140313 iacscw conference 2013 summaries 首届国际中西文化比较研讨会

First International Conference of Comparative Study of China and the West

首届国际中西文化比较研讨会 (July 12-14, 2013, Peking University)

日程简介 Summaries of Presentations

Group1/2/3/4 Conference(1/2/3/4 分会场发言讨论)(北京大学） Group 1 – (The First Conference Room) Comparative Literature/Comparative Study of China and the West/Chinese Studies (第一会场:比较文学与比较文化/汉学) Group 2 – (The Second Conference Room) Comparative Literature /Comparative Study of China and the West/ Chinese Studies (第二会场:比较文学与比较文化/汉学) Group 3 – (The Third Conference Room) Translation Studies/Comparative courses (第三会场：翻译/比较课程与文化) Group 4 – (The Fourth Conference Room) Film/Drama/Art (第四会场：当代问题/电影/戏剧比较)

7 月 12 日下午 分会场发言(北京大学):13:30—18:30 主持人（Chair） ： 魏令查，高艳丽

主持人（Chair）： 王荣华，余苏玲

主持人（Chair）： 马士奎，范先明

主持人（Chair） ： 彭发胜， 陈利

第一分会场 化北楼122会议室 The First Conference Room Huabei 122 Lecture Hall

第二分会场 外文楼206会议室 The Second Conference Room Waiwen 206 Lecture Hall

第三分会场 化北楼212会议室 The Third Conference Room Huabei 212 Lecture Hall

第四分会场 静园六院212会议 室The Fourth Conference Room Jingyuan Liuyuan 212 Lecture Hall

白杰

孟繁佳

毕雪艳

Bogen, Cornelia

冯项云、许彤

王冬青

陈洁坊

陈利

高艳丽

王京涛

陈庆欣

陈茂庆

高云、单晓晖

王廉明

陈小烨

Fuller, Pierre

姜文涛

王荣华

丁大刚

高继海

梅启波

王展鹏

范先明

Gennaro, Ivo De

秦鹏举

魏美玲

Gilmore, John T.

Guenther, Hans-Christian

王天红

Whitling, Frederick

李敏杰、朱薇

邵铁峰

徐瑞阳

吴柏祥

倪秀华

王黎静

张

夏翠君

戚宗海

杨静

张小波、何利平

萧纪薇

覃江华

杨晶

张迎春

徐曦

琴知雅

郑岩芳

郑利萍

楊昊昇

曲菁、孙小美

周建新

郑芷芳

杨晶

王颖冲

周小琴

周洁

杨明

许敏

朱光亚

曾嵘

许有平

张潇潇

于晴

文

余苏凌 曾文华 张政

7 月 13 日上午 分会场发言(北京大学):08:00—12:00 主持人（Chair）： Cheung, King-Kok/ Crane, George T.

主持人（Chair）： Thorsten Pattberg 李永毅

主持人（Chair）： Gilmore, John T. 牛云平

主持人（Chair）： Guenther, Hans-Christian 高继海

第一分会场 化北楼122会议室 The First Conference Room Huabei 122 Lecture Hall

第二分会场 外文楼206会议室 The Second Conference Room Waiwen 206 Lecture Hall

第三分会场 化北楼212会议室 The Third Conference Room Huabei 212 Lecture Hall

第四分会场 静园六院212会议室 The Fourth Conference Room Jingyuan Liuyuan 212 Lecture Hall

阿明 Hampel, Amir

李华琦

丁新锐

盖建平

Bouvier, Xavier

李永毅

冯春园

Hammers, Rosalyn Lee

曹波

林玲

龚晓辉

Hilton, Brian

陈向阳

刘璐

关孜慧

胡则远

陈彦旭

刘燕

贺爱军

Jacob, Frank

Cheung, King-Kok

马宁

侯松

Lee, Seokmin

Crane, George T.

马筱璐

姜莉

Leibo, Steven

邓建华

Marsili, Filippo

姜奕村

梁穎暉

丁少彦

Mason, Joshua

金雯

李怀印

董岚

Mattice, Sarah

柯灿华

李荆

方强

Niedenfuehr, Matthias

Lane, Stephen

李兰

冯芃芃

宁欣

李波

李滨

冯伟

Pattberg, Thorsten

李昀

李伟岩

7 月 13 日下午 分会场发言（北京大学）：13:00—16:00 主持人（Chair） ： Hornung, Alfred/ 郝田虎

主持人（Chair）： 田辰山，张金凤

主持人（Chair）： 王宁

主持人（Chair）： 熊秉纯

第一分会场 化北楼122会议室 The First Conference Room Huabei 122 Lecture Hall

第二分会场 外文楼206会议室 The Second Conference Room Waiwen 206 Lecture Hall

第三分会场 化北楼212会议室 The Third Conference Room Huabei 212 Lecture Hall

第四分会场 静园六院212会议室 The Fourth Conference Room Jingyuan Liuyuan 212 Lecture Hall

高埃利 Colla, Elisabetta

彭发胜

李成坚、田径

李圆圆

高宏洲

祁玉龙

李美

刘昉

郝稷

Schmidt, Heather

李民

刘芬

Sam Crane

师文德 Swindall, Harold、孙继成

林青杨

陆琳

王岳川

田辰山

林文昕

彭保良

杨蓥莹

Walter Justine

郝田虎

张晖

柳莉蕊、田慧

王之杰、文杰

和静

张金凤

罗永洲

熊秉纯

Hornung, Alfred

张静

牛云平

姚达兑

胡继成

张曼

王宁

伊蕊

黄重凤

张绮

王雨

曾琳

李增

章晓英

王朝晖

周俊博

王亚光

唐立新

发言提纲（按姓氏拼音顺序） 2013-07-12 第一分会场

发言题目

发言提纲

白杰 Bai Jie 中美自白诗派私密话语比较研究 A Study on Private Discourse of Chinese and American Confessional Poetry Schools baijiechina@163.com 中、美自白诗派以独特的“自白”言说，在私密空间内对个体生命展 开深入探询。但因文化场域、时代语境等因素的差别，二者的私密话语形 态又存有部分差异。不过对于“自白”所呈现的自闭褊狭一面，中、美自 白诗派在后期都予以了纠偏，有效推进了私密空间与公共空间的融会，在 强化个体生命经验的同时，又密切了不同个体及群体间的对话关系，在个 人性与公共性的相互校验中丰富了诗歌的思想艺术内涵。 With their unique “confession” speech, Chinese and American Confessional Poetry Schools further probe individual lives in a private space.

But due to the differences in the cultural field, the context of age and other factors, their exist some differences between their private discourse patterns.

However, they both correct the narrow side presented by “confession” in the later period, which effectively promotes a mix of private space and public space. Moreover, they strengthen individual life experiences and intensify the dialogue between individuals and groups, enriching the ideological and artistic connotation of poetry in the cross-checks of individuality and publicity.

发言题目

冯项云 Feng Xiangyun，许彤 Xu Tong 媚仿·媚俗·媚雅：西班牙和中国大众文化趣味比较研究 Cursilería, Meisu, Meiya: A Comparative Study of Spanish and Chinese Mass Cultures xutong@pku.edu.cn, fengxy@pku.edu.cn

发言提纲

在现代社会中，大众文化既代表着趣味选择与行为模式也是现代性的 表征和载体。西班牙语的媚仿（la cursilerí a）、汉语中的媚俗和媚雅均从隐 喻层面精确描摹了两个国家现代化进程中大众文化的基本属性与特征。本 论文以媚仿、媚俗和媚雅现象为研究对象，从词源梳理入手，利用文学文 本与传媒产品为研究材料，在文本细读基础上，应用文化研究、符号诠释 等研究方法，分析媚仿、媚俗和媚雅三个词语的能指和所指，探讨其在语 义层面与文化属性上的异同，结合文献计量学的共词分析和引文分析方法， 解读媚仿、媚俗和媚雅所代表的文化属性、阶级意识与阶级认同，比较中 西两国大众文化的共性与个性，揭示媚仿、媚俗和媚雅现象的现代性特征。 In the modern era, the mass culture is not only the gusto choice but also the cultural representation and vehicle of the modernity. The Spanish word culsilería, which is an almost non-translatable concept in other many languages, has an analogy with two Chinese conceptions –meisu (媚俗) and meiya (媚 雅)-, because all of them, in the term of the modernization of each country, consist in a vivid metaphorical description of the cultural characteristics of the masses. This investigation, based on a textual interpretation of literature texts and media materials, attempts to analyse the significatum and the signifiant of those three expressions via Cultural Studies and Semiotic methodologies and with the application of Bibliometrics and citation analysis methods, in order to discuss their similarity and difference in semantics and cultural status, to interpret their contained class consciousness and self-identity, ultimately, to reveal their relationship with the modernity.

发言题目

冯项云 Feng Xiangyun，许彤 Xu Tong 马尼拉大帆船贸易文献的对比研究 Review & Comparison of Research on Manila Galleon Trade xutong@pku.edu.cn, fengxy@pku.edu.cn

发言提纲

作为经济全球化的先驱和发端，大帆船贸易（Manila galleon trade）指 1565～1815 年西班牙殖民地墨西哥与菲律宾之间的垄断贸易。大帆船贸易 在中国与菲律宾、日本、欧洲，以及拉美地区的经济、政治和文化交往中 具有重要影响。大帆船贸易历时 250 年，积累史料和相关著述丰富且保存 有序。本文以最近 10 年国内外大帆船贸易研究文献和学位论文为研究对 象，采用文献计量学、文本分析等研究方法，对文献中援引的史料、参考 书目等进行比较研究。通过对来自不同语种、出版地区文献的分析，梳理 本领域的重要文献基础，归纳不同背景的研究者使用史料文献的特点和倾 向性。在区域研究的框架内，探讨不同文化的地域和民族特征，及在建构 研究主体性和自主研究体系过程中的互动关系。 As the world's first trans-Pacific trade experience, Manila galleon trade (1565～1815) played an important role in economic and cultural exchanges among China and Philippines, Mexico, Spain, even Latin America. Some of its original documents written in different languages were retained to the present at Philippines, Mexico, Spain, China and other countries. Many researchers had concentrated on the investigation of the economic, political influences of the galleon, economic, political and cultural. Based on statistics and citation analysis of the recent relevant literature on Manila galleon trade, the purpose of this article is attempt to describe the characteristics and preference in bibliographical information usage of researchers with different culture background, to discuss the influence of such cultural, geographical and historical difference to the process of forming research subjectivity within the framework of certain area studies.

发言题目

发言提纲

高艳丽 Gao Yanli 《创世纪》与中国创世神话之比较研究 A Comparative Study of the Creation Myths in Genesis and Ancient Chinese Stories gyl@pku.edu.cn 宇宙天地万物的创造，是中华文化与犹太—基督教文化中共有的神 话。这两种文化中，关于天地、万物、人类、婚姻、大洪水等的起源都有 生动、具体地描述。它们既有高度相似性，又有明显的差异。因此，对中 华文化与犹太—基督教文化中神话的比较研究不仅可以帮助我们认识它 们各自关于创造的过程、秩序、特性、天人关系等的描绘，也可以借此了 解上古神话传说对生活在这两种文化圈中的人们当今生活所产生的影响。 中华文化与犹太—基督教文化对人类一些基本问题，如：人神关系、领导 者的形象、道德观、婚姻观等有不同的认识，由此，也可以体现出文化的 多样性和世界文明的多元性，更可以让我们体会到不同文明之间相互理 解、尊重和包容的意义。 Creation mythologies reflect how different groups of people view the origins of the universe and human beings. Both Chinese and Judeo-Christian mythologies have fascinating narrations of the beginning of heavens, earth and all kinds of creatures. Through studying the characteristics of their respective creators, order of creation, life and death, relationships between human beings and their creators, and the rest, one can learn the similarities and differences between Judeo-Christian and ancient Chinese stories and how they influence people’s ways of handling all kinds of relationships in today’s world, esp. the role of leaders in the two cultures. Different mythological stories reveal different perspectives on such fundamental issues as creator-human relationship, images of the leaders, morality, and marriage. From the comparative study, one can get a glimpse of the impact of the ancient stories on our present day life.

Email: gyl@pku.edu.cn

姜文涛 Jiang Wentao 有关十八世纪末英国使团游记的一些考察：论抒情描写、帝国贸易和启蒙 运动的关系 Descriptions on Chinese Sentiments in British Empire Building and Enlightenment jiangwentao@mail.tsinghua.edu.cn 本文主要的考察对象是十九世纪前后的一些关于中国的英国人书写的 发言题纲 游记，这些游记多出自英国至清朝的使团成员之手。重点是考察这些游记 中有关中国“情感”（sentiment）和”交流“（conversation）的部分，将这些部 分放到当时英国文化”同感之情“（sympathy）的修辞和启蒙运动中一系列关 于”文明“标准的讨论之中来探讨，认为这些描写正是当时英帝国从知识上、 情感上和修辞上建立自己的一个过程。这些对中国的描写如何在中国流传， 如何构成了对于中国人自己的知识和之后（遥远地）影响了中国近代文学 的发展是这个论文的第二部分。论文集中讨论的是情感（ sentiment， sympathy，feeling）与帝国以及书写的关系，主要的理论资源是最近的情感 研究（affect theory）以及后殖民。 This paper discusses the relations between sentiments, and its relation with empire and writing. Its major objects of study is British travel writings on China around the 19th century, most of which were written in the British embassies to the Qing China. This paper focuses on descriptions on Chinese “sentiments” and “conversation” in the travel literature, and puts them under study in the light of the prevalent “sympathy” trope in the 18th century British culture, and its standards of civilization that were establishing themselves then. The argument is that these writings were part of the process in which the British was making itself as an empire through knowledge production and discursive practice on sentiments and rhetoric. How these writings were circulated in China, how they help form modern Chinese knowledge of themselves and how they (remotely) effected influence upon the beginning of modern Chinese literature is the second part of this paper. It tries to engage with recent scholarship on “affect” (and empire) and postcolonial theories. 发言题目

发言题目

发言提纲

梅启波 Mei Qibo 从晚清到“五四”——中国域外文学中的欧洲形象 The Image of Europe in Chinese literature――From late Qing Dynasty to the “May Fourth " period plum_2001@126.com 随着近代中国社会的动荡以及国民地理视阈的拓展，晚清域外游记的 数量遽然增多，其基本功能也从增广天下见闻、备述异国风情，渐渐过渡 到察考政俗制度，这时期游记作者主要是士大夫，仍带有天朝帝国中心主 义的心态。五四时期欧洲形象的建构主体为留学知识分子，对欧洲认识上 升到文化层面，以期从文化方面革命，推动社会进步，这时期有大量中西 文化对比的文章，貌似理性思辩，但很多只是简单的二元对立式比较，陷 入了自我东方主义的泥沼。这些域外游记里所蕴涵的观念形态，正昭示了 国民思想启蒙的演变路径，使作品本身成为观照中国历史的特殊镜像。 With the Modern Chinese social unrest and the Expand of National Geographic Perspective, Overseas travel notes suddenly increased in late Qing Dynasty, which’s function from foreign customs turn to study political system.

Authors in this period were scholar- bureaucrats with the mind of The center of the Empire; In the "May Fourth" period, The Construction of subject in images of Europe are Overseas intellectuals. On the understanding of Europe, they expect the aspect of institutional revolution to promote social progress. At that time, there were many articles about comparison between Chinese and Western cultures, which were simply two opposite for the vertical comparison to be immersed in Self Orientalism. This conception in these notes showed the path of evolution of The Enlightenment of national thought.

发言题目

发言提纲

王天红 Wang Tianhong 中外诗律比较的学理分析——以英法德日俄诗为例 Theoretical Analysis of Comparison of Chinese and foreign contemporary -- Exemplification of English French German Japanese and Russian poetry thwang@mail.jlu.edu.cn 本文从中外诗律比较的学理分析，探讨诗律的不同语言特性及对中 国诗歌发展的重要启迪。雅各布森视"选择"和"配伍"是语言的两个基本方 法，以重读音节以及诗行的协和配伍，格律、句法、韵脚重复等选择配伍， 突出文本的链接。生成诗律学强调对诗歌语言形式的艺术性规律的认识， 强调格律形式和语言形式的相互关系。王力的《汉语诗律学》提出"韵语， 是人类诗歌的共性；……平仄和对仗，是汉语诗歌的特性"。交韵和抱韵是 否适合中国？由于语言自身性质不同，英语德语的重音和抱韵式尾韵，法 语的阴阳尾韵，日语最重音数律的五七言，俄语的拼音文字和复音性质， 都无从翻译为中文。由此必须尊重每种语言自身的特性，才能充分发挥语 言的作用和价值。 The theoretical analysis of this paper is from the comparison of Chinese and foreign poetry, linguistic characteristics of poetry and the important enlightenment to the development of Chinese poetry. R. Jakobson stated that"choice" and "compatibility" are the two basic methods of language, the syllable and the union of the lines of poetry. Compatibility, rhythm, rhyme, and syntactic repetition highlight the connectivity of the lines. Knowing the formation of poetic theory emphasizes the poetic language form of art, emphasizing the relationship between metrical form and language form.

Prof.Wang Li’s Studies of Chinese Versification asserts "rhyming poetry is universal...... tonal patterns and antithesis are characteristic of Chinese poetry".

Are the overlapping rhyme and embraced rhyme suitable for Chinese? Because different languages have different properties, English and German use accent and embracing rhyme , French rhyme feminine and masculine endings, Japanese most stresses the law of five-seven words. Pinyin and polysyllabic properties of Russian are not translated into chinese. It must respect the characteristics of each kind of language itself in order to give full play to the role and value of language.

发言题目

发言提纲

徐瑞阳 Xu Ruiyang 豫让和兰斯洛特的形象比较与文化背景阐 Yurang and Lancelot: A Comparative Study and an Interpretation in Light of Cultural Background 1044705941@qq.com 豫让和兰斯洛特是生活在两个不同国度的英雄，他们有相似的社会背 景，属于同一个社会阶层，有着相似的人格魅力、道德情操和人生价值观， 却又都在不同的因素下背负仇恨走向了人生的毁灭，而这背后有着异国复 仇文化所显示出的民族特性、人生价值等多方面的文化背景原因。 Yurang and Lancelot are heroes of the same class with similar background in different countries. They share similar personality, moral sentiment and values. However, they end up with tragedy at the thought of hatred under the influence of various factors. Through a comparative study of the subject of revenge, background information, and life tragedy, the author analyzes the similarities and differences between the two heroes, and elaborates the national characteristics and culture value of exotic revenge literature and their impact on later literature.

