Only Joking? The Relationship between the Clown and Percussion in Jingju

Thorpe, Ashley

doi:10.1353/atj.2005.0034

Cited by 2 publications

(2 citation statements)

References 12 publications

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“…Analogously, in the Chinese version in Example ( 19), the role playing 'the headgear of highwaymen in Chinese operas' has been specified, viz. 武生wusheng, which, along with other roles, represent discrepant genders, ages and characteristics in traditional Chinese theatre (Tian 2000, Thorpe 2005, Mackerras 2016).…”

Section: Covert Translation Of the Target Textmentioning

confidence: 99%

Eileen Chang’s Creation and Self-Translation of The Rice-Sprout Song

Wang¹

2021

jts

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Eileen Chang, aka 张爱玲 Zhang Ailing, is one of the most illustrious writers of modern Chinese literature. During her sojourn in Hong Kong in the 1950s, she composed the debut English novel entitled The Rice-Sprout Song, which has been self-translated into a Chinese version, viz. 秧歌 Yangge. The English version of The Rice-Sprout Song abounds with culture-loaded words, which embody ecological, material, social, religious and linguistic culture under the framework of equivalence (Nida 1945). As a consequence, the original narrative is analogous to a translation work, and Chang's rendering of culturally-enriched expressions is characterised by the strategy of foreignization. In terms of the Chinese version, by virtue of its salient cultural and linguistic adaptations, it should be regarded as covert translation in the sense of House (1977). The translation of The Rice-Sprout Song is featured by addition of culture-loaded words in Chinese as well as omission of politically-sensitive plots and depictions censuring the Chinese Communist Party. Moreover, in the Chinese version, Chang has employed expressions derived from Shanghai dialect.

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Section: Covert Translation Of the Target Textmentioning

confidence: 99%

Eileen Chang’s Creation and Self-Translation of The Rice-Sprout Song

Wang¹

2021

jts

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“…The importance of context is demonstrated by theatre specialist Ashley Thorpe's (2005) analysis of the divine link between clowns and music in Beijing opera. Within traditional Chinese theatre, music is used as a means of conveying atmosphere and as part of a complex symbolic sign system.…”

Section: Ethnomusicology Forum 219mentioning

confidence: 99%

Tapping the Plate or Hitting the Bottle: Sound and Movement in Self-accompanied and Musician-accompanied Dance

Mason

2014

Ethnomusicology Forum

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Only Joking? The Relationship between the Clown and Percussion in Jingju

Cited by 2 publications

References 12 publications

Eileen Chang’s Creation and Self-Translation of The Rice-Sprout Song

Eileen Chang’s Creation and Self-Translation of The Rice-Sprout Song

Tapping the Plate or Hitting the Bottle: Sound and Movement in Self-accompanied and Musician-accompanied Dance

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