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Taoist Philosophy in Chinese Science Fiction: A Comparison between Zhuangzi and Broken Stars Aiqing Wang
Lensa: Kajian Kebahasaan, Kesusastraan, dan Budaya Vol 11, No 2 (2021)
Publisher : Fakultas Bahasa dan Budaya Asing (FBBA), Universitas Muhammadiyah Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26714/lensa.11.2.2021.237-251

Chinese science fiction has been attaining global visibility since Liu Cixin’s trilogy entitled Remembrance of Earth’s Past. The trilogy’s English translator Liu Yukun has edited and rendered a science-fiction anthology that comprises sixteen novellas composed by fourteen Chinese novelists. Apart from a fecundity of imagination and richness of imagery-evoking depictions, narratives compiled in the anthology also epitomise Taoist philosophy conveyed in Zhuangzi, a Warring States (475-221 BC) treatise ascribed to an illustrious philosopher Zhuangzi. Philosophical constructs in the anthology can be exemplified by quintessential construals such as ‘non-action’, ‘resting in destiny’ and ‘self-so’, as well as mindset appertaining to temporal and aesthetic issues.

‘Farming Writing’: An Innovative Subgenre of Internet Literature Aiqing Wang
Humanis Vol 25 No 4 (2021)
Publisher : Udayana University

As an innovative subgenre of Internet literature, ‘farming writing’ has attained popularity in contemporary China’s cyberspace, which, in a narrow sense, denotes narratives pertaining to agronomic theories and agrarian practices. Disparate from cliché-ridden web romances that deploy authorial ‘golden finger’ to equip protagonists with impeccable demeanour and prowess, ‘farming’ fiction is characterised by reality-oriented, detail-enriched depictions, notwithstanding its essence as ‘feel-good writing’. Furthermore, ‘farming’ works are marked by a slow pace, peaceful setting and plain theme, enabling readers to identify with characters and escape from reality. In this article, I scrutinise a ‘farming’ novel under the genre of danmei (aka Boys Love), and further posit that the popularity of ‘farming writing’ is also attributed to the Chinese ethnicity’s devotion to agriculture since time immemorial.

Mulan Meeting Her Waterloo in Homeland: Analysing the 2020 Film from a Cultural Perspective Aiqing Wang
Lingual: Journal of Language and Culture Vol 13 No 1 (2022): 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.2022.v13.i01.p01

On 4 September 2020, Disney released a remake of its 1998 hit animation, yet the film Mulan fails to replicate its success in the Chinese market this time, as reflected by its box office and online review. It is unexpected for Mulan to meet her waterloo is her homeland, as the patriotic legend involving cross-dressing has been entrancing and intriguing generations of Chinese people from both ends of the social spectrum via a range of media. Among divergent versions of Mulan narration, the Poem of Mulan composed circa the 5th century is the earliest and most established one, and since it has been in the school textbook for decades, the majority of Chinese people’s construal of Mulan is impinged upon by this work. The film Mulan, however, exhibits disparate core values from the Poem of Mulan: the former features filial piety and loyalty, whereas the latter feminism and being true. Furthermore, the film depicts Mulan as a quasi-witch woman with mighty qi that cannot by wielded by females, discrepant from the poem that is void of supernatural demonstrations and interventions, impinged upon by Confucian agnosticism and atheism. Additionally, the film demonstrates historical and cultural details that appear to be counterfactual to Chinese audiences, which is regarded as ignorance and disrespect of Chinese culture.

CULTURAL ALLUSIONS AND HUMOROUS EFFECTS OF OCCULT DEPICTIONS IN NIGHT FERRY Aiqing Wang
Anaphora : Journal of Language, Literary, and Cultural Studies Vol 4 No 2 (2021): 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.v4i2.5805

??? Yehang Chuan ‘Night Ferry’ is an encyclopaedic masterpiece and the chef-d’oeuvre of ?? Zhang Dai (circa 1597-1689), an illustrious historian, poet, dramatist, essayist, aesthete, musician and gastronomist in late Ming and early Qing China. Night Ferry cumulates more than four thousand entries and encompasses a veritable cornucopia of topics in an elephantine range. In this research, I investigate Chapter Twenty ?? Fang Shu ‘Alchemy and Sorcery’ of Night Ferry, which comprises Section ?? Fu Zhou ‘Amulets and Incantations’ and Section ?? Fang Fa ‘Prescriptions and Practices’. Both sections abound with depictions pertaining to occult acts and paranormal forces, the vast majority of which embody cultural allusions concerning religion, divination and patriarchy. Furthermore, Chapter ‘Alchemy and Sorcery’ is featured by humorousness, though Night Ferry is not a dedicated jestbook. The humorous effect in Night Ferry is not attained via sarcasm or homo-/hetero-erotism, as manifested by derisive and prurient jokes compiled in a renowned pre-modern jestbook entitled ????Xiao Lin Guang Ji ‘A Collection of Classic Chinese Jokes’.