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郑利萍 Zheng Liping 青春历程与文化逻辑：欧美成长小说与中国成长小说比较 Adolescent Development and Cultural Logic: Comparison of Bildungsroman in Western and in China lily.zheng12@yahoo.ca 欧美成长小说是欧美文学、欧美文化的重要组成部分。中国成长小说 作为中国现当代小说中越来越受到关注的小说类型，与欧美成长小说遥相 呼应，又具有其独立的社会特征与文化逻辑。笔者拟通过对欧美文学与中 国文学中具有代表性的成长小说进行深入研究，以比较的视野分析在不同 地域、时代、文化背景下成长小说作品的主题、结构、主人公类型与艺术 个性，探讨欧美文学与中国文学中成长小说中含蕴的独特品质与特征，聚 焦于其独特的叙事范型，探索人与社会的内在联系：激进与妥协，危机与 变革，经济起飞和审美情感，个人的自由意志与社会的伦理道德，以及其 中对于社会文化迁延与个人发展历程的省察与再现。 Bildungsroman represents an important subject of growing up and has been extensively concerned in western literature and culture. Echoed the waves of Bildungsroman in Europe and America, this unique genre of literature appeared in China and there is a growing wealth of information now being generated on this subject. In Europe, America or in China, a number of bildungsroman are among the best and best-known works of fiction and as independent entities they have accordingly received much criticism and appreciation from diverse points of view. Based on the analysis of the typical works from different time periods and regions, the article concentrates on the resemblance and difference on the themes, structures and main characters expressed by the bildungsroman which were rooted in dissimilar cultural tradition, explores the diverse thinking and cultural logic which conveyed in the narration, and the adolescent inner resources of sensitivity to confront a changing world.

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郑芷芳 Zheng Zhifang 诗歌中的儿童世界——论中西诗歌中儿童题材的对比研究 A Comparison of Chinese and Western Poetry on Themes of Children mona52@163.com 本文用对比的手法从三个方面分析了中西诗歌关于儿童题材方面的不 同：一、中西诗歌中儿童形象的对比；二、中西诗歌中儿童与大自然的联 系；三、中西诗歌中儿童与社会的联系，并结合中西社会历史背景、文化 传统差异、语言文字模式等几方面探讨了中西社会文化特征对其的影响。 This article compares the difference between classical Chinese and English poems on children from three aspects: the comparison of children images; the relationship of children and nature; the relationship of children and society.

Meanwhile, social background, culture distinction and language pattern are considered in this paper.

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周洁 Zhou Jie 达菲《小红帽》的后现代女性主义戏仿 Post-modern Feminist Parody in “Little Red Cap” by Carol Ann Duffy 490264027@qq.com

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在中国， 《小红帽》作为儿童喜爱的故事家喻户晓。而在后现代主义与 女性主义发展到颠覆男权阶段的双重语境下，英国桂冠诗人安·达菲成功地 运用了后现代女性主义戏仿手法对《世界之妻》的开篇诗歌《小红帽》进 行了改写。通过回顾《小红帽》的改写并比较佩罗、格林兄弟、利物浦女 性主义者及达菲改写本中高频词的使用、及物性、叙述角度及体裁形式， 探讨达菲运用戏仿改写《小红帽》进而打破女性在英国文学史上的沉默的 艺术，可以了解后现代女性主义戏仿在当代英诗创作中的运用。 Little Red Cap is well-known as children’s literature in China. But in the context of post-modernism and feminism, British Poet Laureate Carol Ann Duffy made use of post-modern feminist parody in the rewriting of “Little Red Cap” in her poetry collection The World’s Wife. By analyzing some frequently used words, transitivity, narrative point of view and genre of writing, this paper made a comparative analysis of Duffy’s “Little Red Cap” with the ones by Charles Perrault and Green Brothers, so as to explore Duffy’s art of parody as a way of breaking the silence of female in the history of British Literature.

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2013-07-12 第二分会场 孟繁佳 Meng Fanjia 圣经与易经中对灵的浅析 An Analysis of Spirit as Described in the Bible and the Book of Changes mengfanjia@hotmail.com 浅析圣经中关于灵的几种描述，圣经是如何看待灵对人的作用。浅析易 经中对灵的描述，灵是如何作用于中国人的生活、生产和思维的。东西方 文化中，对灵在人精神层面的作用相同和相异之处。 The speaker shall give a shallow analysis of several descriptions of the spirit in the Bible, and how the Bible regards its effect on human beings. The speaker will also give a shallow analysis of the spirit as described in the Book of Changes, illustrate how the spirit affects the living, production and thinking of the Chinese people. The speaker will show the similarity and difference of the effect of the spirit at the spiritual level of man in the eastern and western cultures.

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王冬青 Wang Dongqing “Stand Up Straight”: Imperialism, Revolution and the Politics of Koutou holly8324@gmail.com In the winter of 1841, the former U.S. President John Quincy Adams claimed in a speech delivered in Massachusetts: “The cause of the Opium War was koutou!” A year before his speech, Thomas De Quincey, a notable English critic and opium-eater, depicted koutou as a slavish and barbarian practice in his essays on China. What might be the connections between a seemingly insignificant bodily posture and a war that considerably shaped China’s modern fate? What role did the British literary representations of koutou play in this “clash of civilizations”? In my paper, I will offer a reading of writings by Daniel Defoe, Lord Macartney and De Quincey so as to examine the critical language in which koutou was discussed, understood, measured and assessed, and to show how the British contempt for koutou recorded a collective experience defined by a nexus of social hegemonies including colonialism, Orientalism and Enlightenment in the West. Furthermore, I will discuss how, at the turn of the twentieth century, Chinese reformers and critics, including Liang Qichao, Zhang Shizhao and Lu Xun, accepted the British discourse on koutou and read this bodily position as a national allegory and as a site of revolution.

Today, a century after the abolition of koutou in 1912, similar arguments are still reverberating in the debates over the worship of Confucius. In this sense, koutou may serve as a good point of departure that allows us to reflect upon the dialectic between Chinese tradition and global modernity.

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王京涛 Wang Jingtao “扩展”的思想：辜鸿铭对中西比较研究及当代世界的启发意义 Gu Hongming’s Sino-West Comparative Studies and Its Significance to the World Today wang_jingtao@163.com 首先，介绍《西播<论语>回译：辜鸿铭英译<论语>详释》一书的创作思路， 以及我从中产生的一个想法，供大家参考、讨论：通过“回译”并注释一些有价值 的西方汉学成果，可能会作为我们的一面“镜子”，来了解西方学者是如何理解中 国文化的，也可以为我们了解自身文化及西方学者的心理提供一个独特的视角。 或许，通过查看东西方对同一部经典的不同解读，能够发现东西方之间一些根本 性的异同点。 其次，重点论述辜鸿铭的“扩展”思想，及其思想对今日中西文化对比研究与 当今世界现代化进程的启发意义。 辜鸿铭作为近代历史上一位学贯中西的大思想家，他的思想中充满着中西方对比 的内容，也对中西方的哲学、宗教、文学、历史、政治、艺术等方面有着很多精 彩的论述。但他作为一位思想家和学者，他的工作并没有止步于在学术上进行探 讨，或如许多人所言“在比较文学上充当先驱”，而是有着强烈的人类关怀与社会 理想的，或者说，他对人类文明未来的发展，有着自己强烈的期盼，提出了自己 的一套学说。他所有的中西对比，都是其人类关怀及社会理想的“衍生品”。这是 他的思想主轴。了解了这个主轴，便会对他的各种思想一目了然了。而这个主轴 对今天的中西文化对比，以及今日世界的发展都具有非同寻常的启发意义。 “扩展”的思想，是辜鸿铭思想主轴的一个体现。这是他在《中国牛津运动故事》 一书的序言中提出来的。在该书中，他认为，无论是中国的儒家文明，还是西方 的基督教文明，其自身都是不完美的。“当今世界”所最需要的，也并非经济、商 业上的交融，而是“知识与道德意义上的”交流。只有中西方之间进行这些深层的 交流，才能完善各自的文明。他还批评了中国的传统学者及西方的一些学者，认 为前者仅仅懂得自己的文明而不懂西方文明，而后者甚至连他们自己的文明都不 懂。这一思想，与人们对他的“顽固保守”的印象非常不同。从表面上看来，他是 “极端保守”的，维护中国文明的，然而，他其实主张的是中西之间深层的交流与 补充。他晚年在日本演讲时也提到，自己并非人们印象中的“排外思想家”，而是 毕生致力于中西方文明之间的融合。美国著名汉学家艾凯在其《世界范围内的反 现代化思潮》中也有这方面的论述。这是需要我们再认识的。100 多年过去了， 当今的世界虽然已经处于“全球化”的时代，然而，不可否认的是，不同文明之间 虽然商业、经济上有着密切的交往，但仍然没有很好地相互理解，并由此产生很 多误解及冲突。

The reverse translation and my notes to fruits of Sinology may serve as a mirror to reflect the understanding of Chinese culture by western scholars and thus provide a unique triangle to further our own understanding of our own culture and the psychology of western scholars, and some fundamental likes and dislikes between the east and west might be found through different interpretations of the same classical work. My chief purpose is to elaborate on Gu’s “expanded” thoughts, and their significance to today’s comparative studies between China and the west and to the modernity of today.

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王廉明 Wang Lianming “天主葬礼”之视觉呈现：从比较视角再谈巴黎藏《圣心图》 Picturing the Funeral of the Lord of Heaven: Further Research on The Feast of Sacred Heart (Shengxin tu) from a Comparative Perspective lianming.wang@googlemail 流散海外的《圣心图》长 187 公分，宽 130 公分，是一幅极其罕见的 清代中期纸本纪实画，采用泰西画法，所绘内容经考证与当时法国耶稣会 北堂内所举行的圣心节（La Fête du Sacré-Cœur）钦宗典礼有关，现收藏于 法 国 国 家 图 书 馆 (Bibliothèque nationale de France) 版 画 与 图 片 处 (Estampes et Photographie)。 值得关注的是，此图摒弃传统“界画”所使用的 平行视角，结合夸张的焦点透视与俯视角度，以一个中国人的视角将圣心 节瞻礼视觉重建为一场盛大的 “天主葬礼”。本研究主要采用礼仪考古中 “内部”（emic view）及“外部”视角 （etic view）对比的方式，同时参考同 时期欧洲及清宫西洋画师纪实画作品， 如王致诚 (Jean-Denis Attiret, 1702-1768) 所参与制作的 《万树园赐宴图》（1775），对所绘仪礼、“线法 画”的民间流传以及清代非宫廷纪实绘画制作等问题进行逐一的再考证。 Over the last decade a new approach has emerged in the field of ritual archaeology in which events are evaluated and differentiated in terms of the perception of etic (outsider’s) observations and emic (insider’s) performances because the view of the latter was not always reliably recorded. In this paper I expand the ritual scope by introducing anthropological and historical perspectives of Chinese taboo issue as depicted in a painting made by an etic viewer with Western techniques and linear perspective, now in the Bibliothèque nationale de France. It portrays an unusually solemn procession involving groups of ‘Manchu officials’ and ‘foreign visitors’ who are assembled in front of a church within a walled courtyard garden. Through the examination of primary sources including Qing official documents describing ritual performance, particularly the funeral rites, and two recently discovered 19th century drawings held by the Library of Congress, Washington D.C., this paper concentrates on an iconographic analysis of the depicted ritual — the Feast of the Sacred Heart, which was understood and arranged as a traditional Chinese funeral. Furthermore, I will pay special attention to the etic narration, the way in which the ritual event has been visually translated and re-constructed. With this as my base, I move to a stylistic analysis and demonstrate various indicators of European influences found in the painting via a comparison of a series of contemporary or late narrative works on ritual, made by European artists served at the court, such as The Imperial Banquet in the Garden of Ten Thousand Trees (1755). Last, in the context of Qing court art productions, I analyze how Western pictorial narration influenced traditional Chinese ways of portraying ceremonial events.

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王荣华 Wang Ronghua 国学与汉学 China Studies versus Sinology wangronghua@vip.sina.com 讲演人试图给汉学、中国文化研究和国学以定义。 他对“新汉学”的提 法表示了异议。 他认为国学应该在两个层次上进行，即草根层次和专业层 次。他认为专业层次急需不朽的著作，我们应该认真思考为何不朽的著作 尚未产生。 他认为专业人员用外语与国外同行进行沟通的能力非常重要。 The speaker defines Sinology, Chinese studies and China studies. He also challenges the concept of “New Sinology”. He believes China studies should be carried out on two levels, the grass-roots level and the professional level. In his view the most imperative thing to do at the academic level is to produce some monumental works, and serious thoughts should be given to why monumental works have not been produced. He held that for academic workers the ability to communicate in foreign languages with foreign counterparts is most important.

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王展鹏 Wang Zhanpeng 21 世纪初爱尔兰中国学学科身份的建构： 以赫德研究中的爱尔兰身份问题为例 Identity Building for Chinese Studies in the Early 21st Century Ireland: A Case of the Irish Identity Question in Sir Robert Hart Studies wzhanpeng@hotmail.com 21 世纪初以来，爱尔兰中国学迎来了快速发展时期，建构中国学学科 身份成为其无法回避的命题。本文回顾了爱尔兰中国学在机构发展、学科 身份建构、研究议程拓展和范式创新等层面的新进展，着重分析了其中国 学学科身份与爱尔兰民族自身特性间的联系。进而以赫德研究中爱尔兰身 份问题的作用为例做了分析。作者认为，爱尔兰学者近年来在赫德身份研 究上经历了从依附英国话语的被动接受到积极探索其爱尔兰身份及影响的 新变化，有助于形成爱尔兰中国学不同于其他西方国家的特色，促进传统 研究课题和当代中国政治经济研究的协调发展。 As Chinese Studies has emerged rapidly as an independent academic discipline in the early 21st century, the question of its disciplinary identity has become a topical issue among academia in Ireland. This paper first examines four key aspects in the developments of Chinese studies in Ireland, i.e. institutional development, disciplinary identity formation, research agenda expansion, and paradigm innovations. It attempts to explore the complicated relationship between this disciplinary identity formation process and the long existing debates on Irish national identity. Furthermore, the Irish Identity Question in Sir Robert Hart studies is employed as an example to make in-depth analysis. The author argues that the transformations in Irish perception of Sir Robert Hart’s identities, i.e. from British to Irish dominated overlapping identities, have the potential to help derive a distinctive Irish characteristic in Chinese Studies in Ireland and to achieve a balance between its research agendas in traditional sinology and in contemporary Chinese political economy.

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魏美玲 Wilcox, Emily E From ‘Invented Tradition’ to ‘Dynamic Tradition’: Culture Creation in China and the West emily.elissa.wilcox@gmail.com Since the publication of Eric Hobsbawm and Terence Ranger’s seminal 1983 book The Invention of Tradition, the rise of modern nation-states has been associated with invented traditions, or created cultural practices that claim to have historical continuity with the past. In the West, this invention of tradition has insisted upon two principles: a distinction between tradition and modernity, and a fundamentally unchanging quality of traditional practices. In China since 1949, however, the rise of the modern nation-state has been accompanied not by invented tradition but rather by a different phenomenon: dynamic tradition.

Dynamic tradition assumes neither a fundamental break between tradition and modernity nor an understanding of tradition as unchanging. Rather, it treats tradition as something that must be compatible with modernity and, therefore, must be inherently dynamic. Historically, dynamic tradition emerged in part because of China’s semicolonial relationship to the West. Since modernity was associated with Westernness, the assertion of national sovereignty required the development of a culturally distinctive form of modernity that could be contrasted with Western modernity. Thus, the central contrast for Chinese national culture was not between modernity and tradition but rather between China and the West. Since tradition was seen as the marker of cultural distinctiveness, tradition had to be compatible with modernity, not distinct from it. Unlike cultural creation in the West, in China since 1949 the creation of tradition has been not a conservative effort but rather a progressive one.

Cultural construction that appears essentialist from a Western point of view, when seen in the context of dynamic tradition, can be recognized as highly critical and reflexive.

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Whitling, Frederick King Gustaf VI Adolf of Sweden, Johan Gunnar Andersson and the Swedish China Research Committee Frederick.Whitling@eui.eu The proposed conference contribution relates to several of the conference topics (for example comparative culturology, theoretical issues on comparing cultures and/or civilisations, overseas sinology, bi-national concerns: China and particular Western nations, testing models for cross-cultural comparisons, funding cultural experimentation and exchange). This contribution is based on my ongoing research regarding the archaeological interests of King Gustaf VI Adolf (1882–1973), and his role as chairman (during his long period as Crown Prince, 1907–1950) of a number of societies, committees and boards, with an active participation in the subject matter of these organisations. One of these organisations was the Swedish China Research Committee (Kinakommittén).

Crown Prince Gustaf Adolf was already an internationally established expert on Chinese art when he became chairman of the committee in 1921. The considerable collection of the former King (approximately 2500 objects) was bequeathed to the Museum of Far Eastern Antiquities (Östasiatiska museet), Stockholm, as a gift ‘to the Swedish people’, and installed in the museum in 1974. I am presently working on a catalogue text for a coming exhibition (2013) at the Museum of Far Eastern Antiquities on King Gustaf VI Adolf and the 50th anniversary of the museum building. The museum was established in 1926 (as Östasiatiska Samlingarna). Its collections were to a large extent constituted by the prehistoric finds of the Swedish geologist turned archaeologist Johan Gunnar Andersson (1874–1960) – known as ‘Antesheng’ in China – and his Chinese colleagues, under the direction of Ding Wenjiang (Ting Wen-chiang or V.K. Ting, 1887–1936). The prehistoric collections are the most extensive of their kind outside China. This contribution discusses national and global perspectives in the context of the Swedish China Research Committee (mainly based on Andersson’s correspondence and reports), as well as the reflection of comparative cultural discussions of origins and relations in interwar period worldviews.

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吴柏祥 Wu Baixiang A Corpus-Based Identity Comparison between American and Chinese Businessmen wubaixiang@nbpt.edu.cn The images and identities of businessmen (businesswoman, business person) are changing both in China and America. Traditionally, businessperson had the lowest social status in China, after the officials, farmers and workers. In America, business people once had a reputation of dishonest, unethical, ruthless and illegal.

The contemporary collective images of businessmen are quite positive according to the Corpus of Contemporary American English (COCA) and Corpus of Contemporary Chinese of National Language Committee (国家语委 现代汉语语料库). Based on the corpus calculation the demographic features, talents, actions (including plans, strategies, and achievements), different modifiers (commendatory, neutral, and derogatory) and image descriptions of both American and Chinese businessmen are compared. Their contemporary identity models are concluded based on the quantitative corpus-based analysis.

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夏翠君 Xia Cuijun 从家谱与日常生活中看“衣锦还乡”之话语变迁 Discursive Change of “homecoming in silky robes” annaxiacuijun@gmail.com 海外青田华侨在很多人眼里似乎是矛盾的集合体。一方面他们埋头苦 干，拼命赚钱，却舍不得在自己身上花一分钱；另一方面，他们盖楼买房， 名表豪车，在某些场合又过度炫耀自己的财富。本文作者以文化人类学的 研究方法扎根青田某华侨村，以家谱及人们的日常生活为文本，采用叙事 及福柯等人的话语理论，试图分析左右人们言语举止的文化因素，以帮助 人们更好地理解这个特殊的群体。分析显示，“衣锦还乡”作为一种话语， 起于项羽。随着时代与社会的发展变迁，“锦衣”作为一种话语也不断发生 着变化。从项羽的“王业”到唐以后的“仕”，“学”，到“铁饭碗”，再到“出国”， 进而发展到“有房产”，“当老板”。“锦衣”的话语变迁在家谱，人们的记忆， 说话做事中处处体现印证出来。当然这种话语变化并不是直线割裂的，而 是各种话语夹杂交织，相互对话的状态。 The overseas Qingtianese in many people’s eyes are quite contradictory.

