursery rhymes are replete with depictions pertaining to familial bonds and adoration, yet they simultaneously abound with fiendish plots and representations in graphic detail as well as political statements alluding to historical events and personages, parallel to their Western counterparts. In Chinese Mother Goose Rhymes, there is a range of nursery rhymes concerning decease, suicide, impoverishment, dilapidation and animal abuse, whereas only a proportion of them entail educational purposes and convey moral values.
A Comparative Analysis of Stand-up Comedy in Contemporary China and A Collection of Classic Chinese Jokes Wang, Aiqing
Lingual Journal of Language and Culture Vol 17 No 1 (2024): Lingual: Journal of Language and Culture
Publisher : English Department, Faculty of Humanities, Udayana University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24843/LJLC.2024.v17.i01.p05

Abstract

Notwithstanding the fact that ?? youmo ‘humour’ is a neologism and transliteration coined in the 1920s, the conception has been existing in Chinese civilisation for millennia. The earliest extant treatise on humour in Chinese literature is regarded to be an anthology ?? Xiao Lin ‘The Forest of Laughs’ cumulated circa 2ndc CE, yet the most illustrious pre-modern jestbook is a 1791 assemblage entitled ???? Xiao Lin Guang Ji ‘A Collection of Classic Chinese Jokes’. In the 2000s, stand-up comedy entered China’s entertainment market as a niche cultural import, though it was, and still is, mistranslated into ??? tuokouxiu ‘talk show’. Recently, stand-up comedy attains visibility in China by means of phenomenal online programmes. I postulate that Chinese stand-up comedy is featured by unique attributes, in that it is disparate from ‘A Collection of Classic Chinese Jokes’ and the traditional theatrical comedy called ?? xiangsheng ‘cross-talk’, and it is not parallel to its equivalent in the West either. To be more specific, being subject to stringent censorship, stand-up comedy in China is circumspect about content appertaining to (homo)sexual titillation and supernaturalism. Nonetheless, I posit that in terms of inducing humorous effects, contemporary stand-up comedy still evinces similitude to ‘A Collection of Classic Chinese Jokes’ from phonetic, semantic and pragmatic perspectives.
Syncretism of Confucianism, Buddhism and Daoism in Liaozhai Zhiyi in Terms of Filial Piety Wang, Aiqing
Heritage of Nusantara: International Journal of Religious Literature and Heritage Vol. 10 No. 2 (2021): HERITAGE OF NUSANTARA
Publisher : Center for Research and Development of Religious Literature and Heritage

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31291/hn.v10i2.595

Abstract

Liáozhāi Zhìyìis one of the representative compilations in the genre ofzhìguài‘strange writing’ during the Qing (1644-1912) era, and it conveys filial piety through narration and authorial commentary. This researchscrutinizesnarratives regardingthe preponderant construal of filial piety, so as toexplore the harmonious contemporaneous of religious thinking and behavior in Qing China. This researchconductsinterpretative and hermeneutic research on four narratives in Liáozhāi Zhìyì, namely,XíFāngpíng, LèZhòng, SìshíQiān, and QiánbǔWū, and also refersto classic treatises regarding filial piety. Given the fact that narratives in Liáozhāi Zhìyìthemed by or appertaining to filial pietyentail elements of three religions simultaneously.This studypropoundsthat itilluminates amalgamation of Confucianism, Buddhism and Daoism, i.e.sānjiàohéyī, in seventeenth-century China.
Male Writers of DānměiLiterature: An Analysis of Fēitiānyèxiáng Wang, Aiqing
Heritage of Nusantara: International Journal of Religious Literature and Heritage Vol. 10 No. 1 (2021): HERITAGE OF NUSANTARA
Publisher : Center for Research and Development of Religious Literature and Heritage

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31291/hn.v10i1.607

Abstract

In  this  paper,  I  investigate dānměias  a  ground-breaking  literary  genre by  means  of  scrutinising  an  illustrious  male  writer  pseudonymed Fēitiānyèxiáng, and I propound that his works are exemplary as online writing.  As  a  growing  Chinese  Internet  literature,  the  female-oriented dānměigenre, aka  Boys  Love,  has  attracted  legions  of  heterosexual fangirl  producers  and  consumers  as  well  as  a  meagre  amount  of  their male counterparts. Among male dānměiwriters, who are in an absolute minority, Fēitiānyèxiángis  celebrated  fora  wide  range  of  innovative themes  and  magnificent  storylines,  and  his  fiction  is  replete  with profound literary and historical allusionsand elaborate and meticulous depictions.  Furthermore,  notwithstanding  a non-reversible  bipartite dichotomy between seme (top) and uke (bottom)roles, Fēitiānyèxiáng’s writing  is  not  featured  by  feminisation  of  uke,  which  is  clichéd characterisation in not only the dānměi subculture, but also classical and modern    Chinese    literature.    More    significantly, Fēitiānyèxiáng’s narratives  are  reality-oriented,  addressing adverse  circumstances  in  a real-world  context  and  hence  rendering  characters  more  multi-faceted, and he does not circumvent realistic issues or create over-romanticised representation, analogous to his equivalent pseudonymed Nánkāngbáiqǐ.
Lovecraftian Elements in the Writing of ‘Three Icons of Dongbei Renaissance’ Wang, Aiqing
Lingua Didaktika: Jurnal Bahasa dan Pembelajaran Bahasa Vol 18, No 1 (2024)
Publisher : English Department FBS UNP

