Driven by political considerations, they both used fiction as a political tool and tried to sound a clarion call for their times. A cangue (/kæŋ/) or tcha is a device that was used for public humiliation and corporal punishment in East Asia[1][2] and some other parts of Southeast Asia until the early years of the twentieth century.

The entire article was first published in Shijie (Scope) no., "The Golden Cangue (Jin Sou Ji) by Zhang Ailing, 1943 Another trend concerns description of actions. Generally speaking, I do not have the ability to write anything that can be called a “monument to its time.” Neither will I try to write such a work, since it seems that the source materials for such a work are still too scarce. Its repertoire includes not only traditional classics, but also new and original works that are inspired by topical social issues, literature, history and folklore. Whereas, in the second tendency, the colloquial quality of some conversational clichés or conventional usages would be raised to a more standard level, such as bu shang taipan (p. 229) rendered as "not used to company" (p. 179) and shangtou-shanglian (p. 214) as "impertinent" (p. 145). Instead of resisting the dominant historical trend, she embraced it, followed it, and tried to reflect it in her novel. In this point of view, explicitation of the character's implicit language in effect obscures the two stages in the development of character's personality, which inevitably impairs characterization of the fiction. )Telephone:(+886)-3-9705815, ADDRESS:No.751, Wenlin Rd., Shilin Dist., Taipei City 11159, Taiwan (R.O.C. Part I / Part II, Copyright MCLC Resource Center (July 2009). Pick a style below, and copy the text for your bibliography. In comparison, Eileen Chang’s experience was more tragic. “Elective Affinities” describes an extramarital affair. If you have trouble accessing this page and need to request an alternate format, contact Because of their nature, war and revolution often need intelligence more urgently than they need emotion. On the contrary, her registration of the inescapable pettiness and sadness of human endeavor is nearly always morally disturbing precisely because, given the human condition, she refrains from overt gestures of indignation or protest. The motifs of moon, madness, and mutilation and the themes of exploitation, moral degeneration, and destruction merge with images and symbols of the moon, gold and green, and the cangue. In “Xiao Ai,” Eileen Chang manages to describe the suffering of those women living at the bottom of Chinese society in a particularly moving manner. [19] The contrast between black and white is so intense that it feels bizarre. In the first part Ch’i-ch’iao lacks freedom; in the second part she achieves toxic control over others. Eileen Chang describes the transition with the following words: It was the last spring in which the Jiang bandits still controlled Shanghai. ST1: /Yidian, yidian, yueliang huanhuande (cong yun li) S2 chulai le./ S1 (p. 227). None

After a brief flirtation with her brother-in-law, Qizi, she becomes disillusioned with love because he tries to exploit her financially. Clevedon: Multilingual Matters, 2001. The contrast between the TT and TT has shown clearly that the TT is doubtless less cohesive that the ST. It should be noted that there are different types of mind style, representing varied ranges of influence. The TT, rather than following the original "chronic style," would render some of the verbs that function as predicate in the ST as adjectives or adverbs. Consequently, her works are permeated with a profound pessimistic feeling about life and the world.

As to syntactic shifts, due to the significant difference between Chinese and English in grammatical features, some categories of shift are actually obligatory shifts, and still some can be subsumed under the same heading. In “The Golden Cangue,” the main character is transformed into an animal driven by desires for power and money, just as the main character in Kafka’s Metamorphosis is transformed into a beetle. He paid no heed, put clothes under arm, without consulting anyone, stalked off, before leaving said to Xiangyun ... TT10: He paid her no attention but, before sauntering out the door with his gown in his arm, he said to Ch'ang-yün ... (p. 165). Klaudy, K. "Explicitation," in M. Baker (ed.) Instead of avoiding war and revolution, she focused her attention exclusively on war and revolution.

In so doing, she consciously or unconsciously demonstrates a concern for the fate of humankind, an everlasting concern that transcends the boundaries of space (Shanghai and Hong Kong) and time (her own era). Half-price tickets are available for full-time students, senior citizens aged 60 and above, people with disabilities and Comprehensive Social Security Assistance recipients. In other words, for thirty years in the second half of the twentieth century, Eileen Chang was thrown into the dustbin of history.