On one side, they work astonishing long hours and live an extremely thrifty life.

On the other side, they build large houses, pursue luxuries and do whatever they can to excessively show their wealth and social status in certain contexts. The author carries out an ethnographic study on a small village in Qingtian. Taking the genealogy of the Wu lineage and people’s daily life as texts, the paper uses narrative and discourse theories to explore the cultural elements behind people’s sayings and doings. It shows that “homecoming in silky robes”, which originates from the Emperor Xiang Yu is undergoing a discursive change. The “silky robes” in different historical periods are represented as emperor, official， scholar, “iron rice bowl”, emigration, luxurious house, being a boss and so on. It is not a lineal historical development with clear boundaries. It is more like an unbalanced negotiation among different discourses (silky robes).

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萧纪微 Xiao Jiwei 掠影：安东尼奥尼在中国 jiweixiao@gmail.com 安东尼奥尼自己在他 1972 年所拍的纪录片《中国》中说，他来中国只 是浮光掠影地看了一眼。这位意大利导演是文革中极少数得到允许来中国 拍摄影片的西方人士之一，受时间局限，更介于当时的政治情形，却也只 能如此。可是这是怎样的一瞥！这部电影不仅在中国掀起了一场大规模的 群众性政治批判运动，而且在欧洲也引发了一系列外交事件。四十年后， 它又一次触动了中国观众，虽然这一次是完全不同的感受 。在这四十年之 间， 《中国》成为一个奇妙的矛盾体：它成了一部赫赫有名的冷片。在西方， 它是安东尼奥尼所有主要作品当中最乏人观赏也是最受研究者忽略的影 片；在中国，它的名声跟所看过的观众人数成反比－曾几何时，在这个国 家，所有人都予以痛斥，可是几乎没有人看过它。＊报告将用英文宣读。 It is understandable that Michelangelo Antonioni, one of the few Western directors permitted to film in China during the Cultural Revolution, was able to catch only a ‘quick glance’ of the country, as he put it in his 1972 documentary, Chung Kuo–Cina; time constraints and the political situation did not allow him to do otherwise. But what a glance! The film galvanized the prc in a mass campaign against the director and touched off diplomatic incidents across Europe; four decades later, it would again stir intense but very different responses among Chinese viewers. In between, Chung Kuo had become that intriguing oxymoron: a well-known obscure film. The least seen and least studied of Antonioni’s works in the West, in China its notoriety was once inversely matched by the number of its viewers—it was the film that everybody deplored but almost nobody had watched.

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徐曦 Xu Xi Beyond East and West – A Re-examination of the Needham Question xuxipku@gmail.com Joseph Needham, the British scientist and historian of science, made considerable contribution to the study of science and technology in ancient China. The underlying question for his intellectual pursuit is why China, given its highly advanced technological innovations, failed to develop modern science.

The Needham Question has long been a hot topic among Chinese intellectuals, who believe that science is crucial to establish a wealthy and powerful modern China. And the Chinese discussions about the question were closely associated with the discourse of nationalism. However, in recent years a number of professional historians of science challenged the validity of the question and criticized the selected media exaggeration and the nationalist propaganda surrounding Needham’s research. They debunked the Needham Question as a fake or meaningless question, thus it is a waste of time to explore it. But at the same time, with the fast growth of China’s economy, we see an increasing interest in the Needham Question among Chinese economists, who followed the nationalist agenda and often linked solution for the question to the revival of Chinese civilization.

This paper is a critique of both denunciations of the question from Chinese historians and nationalist agenda held by Chinese economists. Through a re-examination of Needham’s intellectual development, it argues that both views misunderstood the universal socialist concern behind the Needham Question, that is, to establish a just society in which scientific fruits are fairly shared by all people around the world, regardless of their race, culture and religion.

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杨昊昇 Yang Haosheng 郁达夫新、旧文学中的自我形象与骸骨迷恋 Yu Dafu’s Self-Images in “Old” and “New” Writings and Infatuation with Skeleton haoshengyang@gmail.com 中国现代作家郁达夫以浪漫、颓废风格的新文学作品闻名，同时坚持 写作旧诗，并自称为旧文化的“骸骨迷恋者”。他在新、旧文学中塑造出的 自我形象截然不同又密切关联，对理解东西文化交互影响下的中国文学现 代性颇具启发。 郁的新文学创作深受欧洲唯美、颓废主义和日本“私小说”的影响，其中的 自我形象颓唐放纵，并直白地暴露个性、生活中的阴郁部分。与此对照， 他前期旧诗中对自我的描摹多遵循传统诗学含蓄婉转的审美规范；中期的 《毁家诗纪》融合文言抒情与白话叙事，兼具新旧文体特色；晚期诗歌作 于在战乱和流亡之中，将传统视为隐喻的家国。郁多变的自我形象展示了 转折时期中国作家在整合新、旧资源，探索现代主体性方面的不懈追求与 困惑。 Modern Chinese writer Yu Dafu was best known for his “new” fiction written in modern vernacular language, but he continuously composed “old” poetry in classical literary language, and also declared his “infatuation” with the “skeleton” of old culture. The images of self in Yu’s vernacular and classical works are related yet significantly different. Greatly influenced by the European decadent movement and Japanese I-Novel, Yu’s vernacular fiction portrays semi-autobiographical, nonconformist protagonists who often boldly confess the dark side of their characteristics. In contrast, his poetic illustrations of self are bound to the elegant, implicit, and allusive realm of classical lyricism.

This paper examines Yu’s contribution to the establishment of modern Chinese literary subjectivity. It argues that Yu’s incompatible writings of self in different genres reveal the ambivalence that surrounded Chinese cultural identity throughout the early twentieth century. While following Western models of romantic decadent literature, Yu also endeavored to exploit the full potential of traditional poetry for an effective expression of his anxiety at the imposition of a modern age dominated by Western standards.

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杨晶 Yang Jing 西方眼中的“他者”文化—以传教士书信中对中国婚礼的理解为例 Other Culture in Western’s Eyes -- Case Study of a Missionary’s Letter towards Chinese yangjing4234161@126.com 基督教在中国的传播是中西文化交流史上具有重大意义的事件。在两 种文化碰撞之际，中国的传统礼仪引起来了传教士的极大关注。清代康熙 时期的“礼仪之争”就是由于多明我会、法国传信部及罗马教皇对中国礼仪 的“想象”而引发 “百年禁教” 的典型案例。历史上，传教士们通过书信、札 记等形式记录他们的所见所闻。其所遗留下的文字碎片是探究他们如何看 待中国礼仪的宝贵史料。本文将着眼于一份耶稣会士传教士 B 神父写给福 尔邦伯爵夫人的书信作为研究文本。通过对这份信的文本分析，作者将揭 示中国婚礼作为“他者”文化的组成部分被传教士构建的过程。 The spread of Christianity in China is an important event in the history of Sino-Western communications. When European missionaries came to China for evangelization and encountered its local culture, Chinese traditional ritual practices aroused their great attention and even controversy, the climax of which might be ‘Chinese Rites Controversy’ during the reign of Kangxi Emperor as the imagination of Jesuits, Dominicans and Franciscans juxtaposed with each other over Chinese ritual practices and led to the banning of Christianity for a century.

Those Christian pioneers have left us precious historic texts such as notes, letters and tracts when they tried to record what they encountered with in China.

And this study explored what a missionary of the nineteenth century wrote for his Western target audience on Chinese Wedding Ritual. Through the methodology of Critical Discourse Analysis and the adoption of how ritual is represented in classic texts, the author aims to offer an insight into how Chinese Wedding marriage was discursively constructed as Other by the missionary and how this letter was further consumed adding to imagination of China.

Furthermore, it is hoped that this study would shed some light upon wider landscape of Sino-Western communications.

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杨明 Yang Ming Cross-Cultural Presentation: Jingju (Beijing Opera) in Hawaii yangming@hawaii.edu Today, we are meeting in Beijing for the “International Conference on Comparing China and the West: Bringing the Disciplines Together.” It was this very city that four major Anhui troupes came in 1790 to celebrate the Qing Emperor Qianlong’s 80th birthday, starting a new tradition of Chinese theatre that soon developed into an art form with national influences. It was named after its birthplace – Jingju, “Beijing/Peking Opera”.

Jingju has also acquired international influences. Since 1984, seven classic Jingju plays have been taught, practiced, rehearsed and produced at the University of Hawaii at Manoa, in Hawaii, U.S.A. Compared to the typical Jingju performances in Beijing, China, those UH productions have their distinctive features in aspects including: performers –students from the Department of Theatre & Dance and the Department of Music, audiences – mostly local community members, language – English, and the productions’ main purpose – education. People might therefore wonder if such cross-cultural Jingju presentations were realized differently.

This paper will offer my discoveries as an answer to such wonders by analyzing the 2010 English Jingju production of The White Snake and looking into its artistic, educational and communications aspects. I participated in a six-month Jingju resident training program offered by the Theatre Department with master teachers from Jiangsu Jingju Company, which culminated in the production of the English-language Jingju The White Snake in which I was an actor, a singer, a translator and a member of the audience. The precious experience and personally learned knowledge from the training and performance help me deepen my understanding of Jingju in the aspects of artistic creation and aesthetic system across the cultures between China and the West.

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曾嵘 Zeng Rong 试论日本战后文学与中国的关系 Japanese Post-war Literature and Its relation with China rongerzeng@msn.com 本文将重点讨论日本战后文学与中国的关系。日本的战后派作家几乎 都有过二战的体验，战争期间滞留在中国的日本作家也非常之多。例如武 田泰淳、堀田善卫、阿部知二等.重复书写战争期间的上海经历,把战争体 验一般化是日本战后文学的重要特征。因此，日本作家在中国的经历、与 中国作家的交往、对中国文学作品的接受等成为影响日本战后文学的重要 因素。本文将以堀田善卫为重点讨论对象，具体考察他 1945.3-1947.1 滞留 上海的经历，并详细分析这些体验如何影响他的战争认识及对国际关系的 思考。其中包括中国作家的影响，比如林语堂对堀田善卫思想的形成有很 重要的作用，这也是本文讨论的问题之一。通过以上具体事例，将凸显中 日战争和中国文学对日本战后文学的影响，揭示日本战后文学中的跨文化 跨语境的特征。 Studies on Japanese post-war literature tend to ignore the Chinese elements that exist in post-war literary works. Specifically addressing this problem, this paper focuses on how its relation with China matters in the formation of Japanese post-war literature. Indeed, most of Japanese post-war writers had war experience, and some of them were related to China. For instance, 武田泰淳、堀田善卫、阿部知二 repeatedly put their Shanghai experience during the war time into their literary works. Their war experience is often generalized, which becomes an important feature of Japanese post-war literature. In this meaning, experience of China, exchanges with Chinese writers, and reception of Chinese literature are significant factors in the formation of Japanese post-war literature. This paper studies 堀田善卫 and his Shanghai experience during March 1945 and January 1947, with a detailed analysis on how this affects his war knowledge and his thoughts on international relations. He was influenced by Chinese writers as well, one of whom is Lin Yutang. With specific examples, this paper, as project on transcultural studies, tries to reveal the influence of Sino-Japan war and Chinese literature on the formation of Japanese post-war literature.

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张潇潇 Zhang Xiaoxiao 旅行日志的产销合一与想象践行： 中国与欧洲旅游赛博空间的跨文化比较 Itinerary Prosumption and Imagination Actualization: A Transcultural Comparison between Chinese and European Tourism Cyberspaces xiaoshaw50@gmail.com 无论是对中国人还是欧洲人而言，都怀有对去欧洲/中国旅游的想象与 幻想。为了实践这种想象，中国旅行者在穷游网之类的旅游赛博空间积极 策划和热烈讨论他们的欧洲旅行日志。在欧洲也有与其类似的网站讨论他 们对于中国的想象与旅行经历。作为一种想象的行为与社会实践，这种对 旅行日志的交流帮助两地的旅行者实现了他们对于异域景致的想象，旅行 者们既是日志的消费者同时也是生产者。但与欧洲旅行者不同的是，中国 游客对于旅行日志的这种生产与消费反映了中国追求现代生活方式的一代 人的出现，他们通过这种欧洲/全球旅行的社会实践在中国的威权社会之中 寻求逃避并获得某种程度的自主性。本研究的主要研究方法是对网络赛博 空间的网络民族志以及对旅行者的深度访谈。 Among both Chinese and European people, there is some kind of imagination or fantasy towards trips to Europe and to China, respectively. To actualize their imagination, Chinese tourists enthusiastically plan and discuss the itineraries of European trips in tourism cyberspaces, such as Qyer (穷游网).

In Europe, there are also some websites that discuss travel experiences and images of China. Both as imaginative acts and social practices, the exchange on itineraries helps travellers to actualize their imagination of foreign landscapes.

In particular, the itineraries prosumption as a modern lifestyle actually reflects the emergence of a cosmopolitan generation in China that endeavors to establish its identity and tries to gain more agency within authoritarian society. The main methods applied are online ethnography of the tourism cyberspaces and in-depth interviews with travelers.

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2013-7-12 第三分会场 陈洁坊 Chen Jiefang 学生认识在课程跑道中的转变：对“文化遗产”课的民族志研究 Students’ Knowing Transforms in Curriculum Track: an Ethnographic Study of "Cultural Heritage" Class alice525@126.com Zwllig Harris 1952 年提出的 Discourse Analysis 这一术语逐渐为人熟知。 话语分析在发展过程中，不断与其他学科相互渗透，特别受人类学和社会语 言学影响颇深。话语分析和民族志相辅相成，相得益彰，是语言学研究的两 个重要视角及研究方法。本文借助话语分析和民族志两种方法对杭州某大学 “文化遗产”课进行研究，试图探索以下问题：（1）课程是什么？（2）“文 化遗产”课如何转变学生认识？（3） 教师在课堂里的角色是什么？（4）英 语学习的困境与出路是什么？通过两学期的观察参与，研究者收集了大量数 据，课堂观察，师生访谈，田野调查录像，课堂录像，田野故事等。“文化 遗产”课以问题为导向，研究为基础，团队合作为特点，让学生在做中学， 在学习共同体中成长，为其打开了看待世界，文化遗产不同方式的大门。本 文还通过分析反映学生认识转变的各种“文本”来看课程如何潜移默化地推 动学生成长。最后本研究不仅通过寻求各种理解，实践，生存状态的意义来 展现课程意义，而且旨在对高等教育英语教学及学科转型带来启示。 The term “Discourse Analysis” put forward by Zwllig Harris in 1952 has been gradually well known. In the course of constant development, Discourse Analysis gets more connection with other disciplines, especially anthropology and sociolinguistics. Discourse Analysis and Ethnography are inseparably interconnected, providing two important perspectives in language studies. This study of a class called “Cultural Heritage” in one University in Hangzhou is based mainly on these two methods, discourse analysis and ethnography, trying to explore the following questions: (1) What is curriculum? (2) How does this class make students’ Knowing transform? (3) What is the teacher’s role in class? (4) What are the dilemma and outlet for English learning? Through two semesters’ observation and participation with the people related to this class, the researcher has collected a huge quantity of data by observing the class, interviewing the students and the teacher, photographing one group’s fieldwork, reviewing the teaching videoe, and writing fieldwork stories etc. This class featured by question-oriented, research-based and group learning process, offers students an opportunity to learn from practice and from learner community so as to opens a door to different ways of seeing the world, here cultural heritage. From the ethnography of this class and discourse analysis of “texts” that reflect the transformation of students’ knowing, this study strives to see how curriculum promotes students’ change subtly. Finally this ethnographic study aims not only to provide the curriculum’s meaning in students knowing’s transformation, by meaning-making in various interpretations, practices and beings, but also to bring some insights for today’s English teaching and learning and disciplinary transition in higher education.

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陈庆欣 Chen Qingxin 目的论指导下的标识语英译研究----以内蒙古鄂尔多斯市为例 On Translation of Public Signs from the Perspective of Skopos Theory ----Take Ordos, Inner Mongolia for Example cqx131421@126.com 随着国际交流的深入汉英双语标识语已经随处可见了，但其英译的失误 也是不容忽视的。本文拟以内蒙古鄂尔多斯市为例，以功能翻译理论中的目 的论为指导，对本市的错误示例进行分析并提供相应的翻译策略。本文共分 为五个部分：标识语简介、目的论简介、实例解析、目的论指导下的标识语 英译策略及总结。 Nowadays, public signs with both Chinese and English versions can be seen everywhere. However, errors can be found too. Based on Skopos Theory, this article lists erroneous public signs taken in Ordos, Inner Mongolia and provides translation strategies. Five parts are included: introduction to public signs, introduction to Skopos Theory, examples, translation strategies and summary.

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丁大刚 Ding Dagang 理雅各中国古代经典翻译的方法论 Methodology of James Legge’s Translation of Chinese Classics robertding2002@shnu.edu.cn 纵观近年来对理雅各中国古代经典翻译文本的研究，既有宏观的历史考 察，也有具体的文本诠释，但缺乏对其翻译思想的总结。本文拟在梳理理雅 各“翻译话语”的基础上，结合英国维多利亚时代的翻译历史语境和思想史 背景、中国古代经典文本的诠释传统和理雅各所处的社会关系，来分析理雅 各从“以意逆志”到“同情的理解”的释经原则，以及“以心解心”和“象 征”翻译法，探讨理雅各对翻译的理解，以及他的翻译过程，并对他的译本 中存在的“问题”，尤其是倍受非议的风格问题，从翻译史的角度给出合理的 解释。 In our survey of the recent studies on Legge’s translation, there are textual interpretation from the micro perspective, and historical narrative from the macro perspective; but there is no probe into his translation discourse. This article analyzes Legge’s principles of interpreting the Chinese classics, ranging from “meeting the general scope (of the ode) with one’s thoughts” to “meeting the writer’s mind with empathy”, and his methods of translation, including “mind-to-mind” and “symbolic” translation, by a close reading of his translation discourses scattering in his prefaces, introduction and commentaries. By connecting these discourses with the hermeneutical tradition of Chinese classics, the context of Victorian translation and intellectual history, and Legge’s social relations, we could explore Legge’s conception of translation and his process of translation, and explain his translation “problems”, especially the style problem, from the perspective of translation history.