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ld.v18i1.124316

Abstract

Literary works based on Dongbei (China’s Northeast) or composed by Dongbei-born writers have been playing a preponderant role in modern Chinese literature. There is a recent resurgence of Dongbei-born writers who are collectively referred to as ‘neo-Dongbei writers’, exemplified by ‘three icons of Dongbei Renaissance’, aka ‘three swordsmen in the Tiexi District’. Notwithstanding reality-oriented depictions pertaining to social issues such as redundancy and dipsomania, fiction composed by Ban Yu, Zheng Zhi and Shuang Xuetao bears resemblance to Cthulhu Mythos. To be more specific, the three leading neo-Dongbei writers portray preternatural creatures, and their narratives convey fear of the unknown and nameless approximations of form.   
The embodiment of Qian Zhongshu’s Guan Zhui Bian in an internet novel: Xuanxue and metaphor Wang, Aiqing
LingTera Vol 11, No 2 (2024)
Publisher : Department of Applied Linguistics, FBSB, Universitas Negeri Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21831/lt.v11i2.72702

Abstract

As an iconic intellectual, novelist, translator and poet in the 20th century, 钱钟书 Qian Zhongshu (1910-1998) was not only celebrated for literary aptitude, epitomised by his chef-d’oeuvre 围城 Wei Cheng ‘Fortress Besieged’ (serialised 1946-1947), but also for his unrivalled erudition, multilingualism and critical acumen. Qian Zhongshu was versed in Chinese and Western studies, encompassing literature, philosophy, psychology, history, aesthetics, etc. Qian Zhongshu’s commendable scholarly research can be exemplified by an encyclopaedic masterpiece entitled 管锥编 Guan Zhui Bian ‘Limited Views: Essays on Ideas and Letters’ (1979), which is constituted of a prodigious amount of reading notes and essays written in concise, recondite Classical Chinese. Notwithstanding its self-deprecating title, Guan Zhui Bian has attained critical plaudits. In a web-based time-travel novel 上品寒士 Shangpin Han Shi ‘A Top-Ranked Impoverished Scholar’ (2009-2011) composed by a writer pseudonymised as 贼道三痴 Zeidaosanchi, the author deployed elements from Guan Zhui Bian, which defies the stereotype that male-authored and male-oriented online narratives are prone to be ‘feel-good writing’ marked by 意淫 yi yin ‘lust of the mind; mental pornography’. To be more specific, the author drew on Qian Zhongshu’s elaboration of 玄学 xuanxue (Lit. ‘learning in the profound’) and analyses of metaphor. 
Religious and Numinous Practices in the Novel Pomegranate Bloom Wang, Aiqing
Anaphora : Journal of Language, Literary, and Cultural Studies Vol 7 No 2 (2024): DECEMBER
Publisher : Universitas 17 Agustus 1945 Surabaya, Prodi sastra Inggris, Fakultas Ilmu Budaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30996/anaphora.v7i2.10783

Abstract

A novel entitled 石榴花开 Shiliu Huakai ‘Pomegranate Bloom’ (Trans. Mine) (2019) falls into a literary subgenre 乡土文学 xiangtu wenxue ‘native-soil literature’ and it is composed by a Shandong-born fictionist 耿雪凌 Geng Xueling (1968- ). Apart from salient folk attributes paining a vivid portrait of the rural area of southwest Shandong, Pomegranate Bloom is also featured by numinous depictions pertaining to paranormal forces and occult deeds. To be more specific, the narrative encompasses rituals and deities of the institutionalised Taoism and Buddhism, practitioners of esoteric arts and magical powers correlated to popular religion, animal worship and shamanistic curse, a veritable cornucopia of divinatory acts, as well as folk remedies that are surmised to be justified by traditional Chinese medicine.
Women’s Matrimonial Role in Classical Chinese Literature: A Case Study of the Protagonist in Shen Fu’s Six Records of a Floating Life: Peran Perkawinan Perempuan dalam Sastra Tiongkok Klasik: Sebuah Studi Kasus tentang Tokoh Utama dalam Enam Catatan Kehidupan Mengambang karya Shen Fu Wang, Aiqing
Transformatika: Jurnal Bahasa, Sastra, dan Pengajarannya Vol. 9 No. 2 (2025): TRANSFORMATIKA: JURNAL BAHASA, SASTRA, DAN PENGAJARANNYA: Forthcoming Issue (In
Publisher : Universitas Tidar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31002/transformatika.v9i2.2441

Abstract

Fusheng Liu Ji ‘Six Records of a Floating Life’ is the autobiographical prose composed by an intellectual Shen Fu in the High Qing era, which chronicles his impoverished life featured by both sorrow and exaltation. A substantial portion of the work concerns Shen’s wife named Yun, who is adulated as one of the most meritorious women in Chinese literature by an illustrious writer and translator Lin Yutang. From a pre-modern perspective, in her postnuptial life, Yun complies with the Confucian teachings prescribing women’s conduct, virtue and demeanour, viz. ‘Three Obediences and Four Virtues’; additionally, Yun exhibits filial piety which is also a preponderant creed in imperial China. From a modern perspective, Yun demonstrates proto-feminist thinking and sentimentality that defy orthodox institutions, embodied by her courageous cross-dressing and harmonious matrimonial relationship enriched by profound emotional devotion and physical intimacy. Furthermore, Yun is equipped with intelligence, generosity, romantic spirit and artistic temperament, and is hence eulogised by her husband for possessing a mentality and merits like a man, which, I posit, is the ultimate accolade in a patriarchal context.
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