At the beginning of the story the moon functions not just as an image but also as a symbol, seen from the viewpoint of the authorial we. Just as I cannot accept Lu Xun’s recalcitrance, I cannot accept Eileen Chang’s vulgarity and cynicism. Miss Chang does not profess high-minded ideals, but this does not mean that her moral passion is in any way less intense than that of the professed didacticist. Refer to each style’s convention regarding the best way to format page numbers and retrieval dates. concubine and makes him smoke opium to drive him further from his wife. From the perspective of the focalizer, if the fictional world is described in a non-committal and distant manner, there will be an objective, neutral mind style. White clouds steaming up underneath and a faint halo over the street lamp showing among the top branches of a tree".

Apparently, shifts in the register element are toward the average, standard level. As we mentioned in the explanation of the revised model, mind style can be specified from different facets of the fictional world. Eileen Chang had an entirely different political stand, yet in her career, from the writing of “The Golden Cangue” and to the writing of Love in Redland, she followed the same tragic path. The journey from Sophia to Zhenzhen and finally to Heini shows that eventually Ding Ling’s individuality was completely replaced by an ideology. First of all, “The Golden Cangue” and “Love in a Fallen City” are characterized by their philosophical awareness rather than their historical awareness. She uses the golden cangue as a way of mutilating others psychologically, while the instrument ironically stands for her own exploitation. The repetition of the motifs evolves through the narrative perspective. Therefore, in syntactic order, part of the TT undergoes the change from chronological segmentation to psychological segmentation. We then read the following passage: As he listened, Jinkui fell silent for a while before he said, “I don’t think you can blame your parents. I am making this statement not because I purposely want to be argumentative against C. T. Hsia at today’s conference. The translation, with more information provided, more complex sentence patterns and strong foreign coloring, is found less cohesive than the original text. Viewed as a whole, Eileen Chang's treatment of her own work is controlled by a reader-oriented principle. The novella's plot consists of two parts: the period from the protagonist's marriage to the death of her mother-in-law and her husband, and the period after their demise. Of the rest, 29 samples go to the category of analogy, and 7 to the category of radical change. Consequently, those works about war or revolution often fail because their artistic elements are overwhelmed by practical considerations.

At that time why need three match-makers six betrothal gifts carry me here? Leuven-Zwart, K. M. van "Translation and original: Similarities and dissimilarities, II," Target 2.1, 1990: 69-95. Reference Guide to Short Fiction. Unfortunately, Eileen Chang herself did not realize her own genius.

Here Walter Benjamin’s comment on Goethe’s novella “Elective Affinities” can shed some light for us. 291-292. London and New York: Routledge, 2001. In semantic shifts, as specification is more prominent that generalization and more function words are used in the translation, it seems that the TT ought to be more cohesive that the ST. Four categories can thus be distinguished: semantic modulation/specification, semantic modulation/generalization, stylistic modulation/specification and stylistic modulation/generalization. Ts’ao Ch’i-ch’iao the main protagonist  is the daughter of a sesame oil shopkeeper, she is forced to marry family Chiang for wealth. Words originally from a character are changed into the narrator's narration, which inevitably affects the reliability of the words and hence reader's judgment. The Beijing Evening News described the production thus: "From acting to stage art, it delineates the 'flamboyant pathos' found in Eileen Chang's works". The third-person narration focuses upon the consciousness of Qi Qiao, who marries into a rich family, and documents her struggles as a daughter-in-law of the old mistress and her constant battle for acceptance.

The golden cangue- by San San_文学_高等教育_教育专区 933人阅读|32次下载 The golden cangue- by San San_文学_高等教育_教育专区。The Golden Cangue 1. For example, in Rice-sprout Song, a novel dealing with hunger, the female character Yuexiang does not lose as much femininity as do Lu Xun’s Xianglin’s Wife or Lu Ling’s Guo Su’e.

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