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范先明 Fan Xianming 辜正坤论“理解成本”与异化归化翻译对策——兼论外来术语的翻译问 Gu Zhengkun’s Theory of “The Cost of Understanding” and Foreignization and Domestication—Reconsidering the Translating of Foreign Terms xianmingfan@126.com “理解成本”概念是辜正坤先生多年前提出来的一个新概念，可以阐释 很多翻译理论问题。2010 年 5 月 7 日辜先生在河南大学召开的第六届典籍英 译大会上，提交了题为《典籍英译标准略论》的主题发言稿。在该发言稿中， 他再次用“理解成本”概念阐释了典籍英译的翻译对策问题。本文正是受此 发言稿的启发，从“理解成本”的角度，首次在翻译界全面阐释辜先生关于 理解成本与异化归化的翻译对策问题，并在此基础上阐明理解成本与外来术 语的翻译问题。 The concept of Cost of Understanding has been put forward by Professor Gu Zhengkun for more than ten years and it can be used to tackle many translation problems. On May 7, 2010, Professor Gu attended The Sixth Conference on Translating Chinese Classics, which was held in Henan, and delivered a keynote speech on The Criterion of Translating Chinese Classics. In his speech, he again employed the term “Cost of Understanding” to illustrate strategies of translating Chinese classics. Enlightened by his speech, the author for the first time tries to fully illustrate professor Gu’s theory on “Cost of Understanding” and his strategies of Foreignization and Domestication in the course of translating Chinese classics. Furthermore, the author also illustrates “Cost of Understanding” and strategies of translating foreign terms.

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Gilmore, John T. Mother Goose or 童谣？The Translation of Children’s Rhymes between Chinese and English in the late Qing period J.T.Gilmore@warwick.ac.uk The late Qing period saw the publication of two substantial collections of Chinese children’s rhymes translated into English: Guido Vitale, Pekinese Rhymes (Beijing, 1896) and Isaac Taylor Headland, Chinese Mother Goose Rhymes (New York, 1900).

These are of considerable interest, not only because they have been frequently used as source material by later anthologists, but also because they exemplify very different approaches to translation. While Vitale makes his subject matter the basis for an anthropological study aimed at adult readers, Headland’s book is, as he states in his preface intended to “please English-speaking children.” As a result, the two books are almost diametrically opposed to each other in their use of notes and commentary, and make different uses of paratextual elements such as illustrations and lay-out, while the translations themselves are very different in style.

The present paper contextualises Vitale’s and Headland’s books in terms of both their socio-historical background and translation theory, while at the same time offering detailed analysis of selected examples of their translations.

Comparisons will be made with some more recent Chinese-English and English-Chinese translations of children’s rhymes, and the extent to which a study of Vitale and Headland may offer useful pointers to present-day translators of similar material will be discussed.

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李敏杰 Li Minjie，朱薇 Zhu Wei 《红楼梦》英译本中的显化特征——基于语料库的助词缩写使用统计与分析 Explicitation in English Versions of Hongloumeng—— A Corpus-based Study of Contractions mortonlee@163.com “显化”是翻译普遍性中的重要特征。检索《红楼梦》平行语料库中的“代词+助 词缩写”形式，发现两译本在 BE、HAVE、WILL 的缩写使用上基本接近翻译英语语料库 （TEC） ，证明了两译本作为翻译文本而表现出的显化特征，也证实了 Baker 等人提出 的“翻译普遍性”假说。此外，较之杨译本而言，霍译本的显化特征更明显，作为翻 译文本的特征更明显。

“Explicitation” is a prominent one among Mona Baker’s “translation universals”. Statistic analysis of “Pronoun+Contracted Auxilaries” reveals that the use of contracted be, have and will is close to that in TEC, which proves the explicitation feature in two English versions of Hongloumeng respectively by Hawkes etal. and Yangs. As well, explicitation feature in Hawkes’ version is more apparent than in Yangs’s, which shows the former one is more characterized by translational features.

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戚宗海 Qi Zonghai 自传不能承受之重——论《吻》的伦理危机 A Deteriorated Vindication: The Ethical Crisis in Kathryn Harrison’s The Kiss 53988078@qq.com 自曝隐私型自传伦理批评多关注两个维度：一，自传文本彰显的意义之 下可能压抑了的声音；二，记传者的讲述内容、讲述行为和讲述策略触发了 批评者的共鸣与自省，该批评实则后者伦理诉求的表达。少有学者透过此二 维度，探析如《吻》之类自传中传主的伦理危机，即，记传辩解以期愈合创 伤，最终却又陷于虚无之中。 《吻》的传主凯瑟琳将自己 20 岁始与亲生父亲 的四年乱伦畸情归咎于两代亲人各自的家庭教育和环境，似乎本无始作俑 者；但传记又对指责父亲、淡化自身乱伦之罪，三者不无抵牾之处。欲求心 安，结果却是为乱伦正名。无处安身立命的焦虑，怎一部自传所能了结？ Ethical criticisms on Kathryn Harrison’s The Kiss never spare observations or insights to emphasize the two dimensions: first, uncovering the probably suffocated voices under the autobiographer-highlighting meaning; second, airing the critic’s current ethical concerns or inspirations spurred by the autobiographer’s narrative act, narrative content, and narrative strategies.

Roughly speaking, these criticisms devote themselves to bringing to light the ethical effects or consequences of the narrating act itself. Yet, few academic researches so far have moved further beyond the two dimensions and shed any light on the autobiographer’s dilemma: the autobiographer Kathryn exposes her privacy with an expectation to soothe her ethically suffering soul, only to find herself caught by ethical nihilism—in which she finds nowhere for her soul to dwell in. In other words, the autobiographer Kathryn ascribes her four-year-incestuous affair with her biological father to both sides’ family environment and educational influences, indicating that there is no criminal or sinner in the scandal. On the other hand, however, the autobiographer simply couldn’t help but denouncing her father’s anomaly and seducement. Meanwhile, the autobiographer tries to dilute her incestuous crime by highlighting her subjection to her father’s possession while effacing her active involvement or willing participation in the incest. The three contradictory elements seemingly cooperate to justify the autobiographer’s fornication with her father. With these in mind, safe is to contend that The Kiss, overloaded with expectations to confess so as to obtain final inner peace, turns out to be frustrated and confronted with ethical crisis, i.e., a vindication overwhelmed by the defense for fornication.

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覃江华 Qin Jianghua 汉学家文学翻译与当代中国文化身份重构 Sinologists’ Literary Translation and the Remaking of China’s Cultural Identity myqin2008@163.com 文学翻译是中国文学与文化走向世界的重要途径，而海外汉学家是其主 要承担者。随着国家对中国文化身份和文化形象的重构与再造越来越重视， 学界对汉语文学翻译研究的关注与日俱增。近年来，英美汉学界对译介现当 代中国文学的兴趣日渐升温，涌现出一大批才华横溢、佳作频出的译者，他 们一方面从事中国文学教学与研究工作，一方面大量译介现当代中国文学作 品。英美汉学家的中国文学研究和翻译活动，对于改变西方读者对于中国文 学的成见，重塑中国的文化形象起到重要作用。对这些成绩斐然的汉学家翻 译家的翻译模式、翻译思想和翻译作品进行深入的分析和批评，有助于探明 西方中国文学翻译与研究的现状，及其对中国文化身份重构和文化形象再造 的作用与影响。 Literary translation undertaken mostly by western sinologists is an important way to introduce Chinese literature and Chinese culture to the world.

As China attaches more importance to the restructuring and remaking of its cultural identity and image, more academics are paying their attention to the translation of Chinese literature into foreign languages. In recent years, more and more sinologists from English-speaking countries are engaged in rendering modern and contemporary Chinese literature into English, the lingua franca of the day. Dozens of talented translators and their translations became well known worldwide. Those translators usually combine their research and teaching with their translating practice, which has changed the prejudice of western readers on Chinese literature and has remade the cultural identity of China to some extent.

Researches on the translation models, translation views and translation works of thoese sinologist-translators will help us to understand the status quo of the research and rendition of Chinese literature in the west and its influence on the remaking of the cultural identity and image of China.

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琴知雅 Keum Jia 论埃兹拉.庞德与金素月的唐诗翻译与译者创新性 —— 20 世纪初东西方语言间韵文翻译的问题 On Ezra Pound and Kim Sowol’s Translation of Tang Poems and Translators’ Creativity: Problems in Verse Translation between Oriental and Occidental Languages in Early 20th Century kewpiekja@sina.com 翻译的不可能性以各种形态存在于原文内容及周边。即便存在着比诗的 形式更严重的限制，翻译家反而能发挥出更强的创造力。在看起来完全不可 能翻译的瞬间，就会问翻译家应以何种态度来克服这种不可能性呢？对此的 回答是“尽管如此”。超越东西方语言及文的障碍，把看起来“不可能”的 中国汉诗在“某个层面”变成“可能”，这就应该肯定翻译家们的功劳。本 文以用英语和韩语来翻译唐诗的的美国诗人埃兹拉.庞德（Ezra Pound） (1885-1972)的《Cathay》18 篇及韩国诗人金素月（1902-1934）的翻译诗 17 篇为例进行分析。他们认为应该要肯定那种符合翻译文表现的条件来调 整原文的“变形”。二人均为 20 世纪初的诗人和翻译家，在同一时期克服 了诸多不可能性进行“创造翻译”。Pound 于 1915 年用英语及金素月于 1925 年用韩语翻译的唐诗，严格来说更接近于他们从唐诗那里得到灵感而重新写 的创作诗，如果说是翻译的话则有一些问题。尽管如此，20 世纪初，东西 方读者们通过他们尊重“新诗创作”的观点而进行的翻译领略到了汉诗的 魅力。 Sometimes the original in itself as well as its attending elements is loaded with so much information that it simply defies translation. Confronting the fact that the restraints for translation consist in far more than retaining the form of the original poem, the translator is actually spurred on to give a greater play to his creativity. When the thought that translation is impossible flashes to his mind, how can the translator fulfill his role – exacting possibility from impossibility?

The answer is “Tough as it is”. Therefore, the credit should go to translators who, transcending the obstacles in translation between the oriental and occidental languages, satisfactorily reproduce Chinese poems seemingly impossible to be translated in another language, and especially so in light of certain dimensions.

This thesis conducts a comparative study between 18 poem translations in English from Cathay by Ezra Pound (1885-1972) and 17 ones in Korean by Korean poet Kim Sowol (1902-1934). They both gave strong affirmation for such translation where the target language was fully explored to reproduce the original as flexibly as possible. As poets and translators in early 20th century, they both conducted “creative translation” by going around seemingly impassable channels. Tang poem renditions by Pound into English in 1915 and

by Kimn Sowol into Korean in 1925, in a strict sense, border on newly created poems with inspiration from Tang poems. To claim they are translations only is likely to evoke questioning and doubt. Nevertheless, in early 20th century, both oriental and occidental readers came to feel the charm of Tang poems translated by them, the upholders of the view on “new poem creation”.

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曲菁 Qu Jing、孙小美 Sun Xiaomei 文博解说中的“中国文化走出去”策略探讨 On C-E Translation of Chinese Heritage and Museum Interpretations as a Major Medium for the Effective Implementation of Chinese Culture's "Going Out" National Strategy qujing1163@163.com; sxiao89@163.com “中国文化走出去”不是一个地理概念，而是一个心理概念。“中国文化” 借助文博解说走进千百万来华旅游者的心里,是另外一种“走出去”的重要形 式。解说词是博物馆陈列展览传递信息和传播文化的重要手段和途径。其在 解说文物、传达文物内涵，使受众进一步了解文物的过程中的地位是无可比 拟的。中国文化和中华文明要走向世界，有赖于其博物馆英文解说词的进一 步优化和提高。本文从跨文化视角出发，主要应用实地考察收集语料、文献 分析、语料对比的研究方法，从解说词文化信息处理、篇章结构和语体风格 三个方面对比分析博物馆中英解说词特点，探讨文博解说翻译有效服务“中 国文化走出去”国家战略的方式和方法。 Chinese Culture's "Going Out" is more of a psychological concept than a geographic one, as millions international visitors come and experience Chinese culture at the heritage sites and museums every year. The heritage and museum interpretation plays an incomparable role in interpreting Chinese culture and people to the audience who are attentive to and enjoyable from the relics and their interpretations. The C-E translation of Chinese heritage and museum interpretations is the practice of intercultural communication, thus making the Chinese Culture "Going into the hearts” of the international visitors relies on a comprehensive research on the needs and behavior of the international visitors, the style and pragmatics of the heritages and museum interpretations of the world culture heritages and museums, and development of an effective translation strategy from intercultural communication perspectives.

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于晴 Yu Qing 英汉互译中的不可译现象及其转化策略 Untranslatability between English and Chinese and Transformation Strategies yuqing1211@163.com 翻译是一个充满悖论的领域，而可译性及不可译性问题是一个争论良久 的问题，伴随着整个翻译发展的历史。对不可译问题的研究是现代翻译理论 发展的主线之一。论文以卡特福德对不可译的分类为理论基础，这一理论解 释了语言不可译性和文化不可译性的成因。全文包括四章。第一、二章分别 从英汉语言和文化差异两个方面探讨了不可译现象的成因；在第三章，针对 语言不可译性和文化不可译性的区别，作者以 200 名外国语学院在校生为调 查对象，通过调查问卷的方式试图证明：由于语言差异引起的不可译现象很 难发生改变，而由于文化差异引起的不可译现象不是一成不变的；鉴于此， 第四章对解决不可译问题的一些常用策略进行了初步探讨。概括来说，翻译 中存在不可译现象，但随着中西方文化交流的深入，翻译过程中的语言文化 障碍将会越来越少，在一些情况下，不可译可以转化为可译。 Translation is a field full of paradoxes, in which the problem of translatability and untranslatability is a long-debated issue，accompanying the development of translation. The research on untranslatability is one of the most important studies in modern translation theories. J. C. Catford’s theory on the classification of untranslatability is discussed as theoretical basis for untranslatability in the present thesis. It explains the reasons for linguistic untranslatability and cultural untranslatability. This thesis consists of four chapters. In chapter one and chapter two, the author introduces reasons for untranslatability on the aspect of linguistic and culture respectively. And these two sorts of untranslatability go in quite different directions. Therefore, in Chapter Three, in terms of the differences between linguistic untranslatability and cultural untranslatability, the author tries to prove through a questionnaire that: untranslatability resulting from linguistic differences is hard to make any change, while that resulting from cultural disparities is not static but changeable, and with cultural communications getting increasingly frequent, untranslatability can shift to translatability in some conditions. Accordingly, chapter four inquires into commonly-used transformation strategies. In general, untranslatability surely exists, but its existence is not absolute or static but relative and changeable. With the expansion of cultural communication between eastern and western world, the development of Chinese and English, linguistic and cultural barriers in translation will be reduced, and untranslatability may be transformed to translatability in some conditions.

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余苏凌 Yu Suling 文化误读：汉诗英译中人物意象误译研究 Cultural Misreading: A Study of British-American Translators’ Manipulation of Images in Chinese-English Poetry Translations Yus3345@pku.edu.cn 诗歌中人物性格的刻画、人物生活的时代和地域特征、诗人情绪的传达 等，都离不开人物意象。意象既有属于一个民族的共同意象，也有属于一个 诗人个人的意象群，还有属于某一首诗的意象群。翻译中对原诗意象是保留， 是删除，还是替代，一方面反映诗人对原语文化的态度，另一方面反映了译 者的翻译思想、目标国接受文化等因素对其翻译方法的影响。通过研究，我 们发现，英美译者在翻译中国古典诗歌时，对其中的某些人物形象意象进行 了更换、删除或笼统化处理，这反映了不同文化的审美差异、特定历史时期 英美译者对中国文化的态度、译者自身对原作或原文化的误读、以及译者 借此手段对作品主题的操纵等种种问题。这些误读或操纵可能造成人物形象 和故事的时空错乱，以及诗歌主题的改变。 Images of characters in a poem are vital to the depiction of the characters, to the introduction of the historical period and location of the story, and to the conveying of the poet’s ideas and moods. A nation has its collective set of images; a poet has his or her set of images; and a poem has its set of images. The preserving, deletion or substitution of images in a poem may imply the attitude of the translator toward the source culture, the translator’s ideas of translation, and the influence of the target culture on the source culture. It is discovered through our analysis of British-American strategies for imagery in Chinese-English poetry translation that translators did have substituted, deleted or generalized some images in their translations, which reflect the different tastes of nations, the attitude of the translator at a specific period toward the source culture, the translator’s misreading of the poem and of the source culture, and the translator’s manipulation of the theme of a poem being translated. This may result in the target reader’s confusion with the time and space of the story and the change of a poem’s theme.

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曾文华 Zeng Wenhua 称谓误译与称谓文化的抗译性 Misinterpretation of Address Form and its Cultural Untranslatability whzeng@mail.hzau.edu.cn 中英称谓系统在称谓语的数量分布、称谓关系复杂度的呈现以及称谓使 用方式等方面都存在显著差异。作为文学作品中不可或缺的组成部分，称谓 语对刻画人物形象、呈现人物关系及故事情节的发展变化起着至关重要的作 用。文学翻译中所出现的种种称谓误译皆由中英称谓在结构、语义、语用等 方面的差异所造成。译者可通过重构称谓语义框架、确定称谓识解的认知参 照来消除误译。然而，中英称谓在语义方面的不对称以及在复合结构和社会 语用方面的差异使得称谓具有显然的文化抗译性。在翻译差异显著的中英称 谓时，译者即使采取多种补偿手段，也很难使称谓既保留其原语特色又能充 分协调地融入到目的语的文化语境之中。 The Chinese and English systems of address form have distinct discrepancies in number, complexity and pragmatic use. As an indispensable part of literary works, address forms are of great importance in carving the images of characters, depicting the relations among characters, and the development of the plot. Myriads of misinterpretation of address forms in literary translation are attributable to the discrepancies of address forms in their structures, semantic meanings and pragmatic uses between English and Chinese, yet translators can erase such misinterpretations through reconstructing the semantic framework and resetting the cognitive reference point. However, the cultural untranslatability remains conspicuous due to the semantic asymmetry, different complex structures and dissimilar pragmatic uses between Chinese and English address forms. Translators find it hard to keep their original flavor even with various kinds of compensations, and fit them perfectly into the target culture as well, when translating address forms with distinct dissimilarity.