SEMANTIC AND COMMUNICATIVE TRANSLATION IN CHRONICLE OF A BLOOD MERCHANT Aiqing Wang
Jurnal Bahasa Lingua Scientia Vol 13 No 2 (2021)
Publisher : Pusat Pengembangan Bahasa IAIN Tulungagung

Show Abstract | Download Original | Original Source | Check in Google Scholar

Yu Hua is a celebrated avant-garde, post-modernist writer in contemporary China, whose chefs-d’oeuvre are exemplified by To Live, Chronicle of a Blood Merchant and Brothers. The novel Chronicle of a Blood Merchant was composed in 1995 and rendered into English by Andrew F. Jones in 2003. In the English version, two translation approaches can be attested, viz. semantic translation and communicative translation, propounded by Peter Newmark. Similes, metaphors and sayings in Chronicle of a Blood Merchant are saliently translated in a literal and faithful manner, in accordance with semantic translation. Furthermore, the narrative abounds with political allusions that are rendered in line with semantic translation. In terms of communicative translation that tends to be free and idiomatic, it is embodied by linguistic culture, social culture and religious culture in the sense of Nida (1945). Nonetheless, there are instances of under-translation, which encapsulates the weakness of communicative translation.

METAPHORS AND SIMILES IN VAN GULIK’S SELF-TRANSLATION OF THE CHINESE MAZE MURDER Aiqing Wang
Lexeme : Journal of Linguistics and Applied Linguistics Vol 4, No 1 (2022)
Publisher : Universitas Pamulang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.32493/ljlal.v4i1.18727

A prolific and versatile Dutch writer, translator and orientalist Robert Hans van Gulik (1910-1967), aka 高罗佩 Gao Luopei, has composed a series of historical detective novels 大唐狄公案 Datang Digong An ‘Celebrated Cases of Judge Dee’, which concerns an illustrious district magistrate and statesman 狄仁杰 Di Renjie (630-704 AD), who competently investigates murder and corruption in Tang (618-907 AD) China. Upon publishing the debut work The Chinese Maze Murder (1951) in English, van Gulik renders it into a Chinese version entitled 狄仁杰奇案 Di Renjie Qian, which is the only self-translation by the author-cum-translator. In the Chinese version of The Chinese Maze Murder, the vast majority of metaphors and similes are translated by means of conversion and deletion, so they can be regarded as covert translations in the sense of House (1977, 2014).

Attitudes Towards Corruption and Women in Children’s Literature and Detective Fiction: A Parallel between Zheng Yuanjie and Zijin Chen Aiqing Wang
Lingua Didaktika: Jurnal Bahasa dan Pembelajaran Bahasa Vol 15, No 2 (2021)
Publisher : English Department FBS UNP

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ld.v15i2.112887

In this article, I explore male writers’ attitudes towards corruption and women in fairy tales and detective novels, by means of hermeneutically scrutinising works of Zheng Yuanjie, the illustrious ‘King of Fairy Tales’, as well as Zijin Chen, the ‘Chinese Keigo Higashino’. Anti-corruption is a prevalent and preponderant theme in both writers’ creation, yet their depictions of barbarous extrajudicial punishment for government officials’ misdeeds allude to karmic retribution and are prone to expatiation in graphic detail. Therefore, some of their fiction appertaining to anti-corruption can be regarded as ‘feel-good writing’ in essence. Furthermore, the writing of Zheng and Chen is sometimes featured by lack of feminist consciousness, in that a proportion of their works manifest gender stereotypes, which can also be attested in other male writers’ fairy tales and detective novels.

SEMANTIC AND COMMUNICATIVE TRANSLATION IN CHRONICLE OF A BLOOD MERCHANT Aiqing Wang
Jurnal Bahasa Lingua Scientia Vol 13 No 2 (2021)
Publisher : Unit Pengembangan Bahasa UIN Sayyid Ali Rahmatullah Tulungagung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21274/ls.2021.13.2.317-340

Yu Hua is a celebrated avant-garde, post-modernist writer in contemporary China, whose chefs-d’oeuvre are exemplified by To Live, Chronicle of a Blood Merchant and Brothers. The novel Chronicle of a Blood Merchant was composed in 1995 and rendered into English by Andrew F. Jones in 2003. In the English version, two translation approaches can be attested, viz. semantic translation and communicative translation, propounded by Peter Newmark. Similes, metaphors and sayings in Chronicle of a Blood Merchant are saliently translated in a literal and faithful manner, in accordance with semantic translation. Furthermore, the narrative abounds with political allusions that are rendered in line with semantic translation. In terms of communicative translation that tends to be free and idiomatic, it is embodied by linguistic culture, social culture and religious culture in the sense of Nida (1945). Nonetheless, there are instances of under-translation, which encapsulates the weakness of communicative translation.

Internet Memes In China: Cultural Image Macros of Code-Switching and Homonymy Aiqing Wang
Lensa: Kajian Kebahasaan, Kesusastraan, dan Budaya Vol 13, No 2 (2023)
Publisher : Fakultas Ilmu Pendidikan dan Humaniora (FIPH), Universitas Muhammadiyah Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26714/lensa.13.2.2023.319-336

Since China joined the Internet in the late 1980s, production and consumption of online cultural merchandise has been proliferating and permeating every section of society, exemplified by Internet literature, animation, comic and game. Meanwhile, there has emerged a veritable kaleidoscope of memes in China’s cyberspace, which are deployed on social media platforms to convey stances, emotions, humorousness, etc. Nonetheless, as a multi-faceted phenomenon, Internet memes fail to attain deserved academic scrutiny, so in this paper, I investigate one subcategory of memes in China’s cyberspace, viz. cultural memes, focusing on image macros that dynamically integrate visual effects and textual information. The text of cultural image macros can be generated via Chinese-English code-switching in the form of alphabetic words that are either idiomatic or related to Internet buzzwords. Alternatively, cultural image macros in China can be generated via homonymy: the vast majority of homonyms are homophones, while a small proportion of them are homographs. The corresponding images in the memes pertain to the inserted English words or constituents that are substituted, thereby complementing the text and strengthening humorous effects.

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