张政 Zhang Zheng 名从主人——汉语人名注音溯源及思考 Adaptation to Original Names—Tracing Back to and a Reflection on Phonetic Transcriptions of the Chinese Name zhangzheng@bnu.edu.cn 发言提纲 汉语人名注音标准一直是国内翻译界悬而未决的问题，本文尝试从汉语 人名注音入手，梳理中西方标注汉字的发展史，追溯“Confucius”、“Mao Tsetoung”等国际上约定俗成的人名的由来，分析了其利弊，提出了自己的 见解，以期为相关的注音与翻译研究提供参考。 发言题目

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2013-07-12 第四分会场 Bogen, Cornelia Acidic instant noodles and poisonous cucumbers - Food Scandals in Chinese and European New Social Media Email: cornelia.bogen@daad-alumni.de Every three months, when a new food scandal happens in Europe (like HUS/EHEC epidemic in 2011), Chinese mass media thankfully covers such topics to distract the Chinese audience' attention away from their own national food safety scandals (e.g. acidic instant noodles, hormone contaminated meat). In European public sphere, food poisoning resulting from imported Chinese food products (strawberries in 2012) open up public debates about the disadvantages of globalized food processing and China's superiority in global price wars (Spiegel 42/2012). However, despite its entanglement in different national discourses, Chinese and European culture discuss food safety issues in various ways due to different ethics of communication. The topic of this contribution is an intercultural comparison of contemporary online health discourses on food safety and food scandals in China and Europe. How do new social media (blogs, social networking sites) generate a public sphere where (inter-)national food scandals are critically discussed, political and economical malpractice is uncovered and suggestions are made on how to improve the situation (foodstuff inspection, corruption, etc.). How does the state and the economic industry on the macro-level and traditional mainstream media react to those civil online discussions, according to the political framework?

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陈利 Chen Li 文化翻译和比较的权力政治:以《大清律例》1810 年的英文翻译为例 Power Politics of Cultural Translation and Comparison: A Case Study of the English Translation of the Qing Code in 1810 lchen@utsc.utoronto.ca 本文以英国斯汤东爵士(Sir. George Thomas Staunton) 1810 年出版的《大 清律例》英文翻译为例，探讨在帝国殖民主义时期及此后的跨文化比较和翻 译所涉及的权力政治关系及其问题。虽然斯氏的翻译在此后二百年间极大影 响了西方对中国法律、社会和文化的看法以及中西关系，但关于他该翻译项 目的动机、过程、反响以及使用后果等所折射的殖民主义文化权力和国际政 治关系，史学界和翻译学界并没有全面透彻的研究问世。本文基于大量中外 原始档案和稀见资料，深入分析了殖民主义知识产生过程中普遍存在的困境 和挑战如何在斯氏的翻译项目中淋漓尽致的展现出来。文化间不平等的话语 或政治经济权力关系，使得作为西方现代汉学创始人的这些斯汤冬们，在自 身殖民者情怀和作为东方文化引介者的矛盾角色中挣扎。斯氏和他的翻译项 目以及十九世纪众多类似的“文化中介人”所经历的问题，提醒我们有必要 承认，跨文化翻译和比较几乎从来都不仅仅是简单的翻译和比较。 This paper focuses on the English translation of the Qing Code by Sir George Thomas Staunton to illustrate the politics and problematics involved in cultural translation and comparison in the age of empire and beyond. Although Staunton’s translation exerted an enduring impact on Western understanding of Chinese law and society as well as Sino-Western relations for the next two centuries, no extensive study has been undertaken to examine the power relations and colonial politics that conditioned the initiation, process, reception, and utilization of this translation project. Using a large number of Chinese and Western-language archives and rare primary materials, this paper shows the predicament of such colonial knowledge production and “translation” between cultures of asymmetric power relations. As founders of modern Sinology or Oriental studies in the West, Staunton and many Oriental scholars of the century were struggling for identity and coherence between their role as empire builders or colonial ideologues and their role as cultural brokers or “patrons” of Oriental cultures. What Staunton and his translation project witnessed reminds us that it is imperative to recognize that translation and comparison between two cultures almost always involve more than just translation and comparison.

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陈茂庆 Chen Maoqing 仲夏夜梦的跨文化阐释—论京剧《朱丽小姐》对西方经典的回应 The Cross-Cultural Interpretation of the Midsummer Night’s Dream The Response of the Peking Opera Miss Julie to Western Classical Plays theatreclass@163.com 瑞典剧作家斯特林堡的独幕剧《朱丽小姐》可被视作对莎剧《仲夏夜梦》 的误读和超越，由于时间背景为仲夏夜，可改称为《仲夏噩梦》。两剧都表现 了梦和人兽恋的母题、动物意象，以及父亲的在场与缺席。由孙惠柱、费春 放创作，赵群执导的京剧《朱丽小姐》以中国元素对两部经典进行了误读。 该剧的内在时间为一个节日的夜晚，使用“更”这一传统时间单位，以更夫 的鼓声把戏分为五场。狮子舞取代了华尔兹和芭蕾舞，又呼应了莎剧中的戏 中戏。厨娘由男角反串，更具张力。以写意的手法所表现的女主人公之死多 了一份诗意。终场把小姐之死、男仆和厨娘的婚礼同时置于舞台，在视觉和 心理上给观众以强烈的震撼。总之，该剧堪称一部中西合璧的戏曲精品。 August Strindberg’ Miss Julie, set in a Midsummer night, might be regarded as an attempt to misread and transcend Shakespeare’s A Midsummer Night’s Dream, and therefore be re-entitled A Midsummer’s Nightmare. The two plays share the motifs of dream and zoophilia, the imagery of animals, the presence and absence of the father, but represent them in different ways.

The Peking Opera Miss Julie, written by William Huizhu SUN and Faye Chunfang FEI on the basis of Strindberg’s Miss Julie, and directed by Qun ZHAO, shifts the setting to the house of a squire in the suburb of a Chinese city. In terms of timing, characterization and stage design, it responds to the original play and Shakespeare’s A Midsummer Night’s Dream with traditional Chinese elements. Set in a whole night, it is naturally divided into five scenes by five geng (a two-hour time unit in traditional Chinese culture), with the drum beat by a night watchman.

Chinese lion dance is employed to replace waltz and ballet, with Miss Julie dancing with the lion, which is played by her male servant. This has multiple implications, besides reinterpreting the play-within-play in Shakespeare’s A Midsummer Night’s Dream. The woman cook, the most drastically transformed role in the play, is played by a male actor. Compared with Miss Julie’s suicide off stage in the original play, the death of the female protagonist in the Peking Opera is more poetic and aesthetic. The arrangement of the death of Miss Julie and the wedding of her servants on the stage at the end renders the play more tragic and shocking, visually and psychologically, to the audience. All in all, the Peking Opera Miss Julie, interpreting Strindberg and Shakespeare’s midsummer night’s dreams with distinctive Chinese features, turns out to be a superb work of intercultural theatre.

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Fuller, Pierre Historical Perspectives on Humanitarianism in China, the UK and the US pierre.fuller@manchester.ac.uk Assessing societies through perceived cultural norms of generosity or cruelty is an age-old practice. In the modern period, this exercise, which is at root comparative in nature, has taken the form of a discourse on humanitarianism and its various forms (charity, philanthropy, disaster relief, or the treatment of civilians and combatants in wartime), a discourse that has long taken on a political role spanning the era of mission civilisatrice to Cold War interventions and the Iraq/Afghanistan wars.

With chronic famine, war and revolution striking modern China, the industrial era’s explosion in journalism, memoirs and other media depicting such events has helped make the Chinese experience synonymous in the Western imagination with struggle and sacrifice. Michael Barnett's 2011 history of humanitarianism is one of the first to look at the subject on a wider scale, yet his is overwhelmingly a narrative of the North American and Western European experience. The study of Chinese humanitarianism, by both Chinese and Western historians, is remarkably recent, and remains spotty considering the vastness and variety of Chinese culture in both time and space. Where does the study of Chinese charity or disaster relief stand today in English and Chinese-language scholarship? How does it compare to the progress of the study of such phenomena in the UK and US? How relevant anyway is scholarly output on the subject to the field of journalism, public policy, or perceptions of the American, English or Chinese public at large?

This paper is primarily a comparative review of the scholarship on charity and humanitarianism in the UK, the US and China over the last hundred years, but it aims to go beyond that by providing a meditation on the wider modern epistemology of Chinese humanitarianism shaping perceptions of China worldwide.

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高继海 Gao Jihai A Comparison between Two TV series: The Tudors and Emperor Yongzheng hdgjh@yahoo.cn The TV series of The Tudors has four seasons and 38 episodes, filmed from 2007 to 2010, covering the reign of Henry VIII of England from his accession in 1509 to his death in 1547, with the emphasis on his relation with his wives. The TV series of Emperor Yongzheng relates the 10 years rule of Emperor Yongzheng of Qing dynasty. Both are based on historical sources, and both are about the lives of high profile people. The author of this paper first examines the degree of reliability to historical facts of the two TV series, then summarizes some basic similarities between the two TV series, and then goes on to analyze the similarities and differences between the two rulers in the context of their different social, political and cultural background, with the purpose to illustrate some common features of their lives, which might be universally applicable to many men in similar circumstances. The conclusion is that hero is largely conditioned by his time, and on the other hand, to a certain extent, the hero creates his era by exerting his wisdom and courage. If it is true that "history is nothing but the biographies of great men", it is also true that great men are partly born great, yet largely made great by the time they lived in.

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Gennaro, Ivo De The Way We Speak - Preliminary Remarks on the Dialogue between of European and East Asian Thinking idegennaro@unibz.it Can we rightfully speak of a dialogue of East Asian and European thinking in our epoch? What are the necessary conditions for such a dialogue to take place, and are they met by those who are supposed to engage in it? Who or what can prepare and set the tone of an encounter of these traditions that might lead to an actual dialogue?

Today, when we speak of “European thinking”, we refer in the first place to the thinking of modern science. This thinking, in which the West recognizes the most advanced stage of its intellectual evolution, presents itself as universal and is, at some level, readily graspable on a planetary scale. Consequently, this thinking seems to be capable, for its part, of setting the tone of an encounter with East Asian thinking in such a way as to favor the unfolding of a true dialogue.

However, the fundamental character of modern scientific thinking is that it is a computing. This implies that, no matter how effectively it thinks, i.e. computes, science does not and cannot mind the sense of what it computes, nor the sense of its own computing; all it minds and responds to is the effectiveness of computation itself, i.e. the command of empowerment it can secure. Thus, while modern science unfolds its planetary dominance, what is seen as the most advanced thinking of the European tradition lacks an awareness of its presuppositions and implications, i.e. of the kind of knowledge it is and the kind of world it shapes. Eastern thinking in its turn can also not be aware, in a fundamental sense, of these presuppositions and implications. The reason for this is that it belongs to an entirely different tradition than that which has given rise to modern science. This tradition, of which modern science is an offspring, is the tradition of philosophy. In this way, the intended dialogue of European and East Asian thinking, which at first sight appears to have a solid basis in the thinking of modern science, in fact turns out as a monologue of two differently deaf partners.

The deafness of European thinking, i.e. of the philosophical part of the encounter, is a lack of self-awareness. This lack consists in the unawareness of the inceptual source of sense that is latent in philosophical thinking, and therefore, to some extent, also in science. We can indicate this source as follows: it is what everywhere and at all times gives way in making way for things to appear and to be. However, such way-giving making way is the innermost trait of language. In fact, following Martin Heidegger’s thinking (see, e.g., his On the Way to Language), we become aware of what the tradition of philosophy has from its onset not been mindful of, namely the fact that language, rather than being one of man’s faculties, and as such a mere means of expression and communication, has as its ownmost trait the way-giving making way for all appearing and coming to light. . . .

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Guenther, Hans-Christian China, Europe and the Enlightenment in the Age of Globalization hcg2804@googlemail.com In today's so-called globalized world there is much talk about the necessity of a common set of values, in Western countries in particular. The values propagated there - either as interculturally applicable or as key values of Western culture as a guiding culture - are mostly related to those of the so-called enlightenment, which Western civilization claims as a major achievement of its own which other cultures should apply to their own cultural traditions as well.

My paper tries to question critically the values of what the West today calls enlightenment, by both reviewing these values again in the light of a comparison with the Chinese tradition of thought and statehood and showing the limitations of these values, even when understood in the genuine sense and not in the disoriented sense in which they are presented today.

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王黎静 Wang Lijing 新人文主义视野中集体主义价值观的重构 Restructuring of collectivism from perspective of New Humanism lijing.wang@aliyun.com 在东方传统文化中，集体主义文化价值观占主导地位。我们的研究表明， 当代中国的集体主义价值观是以人为本的集体主义即进取奉献主义，它以人 的全面发展为目标，以人与自己、人与人、人与自然协调可持续发展的公正 的集体主义即进取互利为基础，以利他为价值导向。进取奉献是“以天下为己 任”的儒家理想人格的现代转换。我们可以把它用中国传统文化语言简要地概 括为：“以人为本，家为根、国为重、天下为怀，和合共生”或只一个字“和” Collectivism has a predominant position in the traditional Oriental culture.

Our research shows the collectivism of contemporary China is people-oriented collectivism, namely contributionism. It is aimed at achieving the humans’ overall development and based on active reciprocity, namely the just collectivism featured by coordinated and sustainable development within oneself, among the humanity, and between the humanity and the nature. Active contribution is the modern transition of the Confucian ideal “tasking oneself with serving the whole nation”. It can be summarized in traditional Chinese cultural language as “people-oriented, family as the root, nation as the priority, the humanity in mind, co-existing harmoniously", or just one word “harmony”.

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杨静 Yang Jing 中国电影重述白人拯救神话--以《南京！南京！》和《金陵十三钗》为例 The Re-invention of Hollywood’s Classic White Savior Tale in Chinese Cinema: Nanking! Nanking! and The Flowers of War 199910233@oamail.gdufs.edu.cn Nanking! Nanking! (2006) and The Flowers of War (2011), two China-made films aiming at world market, utilize Hollywood’s classic redemption narrative and arouse great controversies despite their commercial success. As a recurrent Hollywood pattern established in films like China Girl (1942), The World of Suzie Wong (1960), Tai-Pan (1986) and Red Corner (1997), the Western hero’s privileged adventure in the East is always accompanied by his chivalrous rescue of and patriarchal supervision over the Chinese woman. The classic paradigm is re-written and re-invented in Nanking! Nanking! and The Flowers of War set in 1937 during the Nanjing Massacre. Both films adopt the storyline of the white hero’s rescue of Chinese women/people, yet inject a heavy strand of Chinese nationalist discourse by molding the nation’s past shame into something befitting a superpower. The essay explores the two films’ diversified strategies to manipulate the Orientalist framework and to assert a Chinese subjectivity within the dual contexts of Chinese reception and Western reception.

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郑岩芳 Zheng Yanfang 矛盾情结（Ambivalence）与东方主义——电影《末代皇帝》中亚裔形象再 现分析 Ambivalence in Orientalism: Representation of Asia in The Last Emperor jeanzhengzsu@126.com 本文以电影《末代皇帝》为分析对象，意在探讨东方主义文本内部对他 者的再现过程中所呈现的复杂性问题。在以往国内对东方主义文本的解读 中，作者的论述常聚焦于对文本中他者形象所呈现的幼稚化、污名化或色情 化的再现方式的分析。笔者认为，在当代东方主义文本中，对他者的再现往 往并不是一个指向十分清晰的过程，而是往往存在一定的矛盾性，是一个复 杂、矛盾的过程。这种矛盾性使他者的形象不但承载了作者或导演对另一种 文化的他者化界定与想象，也承载着两种文化交汇或交锋时，两种文化间发 生的对抗与协商。这种对抗与协商往往使再现过程中，作者或导演的欲望与 排斥、焦虑与掌控同时存在，相互作用。这样的一个过程体现了他者意义的 不确定性、流动性与复杂性，体现了作为一个能指符号，他者意义本身所蕴 含的颠覆性。 The thesis aims to explore the complexity of representation of the other in movie The Last Emperor. The thesis attempts to understand the movie as an Orientalistic text. In former studies on this movie in Chinese academia, critics mainly focus on the discussion of infantilization, stigmatizaion, and exoticization in its depiction of Asia and Asian images. The thesis tries to argue that, in this Orientalistic text, the representation of the other is not a one-way process with clearly targeted subjects to be represented. As a complicated process, ambivalence is an entrenched trait of representation. The ambivalent process defines the other not only an embodiment of the director’s imagination and definition of the other, but also a carrier of resistance and negotiation between cultures when they meet. Ambivalence occurs when, in this process of representation, the director’s imagination / desire and resistance, domination and anxiety work together and shape each other. The meaning of the other as a signifier, hence, is charged with mobility, undecidablity and allows space for subversion of the director’s representation of the other.

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周小琴 Zhou Xiaoqin 科学的权威化与文学史的兴起 The Authority of Science & the Rising of Literary History xiaoqin0210@163.com 科学的权威化是西方文明认识思维普及、哲学理性统摄及科学体制确立 的基础性过程，由此导致的众多成果之一即是现代历史学科的确立与知识界 历史主义的兴起。人文学界以历史主义的指导原则与技术手段来进行文学史 学科的构建，导致作为一种文学研究形式的文学史的兴起，这个结果自然延 伸与刺激了中国文学史的兴起，并最终定型为一种普遍知识模式。然而，关 于文学的史的著述诠释、思考判断与科学权威化语境的内在关系却缺乏学理 分析，甚至“文学史”作为一种研究形式究竟如何成立也未有令人信服的回 答，同样，科学理性的内在制约性与扩张传播强度，以及科学与人文两个领 域的交互渊源与渗透影响也难以获得应有重视。笔者拟以此脉络进行梳理阐 释。 The Authority of Science is the basic process of spreading Western civilization cognition, unifying the philosophy rationality and establishing the scientific institutions, leading to numerous achievements, one of which is the establishment of the Modern History discipline and the rise of historicism in the intellectual circle. To construct the discipline of Literary History with the guiding principle and technological means of historicism in the humanities circle has resulted in the rise of literary history as a form of literary researches. This result naturally extended and stipulated the rising of the Chinese literary history, which was finally set as the general knowledge mode. However, there lacked a theoretical analysis of the internal relation between the interpretation, thinking and judgment of literary history and the scientific authority context, and there was even no convincing answer to the question that how literary history, as a form of research, is founded. Likewise, it is difficult for the inner conditionality of scientific rationality and the intensity of expansion and transmission, as well as the interaction and mutual penetration between science and humanity to receive certain attention. The author intends to conduct the discussion and explanation based on this clue.

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朱光亚 Zhu Guangya 德性和知识的分野——中西哲学与文化精神 The Divergence of Moral and Knowledge——the cultural spirit of Chinese and western philosophy hnxczgy@163.com “李约瑟疑难”提出了一个问题：在历史上一直领先于西方的中国，近 代为什么落后了？从哲学上看，答案在于中西文明的源头：德性和知识的分 野。中国哲学传统是道德，西方哲学传统是知识，它们分野的深层根源在于 本体论是否从宇宙论中相分离。西方哲学本体论从宇宙论中分离出来，哲学 成为形式化的纯粹思辨体系，形成为一种为科学奠基的哲学，发展到胡塞尔 这里，表现为“作为严格科学的哲学”。中国哲学本体论没有从宇宙论中分 离出来，表现为一种诗性智慧，而这种诗性智慧又缺乏信仰环节的支持，所 以始终停留在宇宙本体论阶段。今天，哲学的视界融合迫使我们站在世界哲 学的高度去审视，我们发现，认识中国哲学知识论的缺失，重构中国哲学知 识论，改变我们哲学研究中构建道德形而上学的状况是一项急迫而重要的任 务，而现象学则恰好提供了这样一种可能。 ‘Needham question’ puts forward the problem of behind the west in modern China. From a view of philosophy, the answer is located in the source of Chinese and western civilization: divergence between moral and knowledge. The moral is the tradition of Chinese philosophy, the knowledge is the tradition of western philosophy, the deep root of divergence is that whether the ontology is separated from the cosmology. In Western philosophy, the ontology is separated from cosmology and philosophy has become a formalized system of purely speculative, gradually forming the philosophy which lay foundation for science.

Developing to Husserl, it appears to be a philosophy as rigorous science. In Chinese philosophy, the ontology has not been separated from cosmology, shows as a kind of poetic wisdom which lacks the support of belief. So it always stays on the stage of universe ontology. Today, Philosophical horizon fusion force us to stand at the height of world philosophy to observe , we find that it is an urgent and important task to reconstruct epistemology in Chinese philosophy and make up the lack of Chinese philosophy epistemology, and change the status of moral metaphysics in the study philosophy ,so, phenomenology just provides such a possibility to solve the question.

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2013-07-13 第一分会场 阿明 Hampel, Amir Social Anxieties and Ideal Personalities in Beijing: An Anthropological Study of Operative Concepts of Self and Society ahampel@uchicago.edu Recent social research in China has described increasing individualization in areas such as labor markets, marriage arrangements, consumer culture, and rights discourses; yet it is difficult to determine the degree and manner in which an individualistic ideology is acquiring psychological relevance for people in China. Comparative studies must reach beyond dichotomies of individualism and collectivism to grasp lived experiences of self and society in the context of rapid cultural change. My research focuses on how people in contemporary China experience and evaluate their own personality. Building upon my masters’ research, a comparative cultural phenomenology of social fears in American and Chinese students, I am now conducting systematic phenomenological interviews with undergraduate students at a number of universities in Beijing. Through this work I am uncovering anxieties about social status and assessing the extent to which students see traits such as innovation, choice, autonomy, and self-confidence as necessary for self-development and for for success. The high degree to which young students view these traits as important virtues reveals a developing sense of self and society that will shape China’s future. The model of a choosing person operating in an atomized society is not limited to Chinese youth: people of all backgrounds are aspiring to define and express themselves as individuals in order to find more fulfillment in work, in love, and in life. Through ethnographic work in psychological seminars and a survey of popular psychology media, I am examining how people are learning to be more confident and outgoing in dating, at work, and in the family, striving to embody the ideal of an independent and self-creating individual. Researching social anxieties and popular psychology in order to understand ideal personality types allows us to glimpse changing experiences of the self in China while investigating culturally varying concepts of social identity and agency.

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Bouvier,Xavier Learning from China: a musician’s view xavier.bouvier@hesge.ch There is a century lasting interest in China toward Western science, technology, and arts. Symmetrically, the culture from China has always been a deep source of inspiration for Western artists. What is the present state of the interrelation between this two musical cultures at the beginning of the 21st century? Has the big impulse toward Western music in China any symmetrical impulse from the Westerners curiosity toward the Chinese culture and music?

My presentation will focus on the elements in the Chinese classical and contemporary aesthetics that are of interest for Western artists and aestheticians, using music as a specific case.

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曹波 Cao Bo 贝克特《梦》中的中国音律 Chinese Music in Samuel Beckett’s Dream caobo200205@sina.com.cn 贝克特的《梦：从靓女到庸女》是引文、典故、元小说要素的拼缀物。 其中有关中国古典音律的片段译自 Louis Laloy 的《中华音乐》，几乎就是中 国《吕氏春秋》的严格重译。元叙事者将创作的困境进行类比，希望笔下的 人物和情节像中国的“十二律吕”那样，通过有序的排列、组合，构成线性的、 单声部的曲调，而非众声喧哗的交响乐。作为“狂乱的思想”的体现，《梦》 中的用典展开了一幅“艺术家年轻时的画像”；此后，中国文化很少出现在贝 克特的作品中。 S. Beckett’s novel Dream of Fair to Middling Women is a patchwork of quotations, allusions and meta-fiction elements. Its allusions to ancient Chinese music, inspirations from Louis Laloy’s La Musique Chinoise, prove to be almost the English re-translation of the Chinese history Lushi Chunqiu (Mr. Lu’s Historical Records). The meta-narrator hopes that the characters and events could be united as a harmonious whole, just as Chinese Liu-lius, by permutation and combination, can form linear monotones rather than symphonies of “sound and fury.” As examples of Beckett’s “wild thoughts,” these allusions make up “the portrait of an artist as a young man;” there’s hardly any trace of Chinese culture in Beckett’s later works.

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陈向阳 Chen Xiangyang 兽性、人性与神性：从跨文化与比较文化的角度看《少年派梦幻漂流记》 Bestiality, Humanity and Divinity: Life of Pi in a comparative and cross-cultural context xc237@nyu.edu 折衷与对抗、东方的哲学与西方的实证主义，平衡这两者间的关系是跨 国、跨文化以及跨媒体的电影人在制作时必须考虑的因素。两者平衡得好可 以激发巨大的创作力和灵感。本文拟以《少年派的梦幻漂流》为个案，来探 讨以上的思考。 《少年派的梦幻漂流》跨文学和电影，涉及多种文化与宗教， 探讨人文文化各个方面的议题--本文以人文文化中的兽性、人性和神性加以 概括。本文研究作者如何在电影媒介的日益变化、电影制作本身的传统、以 及跨文化的影响中平衡这些因素，从而表现自己的哲学观点和视野。本文重 点研究在跨文化与跨国语境下进行电影制作所具有的启发意义。 Compromise and confrontation, Eastern philosophy and Western empiricism, juggling the binaries has been built into the practice of filmmakers engaged in cross-cultural, transnational and cross-medial productions, the proper balance of which unleashes remarkable creativity and inspiration. Through Life of Pi, a film making transactions between literature and film, navigating between cultures and religions, and exploring issues ranging across different domains of human culture -summed up and studied here through the concepts of bestiality, humanity and divinity in culture making, my paper intends to investigate the role of such negotiation in crafting a work that integrates authorial signature and the changing nature of film, the conventions of filmmaking and the impact of cultural markings in cross-cultural productions. Central to such investigation is the heuristic function the study bears for filmmaking in a comparative and transnational context.

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陈彦旭 Chen Yanxu 比较文学形象学视域下的英国浪漫主义诗人东方书写研究 A Study of English Romantic Poets’ Oriental Writing under the Perspective of Imagology of Comparative Literature chenyx525@nenu.edu.cn 比较文学形象学是针对一部作品、一种文学中异国形象的研究。在西方 比较文学界中运用比较广泛，但国内的学者对这一概念与其应用不是特别熟 悉，所给予的关注也不够。笔者提出，比较文学形象学在认识、挖掘、比较 异国形象的同时，还揭示了不同形象生成的机制原理与作者的创作动机，对 跨文化交际有着一定的影响与启示作用。因此，笔者采用了比较文学形象学 领军人物巴柔有关“他者态度”的三种划分，结合英国浪漫主义诗人东方书写 中的具体例子进行研究，力图阐释浪漫主义诗人对东方的理解和态度，了解 西方诗人对“东方”的建构过程，有助于纠正学术界的一些偏见，有利于更深 刻地理解和把握英国浪漫主义诗歌在东西方文化碰撞与交流中所起到的作 用。 The imagology of comparative literature is a study which concentrates on the images belonging to a specific foreign culture in literary works. In the west it has a long history and widespread application, while domestic scholars have paid less attention to it, whether be its concept and usage. The author of this essay proposes that the imagology of comparative literature not only digs out or merely compares the remote alien images but also reveals the motivation of writers, and thus has a thought-provoking significance. The author adopts D.H.Pageaux’s three-way division of the attitudes towards “the other”, and use specific oriental writings by the romantic poets to expound the poets’ understanding and attitudes towards the east, and to have a better knowledge of how western poets construct the image of east in their writings. The study clarifies some prejudice against the romantic poets and further explains the role of English romantic poetry in the communication or clash between the oriental and western cultures.

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Cheung, King-Kok Two Forms of Solitude: Chinese Reclusive Ideal and Emerson’s Self-Reliance cheung@humnet.ucla.edu This essay compares the reclusive pastoral ideal exalted in “Peach Blossom Spring” (桃花源记) and “Return to the Country” (归田园居) by Chinese poet Tao Yuan Ming (陶渊明) and the solitude that Emerson regards as a prerequisite to self-trust in “Nature” and “Self-Reliance.” Both Tao and Emerson are pioneers of Chinese and American pastoral respectively; both deplore the social, economical, and political pressure that curtails the individual spirit; both distain material wealth and ownership of property; and both believe in the salubrious effect of nature and the correspondence between ecological and moral landscape.

However, while the Chinese poet is content to lead a self-effacing pastoral existence, the New England sage sees nature as subordinate to the divine spark within each human being—“the creator in the finite.”

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Crane, George T Confucianism in Modern American Life scrane@williams.edu This paper will explore how the meaning of Confucianism must change when it is taken from an ancient Chinese context and applied in a modern American milieu. To be relevant to modern Americans, Confucian principles must be made consonant with liberal, individualistic American cultural values.

If it serves only as a source of critique external to liberalism, Confucianism will never be embraced as a pertinent moral theory but will be ignored as an exotic triviality, thus denying its inherent universality. The paper will contend that such cultural transposition is possible and that, in the process, Confucianism can stand as a distinct and applicable philosophy. The accommodation to liberalism does not require the disintegration of Confucianism; rather, a uniquely modern Confucian perspective can shed new light on long-standing social and ethical issues in contemporary America. The paper will construct a notion of Confucianism for pre-Qin texts, most notably the Lunyu and the Mengzi, and consider how that viewpoint might contribute to our understanding of recent American debates on abortion and gay marriage.

邓建华 Deng Jianhua 中西比较与世界视域：超越文化相对主义 Chinese-Western Comparison in a World Horizon: Transcending Cultural Relativism jh.deng@hotmail.com 至迟在上世纪 50 年代，就有学者呼吁要超越文化相对主义，但该思想 发言提纲 趋向在海外汉学研究中仍具相当影响。作为西方汉学家反“西方中心主义”的 努力，文化相对主义可以被归为中西比较研究中的第二阶段。由于它强调中 西差异的绝对性，最终会走向不可比的结论，也极易产生以某一种文化为普 适标准的倾向。超越文化相对主义，首先要讨论的是不同文化间的基本共通 性是否成立，莱布尼茨的“宇宙之镜”概念对此具有极高的借鉴意义；在方法 层面上提供启示的则是史华慈的“语境”概念。只有在中西比较中始终具有一 个世界视域，才有望达成比较文学学科的初衷：理解与对话。 Later than in the 1950s, scholars urged to cultural relativism, but such trend still has considerable influence in the field of overseas sinology. As the anti-western centrism effort of the western sinologists, cultural relativism can be classified as the second stage of Chinese-western comparative study. Emphasis on absolute difference between China and the West, it will not only eventually come to a conclusion of incomparability, but also tend to take the culture of one pole in a comparison as a universal standard. To transcend cultural relativism, the first thing should be discussed is the possibility of the fundamental commonalities among different cultures, for which Leibniz's concept of "Mirror of the Universe" will be highly instructive; another important conception "Context" from Benjamin Schwartz will give us a clue for specific research methods. Only in a world horizon can Chinese-western comparative study fulfill the original intention of the comparative Literature: dialogue and understanding. 发言题目

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丁少彦 Ding Shaoyan 走向本土视角: 探讨电影《金陵十三钗》和《赛德克﹒巴莱》中对日本侵 华叙事的再现 Towards the Local Perspective: Exploring the Representation of Japanese Invasion in Flowers of War and Seediq Bale dshaoyan@126.com 电影《金陵十三钗》（张艺谋，2011）表现了 1937 年南京大屠杀的伤 痛历史但其电影再现却受到中外学者的批评。同时，电影《赛德克﹒巴莱》 （魏德圣，2011）表现的是 1905 年日本占领台湾、殖民统治及其导致的山 地居民抵抗殖民控制的叙事。这两部电影都引起了观众和批判家的极大兴 趣。 本文将探讨这两部电影对日本侵华叙事的再现，集中比较这两部影片 的叙事视角，来揭示抵制好莱坞标准的白人至上主义和对伤痛历史的商业 化再现的可能性，从而转向本土视角再现，表现后殖民情境下的殖民/侵略 伤痛。 Flowers of War (Dir. Zhang Yimou, 2011) shows the traumatic experiences of the 1937-Japanese massacre of Chinese in Nangjing, but is very problematizable in the cinematic representation, according to critics both in and outside China. Almost at the same time, Seediq Bale (Dir. Wei Desheng, 2011) also features the representation of Japanese occupation of Taiwan in 1905 and the resistance to the colonial violence and control of the indigenous in mountainous regions, which both incurs audience’s attention in China and provokes the critical interest among the critics.

This paper explores the representation of Japanese invasion of China in both films, with the focus upon the examination and comparation of the perspectives of narration in the two films, in order to disclose the possibility of keeping away from the white-supremacist commercialization of the traumatic experiences in the Hollywood standard and to shift towards the local perspective of representation by showing the trauma of colonial domination over the conquered in the global postcolonial context.

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董岚 Dong Lan Journey to the "West" Re-Imagined ldong4@uis.edu This presentation examines how Gene Luen Yang's American Born Chinese (2006) tells the Chinese folk story of the Monkey King with new light, and how it represents identity politics, cultural transformation, ethnicity, childhood, and adolescence in the intertwined storylines presented in a graphic novel. Beginning with an introduction to the Monkey King folklore in Chinese culture, this presentation discusses how this favorite character for children as well as adults is traditionally perceived as a trickster and transformer and how his story has enjoyed long lasting popularity through various rewritings. Next, it examines how Yang uses colorful comic panels to re-imagine the traditional tale of the Monkey King with a contemporary American spin and presents a powerful narrative enriched by visual representation and cultural complexity.

Adopting Andre Lefevere's theoretical approach to cultural translation, this presentation addresses Yang's book as an important cross-cultural rewriting of the Monkey King facing young adult readers. Through juxtaposing the Monkey King with the toy transformer, the suburban single-family house with the Chinatown herbalist store, Americanization with Chinese heritage, Yang's book explores the possibility and process for a youngster to define his bicultural identity. Presenting the young character's coming of age in a graphic novel.

Yang's book lends itself readily to the study of race, ethnicity, and popular culture. His usage of easily identified racist images challenges the common misconception of Chinese and Chinese Americans that proliferates in both U.S. history and reality. The discussion on Yang's book is contextualized with other rewritings of the Monkey King since this character has gained a significant position in the Asian diasporic and Asian American communities.

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方强 Fang Qiang 平民主义的无法：中国的“文革”与美国的私刑暴民比较 Populist Lawlessness: China’s Cultural Revolution and America’s Lynchmob qfang@d.umn.edu 发生于中国的文化大革命（1966－1976）是一次由意识形态促动的平民主义 的无法时期。期间不仅正常的法律机构遭到毁坏而且成千上万的人受到反革命罪 行的武断指控，酷刑甚至残害。然而在 19 世纪晚期和 20 世纪早期，于美国这样 一个以成熟法治、民主和自由自豪的国度却出现了类似文革的平民主义的无法情 形。在一个典型的私刑案例中，成百上千的白人采用法外手段对某个或几个黑人 “罪犯”施以残暴的酷刑和杀戮。这类在两个具有截然不同的社会、政治和法律制 度的国家出现类同的平民主义无法现象颇具讽刺意味。但这种类同却长期没有得 到大多数学者的关注。中国和西方的学者倾向于研究中国的文革或美国的私刑暴 民而非两者兼顾。本文的目的在于通过对两类平民主义的无法现象的比较研究来 填补这一学术空白。在主要采纳原始文献并对二手材料同样关注的前提下，本文 试图从三个方面着手：其一，将对两类平民主义无法现象的历史背景做一探究； 其二，着重探讨几个重要案例的详细情况，如发生原因、受害者、主要的罪犯和 结局；其三：试图研究这些平民主义无法现象背后深刻的社会、政治、文化、意 识形态和种族情况。本文希望解决的主要问题是：我们如何区分中美的无法现象？ 文革中的无法是常态还是特例？在何种程度上私刑暴民是种族主义驱使的？私刑 暴民背后的原因是何（如宗教、社会达尔文主义等）？

The Cultural Revolution in China (1966-76) is an ideology-charged period of populist lawlessness during which not just the formal legal apparatus had been destroyed but thousands of people had been arbitrarily charged with counterrevolutionary crimes, tortured, or even killed. A comparable form of populist lawlessness, the lynchmob, however, took place in the late 19th and early 20th century United States, a country that prided in its sophisticated rule of law, freedom, and democracy. In a typical lynchmob case, hundreds of white people used extra-legal means to brutally torture and kill one or more black “criminals.” The irony that the two similar practices of populist lawlessness occurred in two countries with drastically different social, political, and legal institutions has so far largely been neglected by most scholars. Scholars in both China and the West tend to center their studies on the lawlessness either during the Cultural Revolution or of the lynchmob and there has been no study on both.

This paper aims to fill this blank by a comparative research on the two populist lawlessness. Drawing on mostly primary sources but with a due attention on secondary literature, this paper intends to take a three-pronged approach: First, the paper will attest the historical backgrounds of both populist lawlessness; second, the paper will examine several major cases in each populist lawlessness including the causes, victims, major culprits, as well as the upshots of those cases; third, the paper will try to probe into the fundamental social, political, cultural, ideological, and racial dynamics underlying those populist events.

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冯芃芃 Feng Pengpeng 想象美国梦——90 后大学生的美国电影观看与文化想象研究 Imagining "American Dream" Through Blockbusters: A Study of Post-90s Chinese University Students’ Film-Viewing Positions and Cultural Imagination flsfpp@mail.sysu.edu.cn 自 1994 年中美分账大片制度实施以来，“美国大片”逐渐成为中国电影 市场上的重要商业品牌，这些影片的引进也培养并改变了中国大学生的观 影口味和文化想象。本研究立足于“美国梦”的跨文化传播与受众研究，考 察 90 后大学生的电影观看经验，探讨西方大众影视文化如何影响中国大学 生的文化想象与个人身份认同。本研究重点讨论以下问题：当代中国大学 生如何理解“美国梦”？他们观看好莱坞“超级英雄”大片的经历与他们对美 国梦的理解有何关系？他们利用哪些话语讨论自己的观影快感和身份认 同？他们如何在本土传统文化的价值体系和改革开放后进入中国的异文化 价值体系之间开展协商？ Since 1994 when China and US signed the contract to introduce Hollywood films to its mainland market, "American blockbuster" has become an important commercial brand in China's film market. The American blockbusters have helped cultivate university students' film-viewing interests and influenced their understanding about American culture. This research, based on ethnographic methods of questionnaire and interview, aims at an audience reception study of Hollywood super-hero blockbusters, in order to explore the cross-cultural travel of “blockbuster” and "American Dream", the students' film-viewing experiences and the influence of western popular cultural products on their understanding of foreign cultures and their personal identities.

Problems discussed include: how contemporary Chinese university students, i.e. the post-90 generation, understand "American Dream"? How is their experience of watching super-hero blockbusters related to their understanding of American dream? What discourses are adopted by them to discuss their cinematic pleasures and identity? How do they negotiate between the traditional Chinese ideology and the American cultural values as found in the films?

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冯伟 Feng Wei An Unwedgeable oak, or the Soft Myrtle?: The Confucian Moral Elements in Zhu Shenghao's Translation of Measure for Measure fengw160@nenu.edu.cn By far the most influential Chinese translation of Shakespeare’s problem play, Measure for Measure, still remains to be Zhu Shenghao’s (1912-1944) version of “Yi bao huan yibao”（一报还一报）. Characterized by its use of domestication strategy, Zhu’s translation employs such key concepts in Confucianism as De (德，virtue, grace, “humaneness”), Li (礼，ritual), and Ren (仁，benevolence) to render a richly Christian play about pride, adultery, redemption, forgiveness, legalism and monasticism into a familiar story of “tit for tat” in Chinese. The present paper is an attempt at investigating some key notions in Measure for Measure as they are translated or omitted (by necessity) into a Chinese moral story.

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高埃利 Colla, Elisabetta Ut pictura poesis:poetry and iconography in the Aomen jilüe 澳門紀略 Email: elisabettacolla@yahoo.com This paper aims to present the Chinese gaze on “Westerners” as it emerges in the iconography and the poetry of the “Brief Monograph of Macau”. It is a study that needs to be contextualized in both the fields of visual culture and literary studies. The Aomen jilüe 澳 門 紀 略 (The Brief Monograph of Macau-1751) by Yin Guangren 印光任 (1691—1758) and Zhang Rulin 張汝 霖 (1709-1769), and more specifically the Aofan pian 澳蕃篇, which is one specific section of the Aomen Jilüe, is an example of existing works dedicated to the East-West encounter in Macau. The masterpiece, presents both poems and an iconography about Westerners, most probably about Portuguese individuals, which is very interesting to analyze especially taking in consideration the huge amount of literature about Chinese that rises in the same epoch in Europe. In the Aomen jilüe 澳門紀略 there is an evident imbalance between the poetry and the iconographic representation of the “Westerners” and for this reason it is necessary to develop a cross-disciplinary study that starts by analyzing the few woodcuts available in this work and follows by means of an evaluation and an interpretation of the bamboo-branch lyrics (zhuzhi ci 竹枝詞) present in the Monograph.

高宏洲 Gao Hongzhou 中西方复兴儒学的基础条件权衡 The Basic Condition Measurement of Confucianism Rejuvenation in China and the West Email: gaohongzhou@126.com 儒学是天下之公器，世界上的任何民族与国家都可向其借取智慧。中 发言提纲 西方各有复兴儒学的优势与劣势。中国复兴儒学的优势在于深厚的儒学文 化传统，国家和大众的支持，二十世纪儒学遭受的厄运。劣势在于易因爱 生恨拒斥西方文明，易在众声喧哗中丧失批判的力量，易与马克思主义争 夺国家意识形态领导权，易与西方文化争夺文化霸权。西方复兴儒学的优 势在于异质文化背景使其能够客观衡量儒学的价值，深厚的“爱智”传统使其 能够找到与儒学对话的恰当策略，完善的政治制度使儒学研究保持“纯学术” 姿态。劣势在于强势地位使其难以与儒学平等对话，文化语境的差异使其 较难理解儒学的精髓，外国文化的他者身份使儒学很难吸引伟大的心智， 很难获得社会和国家的认可。 Confucianism is the public resource of the world. Any nation and country in the world all can learn from Confucianism. Both China and the West have the advantages and disadvantages of Confucianism rejuvenation. The advantages of China lied in the deep Confucianism tradition, the strong support from the country and the people and the misfortune in the 20th century. The disadvantages of China in the process of Confucianism rejuvenation as follows: it is incline to reject the western civilization for the affection on Confucianism, to lose the critical power in the noise of the public, to fight for the ideological leadership with Marxism, to fight for cultural hegemony with the Western. The advantages of the Western lied in: it can measure the value of Confucianism objectively from the heterogeneous cultural background, can look for the proper strategy of Confucianism rejuvenation on the base of the deep ‘the love of wisdom’ tradition and can maintain the pure academic attitude for the sound political system. On the other hand, the disadvantages of the Western on Confucianism rejuvenation as follows: it is difficult to develop the equal dialogue with Confucianism in consideration of its strong position, difficult to understand the essence of Confucianism in view of the cultural difference, difficult to attract the great intelligent and obtain the acceptance from the country and the society. 发言题目

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郝稷 Hao Ji

中国最伟大的诗人杜甫与世界文学 China’s Greatest Poet Du Fu and World Literature jhao@holycross.edu 自宋以降，杜甫常为众多学者誉为中国最伟大的诗人。然而，其“最伟 发言提纲 大”一称的获取并非理所当然。现存资料表明杜甫在生前的知名度相对较 低，在杜甫逝世与其在宋代获得广泛尊崇之间亦存在着数百年的间隔。“最 伟大”一词所蕴藏的历史性将我们的注意力指向长达数千年之久的杜甫接 受史，而杜甫之伟大与其逝世后一千多年中所累积的独特的评注传统密不 可分。至少自 18 世纪开始，杜甫被逐步介绍到英语世界之中。在理解杜甫 诗歌及其在古代中国如何为人所阅读的过程中，译者和学者自身常常要面 对前述的古代中国之评注传统。而对这一评注传统中的阅读模式，英语世 界中的诸多翻译与研究既有介入又有疏离。本文将以杜甫在英语世界的接 受为中心，考察跨文化背景下对杜甫及其诗歌的不同反应，并从世界文学 的角度提出一些看法。 Du Fu (712-770) has been often acclaimed by many scholars as China’s greatest poet since the eleventh century. However, by no means should the word “greatest” be taken as a given. Current existing materials suggest that Du Fu might be less known during his life time and there is a gap of a few centuries between his death and his elevation to China’s greatest poet during the Song (960-1279) dynasty. The historicity of the “greatest” directs our attention to the millennium-long reception of Du Fu. Du Fu’s greatness is inseparable from a unique commentarial tradition of his poetry accumulated over a millennium after his death. Since Du Fu began to be introduced to the English world at least from the eighteenth century, translators and scholars are often involved in confronting this commentarial tradition in their effort to understand Du Fu’s poems and how his poems had been read in traditional China. The mode(s) of reading suggested by multiple translations and scholarly studies in the English world has been simultaneously engaged in and disengaged from the mode(s) in the aforementioned commentarial tradition. This paper will focus on the reception of Du Fu in the English world, explore different responses to Du Fu and his poems in the cross-cultural background, and offer some reflections from the perspective of world literature.

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杨莹莹 Yang Yingying 苍凉与疯狂 Desolation and Madness yingyingmouse1217@hotmail.com 玛格丽特·杜拉斯和张爱玲是二十世纪东西方两位卓越的女性作家。 印度支那之于杜拉斯如同上海之于张爱玲，两座城市负载了作家几乎全部 的梦。童年和家庭经历构成了她们大部分著作的大背景，而她们用文字建 造的世界总是沉浸在痛苦和磨难里。 “家庭”这个主题总是萦绕在两位作家 的写作中——童年生活，家族秘密，母亲角色的无所不在，父亲角色的若 即若离……这就让我们可以运用精神分析的相关理论对于她们的家庭小说 进行分析。除此之外，两位作家对于特定社会条件和政治条件下女性的处 境也有着很深刻的思考，因此，对于两位作家及其作品的理解也不能够忽 略各自所处的境况。在家族历史和两位作家各自态度之间无疑可以构建一 座桥梁，让我们得以解答更深层面的疑惑。 Marguerite Duras and Eileen Chang, two women writers of the 20th century show specific sources for their inspiration : Duras – was from Indochina, and Chang – was from Shanghai; childhood and family experiences offer the background of most of their works. The worlds they describe are consequently defined by pain and suffering. The family theme prevails in the works of both writers. It allows to offer a psychoanalytic reading of many of their novels of each writer, and to comment them by reference to the family romance which characterizes Duras and Chang. But childhood, family secrets, importance of the mother image and the father image, etc., are not the only background of Duras and Chang’s works. Both writers were fully aware of the political and social conditions which prevailed, and of the women’s situation.

Consequently, the psychoanalytic reading of both writers should not neglect these conditions and the lucidity of both writers. This reading should account for the connection between the family history of both writers and their ability to address broader issues.

郝田虎 Hao Tianhu 跨越东西方：辜鸿铭与吴宓对弥尔顿的接受 Transcending East and West: The Reception of Milton by Gu Hongming and Wu Mi haotianhu@pku.edu.cn 晚清至民国时期，中国对英国大诗人弥尔顿（1608-1674）的接受史表 发言提纲 明，辜鸿铭（1857-1928）和吴宓（1894-1978）占据着特殊位置。林则徐和 魏源主动介绍弥尔顿等英国文学家，首开风气，但他们不通英文；梁启超 和鲁迅对弥尔顿了解更多，他们利用弥尔顿试图在中国发动文学界和精神 界的革命，但日本或日语是他们与弥尔顿建立联系的中介。与此相对照， 辜鸿铭和吴宓留学于欧美著名大学，能够直接从原文阅读吸收弥尔顿著作 和西学。正因为此，他们的立场和实践更加值得我们关注：尽管对弥尔顿 的阐释迥异，作为弥尔顿在中国的早期重要阅读者、传播者和批评家，他 们都是深受孔子、阿诺德等人影响的“文化两栖人”，都倡导一种普适性的 文化人文主义，这种文化人文主义跨越东西方的二元对立，服务于人类生 活进步之鹄的。随处可见的“文化保守主义者”的标签削弱了他们作为全球 化先驱的重要性。西方来华传教士把弥尔顿作为传教工具，胡适熟谙西方 文学，二者都提倡某种形式的全盘西化，但都不是真正的全球化。而辜鸿 铭和吴宓在认真研讨了东西古今之后，终于认定了“和而不同”的儒家理想， 恰如弥尔顿和杜甫不可能、也没有必要取代或消灭对方一样。 In the genealogy of China’s reception of the eminent English poet John Milton (1608-1674) in the nineteenth and early twentieth centuries, Gu Hongming 辜鸿铭 (1857-1928) and Wu Mi 吴宓 (1894-1978) occupy a unique position. Lin Zexu 林则徐 and Wei Yuan 魏源 took an initiative in the introduction of Milton to China, but they did not know the English language; Liang Qichao 梁启超 and Lu Xun 鲁迅 commanded a better knowledge of Milton and appropriated the poet for a literary and spiritual revolution in China, but Japan or Japanese functioned as a medium for their association with Milton. In contrast, Gu and Wu studied at European and American universities and could absorb Milton and Western learning directly. For this reason their stand and practice deserve our greater attention: despite their divergences in the interpretation of Milton, as important early readers, teachers, and critics of Milton in China and as “cultural amphibians” deeply influenced by Confucius, Matthew Arnold and others, they both promote a universal cultural humanism that transcends the binary opposition of East and West and that serves the advancement of human life. The overused tag “cultural conservatists” undermines their significance as pioneering globalists. Both Western missionaries (who used Milton to sugarcoat Christianity) and Hu Shi 胡适 (who read extensively in Western literature) promoted some sort of Westernization of China, but neither species is real globalization. Having inspected carefully the East and the West, the ancient and the modern, Gu and Wu reached the Confucian ideal “harmonious coexistence with differences,” just as it is unnecessary and impossible for Milton and Du Fu 杜甫 to annihilate or destroy each other.

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和静 He Jing The Women of Dreamland: A Cross-cultural Comparison of Dream and Mirror in Chen Ran’s and Amy Tan’s Fictions christiehe@126.com 发言提纲 The paper encompasses a comparison of dreams and the mirror in the fictions by Chen Ran, an influential avant-garde woman writer of contemporary China, and the famous Chinese American writer Amy Tan. Similarities can be found in the writers’ choices of similar dream scenes and their infatuation with the mirror as a reflection of their subconscious identity crisis and a desire for their self recognition. It is argued by the current author that from the perspectives of psychoanalysis and postmodern feminist ideas, all the similarities provide further proof for the shared concern of women writers like Chen and Tan to pursue their real identities that transcend geographical boundaries and cultures.

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Hornung, Alfred In Search of Chinese Ancestry: Michael Henry Kwan and Wayson Choy hornung@uni-mainz.de 发言提纲 The Chinese Canadian writers Michael Henry Kwan and Wayson Choy, who both lived difficult childhoods in Beijing and Vancouver in the 1930s and 1940s respectively, recollect these early experiences in mature age. Kwan, who had immigrated to Canada in 1963, reconnects with his childhood in war-torn China during an extended stay in the 1980s on the invitation of the Chinese authorities to teach tourism to Chinese in Beijing. Present at the time of the events of Tienanmen Square he writes his first book "Broken Portraits" (1990) and begins to recollect his Chinese reality in the 1980s and 90s. The memories of his childhood trigger the hidden desire of the naturalized Canadian to search for his Chinese ancestry, later pursued in plays about Chinese laborers building the railways in Fraser Canyon and the novel "Death and the Dragon" about the first emperor of China, buried in the Terra Cotta tomb. Wayson Choy, who dislikes his life in Chinatown, reconnects with his childhood memories when he wants to trace his biological parents in mid-age. "Paper Shadows: A Chinatown Childhood" (1999) is sandwiched between two novels about the acculturation of Chinese Canadian families in Vancouver, "The Jade Peony" (1995) and "All That Matters" (2004), and a video biography "Wayson Choy: Unfolding the Butterfly" (2003). The stages of this reconstructive path are steps towards his search for a Chinese ancestry. His stepparents' belief in Confucian philosophy triggers his trip to the home of Confucius captured in the one-hour documentary "Search for Confucius" (2005). In my presentation I will analyze the importance of the return to China for the recovery of the Canadian citizens' ancestry.

黄重凤 Huang Zhongfeng 鲁迅“在酒楼上”与乔伊斯“寄宿公寓”中生存主题的对比研究 A Comparative Study of the Theme of Survival in “The Drinking House”

by Lu Xun and “The Boarding House” by James Joyce huangzhongfeng@buaa.edu.cn 本文将探讨鲁迅“在酒楼上”与詹姆斯·乔伊斯“寄宿公寓”中生存的这一 发言提纲 主题。通过仔细研究标题中“房子”的象征意义，本文指出两文有着相似的 政治和社会背景，且都描述了主要角色在流亡中的生存斗争。首先，两个 故事中的主角都不在家，而是在“房子”里：吕纬甫为了糊口不得不教授曾 经激烈批判的封建思想，而穆尼夫人为生计而开了一家寄宿公寓。同时， 两位作家都表达了对年轻女性的同情：阿顺死于害怕不能嫁给一个争气的 男人，而菠莉嫁给多兰先生的前景是她母亲穆尼夫人一手操纵的。虽然在 某种程度上两个故事中的角色都处于“精神瘫痪”的状态，但是两个故事的 结尾让读者们看见了一点点关心、爱以及希望。 This paper attempts to discuss the prominent theme of survival in Lu Xun’s “The Drinking House” and James Joyce’s “The Boarding House.” By a close examination of the symbolic values of the “houses,” this paper argues that set in similar political and social background, both stories depict their major characters’ struggles for survival in exile. Characters in both stories are in the “houses” instead of at home. In order to survive, Lü Weifu has to teach Confucian classics, which he used to enthusiastically oppose in his youth. Mrs. Mooney in “The Boarding House” opens a boarding house for a living.

Meanwhile, in depicting this theme of survival, both writers express particular sympathy towards young women: AShun dies from her fear of being unable to marry a worthy man while Polly’s prospect of marrying Mr. Doran is realized through her mother’s manipulation. Even though to a certain extent, characters in both stories are paralyzed, a little care, love and some hope remain towards the end of both stories. 发言题目

王亚光 Wang Yaguang 中西文化交流使者的楷模 — 忆香港中大刘殿爵先生 A Model Messenger of Cultural Communication between China and Western Countries— Din Cheuk Lau from The Chinese University of Hong Kong mailbox1971@126.com 发言题纲 . 刘殿爵先生家学渊源深厚，自幼受到良好的文学素养的熏陶。成年就读 香港大学中文系，后负笈英伦，主攻西洋哲学。先执教于伦敦大学 28 年， 后任教香港中文大学 11 年。刘殿爵先生学贯中西，一直从事教学研究工作， 为中西文化交流做出了杰出的贡献。除了担任教职，刘先生中国经典翻译 工作也颇为学界认同，值得铭记。作为翻译家的刘殿爵，首先是把传播中 华文化的为使命，因为对他人译文不满，才决定自己动手，翻译的动机和 目的就可圈可点。其次，刘先生还是自己翻译的经典的研究者，他不拘泥 于字句的语义对应，更着眼于经典思想内容的准确传递。翻译不单注重达 意，更致力于传神。最后要提及的是，刘先生翻译的经典数量不多，也不 是长篇， 《老子》五千言， 《论语》一万多字， 《孟子》也不是长篇。但是刘 先生都是经年玩味琢磨，历时 20 年才完成。字字珠玑，部部经典。刘殿爵 先生的工作态度、学术修养都激励后学孜孜以求，不愧先贤。 Din Cheuk Lau (D.C. Lau) was born in a literary family, and he was well educated at home. He then pursued his study at Hong Kong University. Shortly after he left Hong Kong University, he got an opportunity to study western philosophy in Scotland. After graduation from University of Glasgow, he taught 28 years in London University and 11 years in The Chinese University of Hong Kong. D.C. Lau was indulged in both ancient Chinese and western philosophy and taught in England and Hong Kong for nearly 40 years. He had made great contributions to the cultural exchange between China and western countries. His translation of Chinese classics into English is also a great success of world recognition. Firstly, while translating Chinese classics, he aims at making westerners understand Chinese thought accurately, which is quite different from other translators. Secondly, D.C. Lau is not only a translator, but also a researcher and an expert on the classics he himself intends to translate. He is not confined to the translation of words or sentences, on the contrary, he pays more attention to the spirit of the great ancient Chinese. Last but not the least, Professor Lau has not translated a lot, neither has he translated long texts. Lao Tzu is only 5000 words and Confucius, the Analects is but over 10000 words.

Mencius is not very long either. However, it took nearly 20 years for him to translate three books. Every one of them has become a classic in the target language. We can learn of his attitude towards study and work from his translation practice. He has been a fine example for the new scholars to follow. 发言题目

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2013-07-13 第二分会场 李华琦 Li Huaqi Some insights into the representation and symbolic value of Western music in China huaqi.lee@hotmail.com Western culture in general and Western music in particular have a strong appeal in present-day China. An impressive number of children and professional music students are nowadays studying a Western music instrument.

In this presentation, I will develop some considerations about the gap that may exist between Western and Chinese representations of classical Western music. I will argue that this gap could well originate from distinct symbolic values attached to culture and music. The gap can be due to the difficulties in approaching a foreign culture, but it can also be seen as a difference in vision leading to interesting and valuable aesthetical variations. Finally, I will try to extend this reflexion to the gap that may exist between the two worlds in the general way of thinking.

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李永毅 Li Yongyi 史蒂文斯和王维诗歌中的自然幻景 Fictions of Nature in Wallace Stevens and Wang We liyongyi@gmail.comi 终其一生，史蒂文斯的自然观念集中地体现为一个悖论：他一面渴望 借助想象力绕过人类意识和文化传统的障碍，在一种前概念、前语言的状 态中直觉到自然的“本来面目”，一面又清楚地意识到这种精神的把握本身 就是人类心智所虚构出来的，艺术不可避免地地会重造自然，因为我们永 远无法摆脱意识的中介作用直面自然。与此形成对照的是，中国古代的大 师王维似乎总是克制自己，拒绝通过繁复的思辨探索自然与人类意识的关 系问题，而醉心于以不动声色的方式再现自然。同时阅读和比较两位大诗 人的作品，我们可以发现他们所寓居的两种文化传统在自然观方面的差异， 他们的相互映射也可让我们窥见单独阅读时不易觉察的一些幽微之处。 Throughout his career, Steven’s vision of nature is characterized by a paradox: while he yearns to circumvent, with the aid of the imagination, the barriers of human consciousness and cultural tradition so as to “return” to a pre-conceptual, pre-linguistic intuition of nature as it is, he is perfectly cognizant that such a mental grasp is itself a fiction created by the human mind, that art inevitably invents nature since we can never confront nature without the mediation of our consciousness. In contrast, ancient Chinese masters, adhering to the Taoist attitude of “forgetting” their egos and immersing their spirit in the ubiquitous circulation of Tao, the inactive yet all-powerful life force of the universe, seldom consciously attempted to interpret nature when composing poetry, and thus found it not difficult to create what Stevens calls “supreme fictions” of it. Wang Wei has especially been revered since his own time because his fictions of nature appear so artless that the Chinese believed nature itself molded his poems. Unlike Stevens, Wang Wei seems to always refrain from exploring the intellectual intricacies of the relationship between nature and human consciousness, resting content with his quasi-objective representations of the physical universe. Reading the two great poets alongside can illuminate differences between the conceptions of nature in the two cultural traditions they work with respectively, and give us, by mutual mirroring, glimpses to subtleties in their poems that otherwise do not easily meet our eye.

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林玲 Lin Ling International Educational Institution in a Cross-Cultural Context: A Case Study of Hopkins-Nanjing Center of Chinese and American Studies lindashcn@hotmail.com The paper studies international educational institutions in a cross-cultural 发言提纲 context by taking Hopkins-Nanjing Center of Chinese and American Studies as a representative case of US-Sino education joint ventures on higher education level. Based on the document review of the Center’s mission statements, strategic plans, annual reports, memos, teaching syllabuses as well as the open-ended interviews with administrators and the faculty, this study explores the bicultural identity of the Center with regard to its administration and campus culture. Administrative style is discussed in terms of organizational set-up, management philosophy, personnel and service management as well as the institutional development and outreach efforts of the Center. And studies of the Center’s campus culture encompass its delivery of teaching programs, curriculum building and extra-curricular activities. This case study reveals the operation of educational joint venture with cross-cultural adaptation and acculturation. The paper also discusses the limitations of the study and dimensions of further inquiry.

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刘璐 Liu Lu W. H. Auden, Wartime Poetry in China and International Modernism: The Journey is False doublel@pku.edu.cn My paper examines relations between Christopher Isherwood and W. H. 发言提纲 Auden’s travel writing Journey to a War and wartime poetry of Mu Dan from a perspective of international modernism. The first part of my paper analyses Auden’s relation with politics. Through a close reading of Auden’s letters, his well-known pamphlet poem Spain and the poetry and prose in Journey to a War, I challenge the early-later Auden dichotomy and argue that Auden has always been haunted by a pervading sense of anxiety about modern poetry’s mediation of political reality. Then I demonstrate how a similar anxiety was received and rendered by Mu Dan in a different Chinese sociopolitical context. Mu Dan is traditionally seen as a passionate imitator of Auden both in literary technique and psychoanalytic faculty, but previous studies overlook the fact that Mu Dan’s ambivalent attitude toward politics was also influenced by Auden’s sense of crisis and Chinese wartime reality. By showing this, I hope to re-map how Chinese modernists in the 1940s mediated Chinese experience by using western literary modernism and thus formed a distinctive “Modernisms’ China” and how a new understanding may help in turn to shape the way we look at Auden’s poetry and western modernist literature of the 1930s in general. Both poets’ skeptical sentiments can be taken as an externalization of modernist self-conscious meta-writing catalyzed by a larger context of political crisis. In the conclusion, I argue for what I call “Wartime Modernism” to describe modernist representations of politics, especially in 1930s Europe and 1940s China.

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刘燕 Liu Yan The Oriental Imagination & Identity Construction in Ulysses liuyan_1967@yahoo.com.cn 本文重点分析了以《尤利西斯》为代表的乔伊斯小说中的东方想象与 发言提纲 身份建构，布卢姆的犹太边缘身份和对中东（以色列、阿拉伯地区）、远东 （印度、中国、日本）文化的奇异丰富的想象、同情与渴慕，体现了现代“尤 利西斯”布卢姆独特的英雄主义品质，也表达了作者力图超越欧洲中心主义、 种族偏见的和平主义与世界主义思想。同时， 《尤利西斯》为我们反思中国 人的自我身份提供了一面“他者”之镜。 This paper analyzes the oriental Imagination & identity construction in James Joyce’s Ulysses. It studies the protagonist Bloom acknowledges the Jewish identity in the Middle East, admires and sympathizes with culture in the Far East like India, China and Japan, thus comes to mind a distinctive modern hero who is tolerant for the other culture, trying to surpass Eurocentralism, racial discrimination and any violence and advocate everlasting peace for humankind.

Ulysses provides a mirror of the other to understand Chinese identity construction.

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马宁 Ma Ning Globalizing Late Imperial Chinese literature: From the Perspective of Material History n.ma@tufts.edu Studies of Chinese literary works of the late imperial period, or of Ming and Qing dynasties, have existed as a largely self-contained academic field. The global relevance of the Ming and Qing empires in the early modern world, however, has emerged as a thriving topic in recent writings by comparative historians including Andre Gunder Frank, Kenneth Pomeranz, and Timothy Brook. This paper explores ways to bridge these revolutionizing findings in world history and the literary productions of late imperial China, especially its fictional works. Using Jin Ping Mei and Hong Lou Meng as examples, it hopes to reveal linkages between the material details portrayed by these acclaimed masterworks and China’s participation in world commerce during the period.

Methodologically, this paper proposes material history as a viable perspective for globalizing late imperial Chinese literature and for establishing their comparability to roughly coeval Western works on historicized grounds.

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马筱璐 Ma Xiaolu 托尔斯泰的宗教人道主义在东亚 Transculturation of Tolstoy’s Religious Humanism in East Asia xlma@fas.harvard.edu 本文将探讨托尔斯泰的宗教人道主义是如何经由日本白桦派的消化吸 发言提纲 收，最终传播到中国的。拥有武者小路实笃、志贺直哉、有岛五郎的日本 白桦派对中国现代文学，尤其是鲁迅和周作人的影响颇深。而这些白桦派 作家人道主义和个人主义的追求则直接激发了周作人“人的文学”这一新文 化运动中标志性口号的提出。而事实上，白桦派对人道主义的热衷是在托 尔斯泰宗教人道主义的阅读中激发产生的。本文将以托尔斯泰、日本白桦 派和周氏兄弟为例，考察俄罗斯东正教的宗教、社会因素，并追寻托尔斯 泰人道主义的确切含义，同时考察其人道主义思想在日本和中国的传播和 变异，寻求俄罗斯的宗教性在东亚传播过程中的误读和变异。 In this paper I will study the transculturation of Tolstoy’s Religious Humanism in Japan and China through the works of the Japanese Shirakabaha( 白 樺 派 ), which counted among its members Saneatsu Mushanokōji (武者小路実篤), Naoya Shiga (志賀直哉), Takeo Arishima (有島 武郎) and then the Zhou brothers in China. The Shirakabaha, which highlighted not only Western aesthetics, but also Humanism and individualism, directly inspired Zhou Zuoren’s (周作人) proposal of “humane literature,” a crucial manifesto in the rise of Chinese modernity. By exploring how cultural factors such as orthodox religion, which was deeply embedded in Russian literature, were diluted and filtered in the East Asian cultural context, I plan to analyze how Chinese used Japanese scholarship and creative writing in translating, adapting, and intertextualizing Russian culture. I will reveal the mediating role of the modern Asian imperial power Japan in the triangular relationship with the emerging socialist “cultural center” of Soviet Russia and the earlier Asian “cultural center” of China. This will provide us a new understanding of the dynamics of cross-cultural contact spaces in the early twentieth century in Asia.

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Marsili, Filippo Universalism, Religion, and Empire in Ancient Chinese and Greco-Roman Historiography fmarsil1@slu.edu This essay explores how Greco-Roman and Chinese historiography explained empire formation and justified the preeminence of the Romans and the Han dynasty over the known world. The paper analyzes discourses about the interaction of human and extra-human factors in the establishment of unified and universal rule. It focuses in particular on the periods before the process of Christianization of the Roman empire, which started in the fourth century under Constantine (r. 306-337 CE), and the full establishment of Dong Zhongshu’s (179-104 BCE) political/cosmological synthesis (probably after Wudi’s reign, 141-87 BCE) as state doctrine of the Han. Through an analysis of the accounts of the events that led to the Battle of Corinth and the destruction of Cartage by Rome (both in 146 BCE), and the foundation of the Han in 206 BCE, the essay compares the roles of Fortune in Polybius (ca. 200-118 BCE) and Heaven in Sima Qian (ca. 145-86 BCE) in determining historical change. It attempts to ascertain: 1) Polybius and Sima Qian’s criteria of inclusion and exclusion in explaining the clash and coexistence of different ethnicities and cultural traditions under the same political rule; 2) if these historians conceived of any sets of morals as universal or super-ethnic; 3) if they attributed to extra human factors (e. g. gods, fate, nature) any moralizing or civilizing function; and 4) if they equated universal empire with the realization of a transcendent, unitary design.

Ultimately, the paper questions the very applicability to the study of the ancient world of paradigms concerning the coincidence of the political, moral, and transcendental realms deriving from the development of the monotheistic, Habrahamic traditions (Judaism, Christianity, and Islam). It proposes a cross-cultural approach based on the analysis of contemporary comparative discourses that aimes at the deconstruction and overcoming of ethnocentric biases.

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Mason,Joshua Cultural Accretionism and Cultural Differences masonj@hawaii.edu An ongoing debate in East-West research is about whether we should see cultural diversities as manifestations of essential differences or as accidental variations of a universal blueprint. Work in evolutionary and biological sciences suggest that the human species displays some broad regularities, broad enough to be considered universal features of humanity. Edward Slingerland has recently pointed to cognitive linguistics and the foundations of language in embodied metaphors to emphasize the similarity in concept formation and use across cultures. He suggests that this should quiet the “cultural essentialists” who take differences in eastern and western thinking as their starting points.

However, I will argue that the metaphorical foundations of language can explain how and why cultural differences are so pronounced, and why humanities research is justified in focusing on the distinct ways of thinking and different projects in the different traditions. Because various metaphors are available to conceptualize basic embodied experiences, certain metaphors and concept clusters are more heavily emphasized by different peoples and cultures. These differences of emphasis and priority are reinforced by the ongoing cultural tradition, while other metaphors are marginalized. The reinforcement of certain metaphors leads to a gradual but substantial accretion of cultural common sense. The differences in common sense arise not from cultural essentialism, but on the basis of a substantial and deep cultural accretionism. Even if metaphor use is a universal cognitive mechanism, the employment of different metaphors and the emphasis on different key concepts runs deep enough to create fundamentally different world-views. Cross-cultural understanding requires us to acknowledge and understand the assumptions built into the most commonly employed concepts and metaphors found in different cultures before the humanistic disciplines can try to reconcile them or establish commonalities.

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Matice, Sarah Metaphors and Metaphilosophy in China and the West s.mattice@nfu.edu In the article “No (More) Philosophy Without Cross-Cultural Philosophy” Karsten Struhl argues very successfully that cross-cultural or comparative philosophy is a necessary component of philosophy, broadly construed. If a key part of philosophical activity is the identification, articulation, and examination of assumptions, then Struhl concludes we need the ability to engage distinct traditions in order to raise internal philosophical assumptions to the level of inquiry. However, we can find in Struhl’s article evidence of one of the assumptions that dialogue between philosophical traditions has the power to make visible—the prevalence of combat metaphors in and for philosophical inquiry. Struhl encourages comparative philosophers to “go on the offense”, and repeatedly suggests that a key component of philosophical activity is “interrogation”. While these are commonplace English terms to use in this context, they also point to a way of conceiving of philosophy that has its roots in the combative society of ancient Greece, and that is not a mainstream part of philosophical discourse in other traditions such as classical China. While Greek philosophers tended to construe philosophy in terms of attack, defense, and strategy, Chinese philosophers tended to discuss philosophy in natural, agricultural, and aesthetic terms. If we are to engage in the contemporary project of responsible comparative philosophy, as Struhl suggests, then we need a special sensitivity to the power of the conceptual metaphors we employ. In this presentation I explore the significance of conceptual metaphors for philosophy in both ancient Greece and classical China, and articulate some ways that the differences between those two traditions on the issue of metaphor might suggest changes to contemporary comparative methodology.

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宁欣 Ning Xin Wartime Modernity: A Comparative Reading of W. H. Auden and Chinese Modernist Poets in the Sino-Japanese War Era xinning@rci.rutgers.edu Conventional study of modern Chinese literature tends to argue that the development of a Chinese modernist trend that burgeoned in 1930s was abruptly stopped by the burst of Sino-Japanese War and Chinese literature made a sharp turn to realist and populist direction. I would argue in the paper, however, that modernism continued to develop in the wartime side by side with the new collective aspiration of nationalism and populism, especially in the field of poetry. Many modernist young poets in the wartime period found inspiration in works of contemporary foreign poets, English poet W. H. Auden being one of them. Not only did he pay a visit to wartime China in 1938, his works was studied, translated, and somehow freely re-paraphrased by Chinese academics and artists. On the other hand, although Auden proves to be a source of modern consciousness and modernist skills to Chinese poets, the latter also had to make a hard bargain with him to incorporate Auden’s political and existential skepticism as well as his witty style of English language into the Chinese context, both the ideological and the artistic one and the linguistic one.

Hence Auden’s reception in China is always involved with creative rereading/rewriting, cultural dialogue, and literary experimentalism. My paper hence aims to both make a case study of a foreign poet’s reception in modern wartime China and to address the more general questions of literary and cultural translation as well as the similarities and differences of wartime modernisms in both China and West in late 1930s and 1940s. The theoretical discussion will be combined with comparative readings of Auden’s modernist poetry of that of two eminent Chinese poets: Bian Zhilin and Mu Dan.

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Pattberg, Thorsten The Confucian Way of Europe: The East is a Promotion pattberg@pku.edu.cn "The East is a career," reads the quote by Benjamin Disraeli in the preamble of Edward Said's 1978 masterpiece Orientalism. Since Deng Xiaoping's opening-up policy, millions of European entrepreneurs, scholars and adventurers have swarmed eastward and flocked into China. We got our careers, now we want a promotion. Here's how.

[Background] This paper will discuss the Confucian way of New Europe: A Lofty pragmatism, the Love for learning, the Return of the shengren, and a new humanism

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彭发胜 Peng Fasheng Writings Reverse: Cognition and Poetics pengfs@126.com Writings reversed remind us that the profound differences between Chinese characters and Western phonetic writings can be attributed to the bi-dimensionality of the former and the linearity of the latter. This discrepancy, in view of the inherent association of writings and cognition, leads to spatial and chronological cognition respectively. In poetics, it is reflected in the Chinese theory of “artistic realm” (Yijing) and Western narrative tradition. Ezra Pound, via Fenollosa, founded Imagism and his idiosyncratic “ideogrammic writing.” However, due to the fundamental stress from writing-related cognition somewhat unconsciously felt, Pound soon gave up Imagism for Vorticism and his “ideogrammic writing” was inevitably flattened into a kind of “etymological writing.”

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祁玉龙 Qi, Yulong Filicide vs. Patricide: a Comparison between two Classical Themes in Chinese and Western Tragedies qiyulong@nefu.edu.cn Despite their cruelty, filicide and patricide are two important themes in Chinese and Western classic tragedies. Among many themes of filicide in 发言提纲 Chinese classic tragedies, "to kill one's son at the gate of a marshal's headquarter" is a typical one, while in contrast, "to kill one's father for the crown" may be the most known theme in Western tragedies. Both of them are even quite live themes today since their very origins: In China the filicide is often found in the operas of "Decapitation of the Son", which has various versions in many provinces. In the West, “Oedipus” and “Hamlet” may be regarded as representatives with the theme of patricide, and Western patricide is still quite often found in novels, movies, and even PC games. A summary of the origins, features, and functions of both themes is very meaningful in the research of two literatures. A research on the characters, settings, endings of these two types of tragedies is shown in the paper. The ethic and psychological reasons can be found from the history and tradition of China and the West. By scrutinizing these two themes, we can find the reason for Chinese emphasis on filicide lies in the value that kinship can be sacrificed for the sake of loyalty to the emperor, and Western preference to patricide is from the tradition that the youth would replace the elder due to the genetic law.

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Schmidt, Heather Comparing the Chinese/Western Self against a Western/Chinese Other: Imagining Difference through Confucius Institutes heather.schmidt@ualberta.ca China’s “rise” has caught the world’s attention; yet interest has tended to centre on China’s increasing economic and political influence. A less well understood but equally important parallel process is the simultaneous global dissemination of Chinese culture. Though multi-faceted and complex, an integral component of this dissemination is the establishment of Confucius Institutes (CIs) around the world. With mandates to promote China’s language and culture outside of China, CIs are a particularly interesting institutional site through which to examine the production of Chinese culture aimed at foreign – most particularly western – consumption. CIs, as the export of Chinese culture abroad, become a site in which Western notions of a Self and an Oriental Other intersect with Chinese notions of a Self and a Western Other. As each discourse understands its Self through its Other, and oscillates between fear of and desire for the Other, CIs become a point at which both discourses, contrary to what might be expected, become mutually reinforcing. In Canada, the CI project has taken on particular forms as it resonates with popularized notions of the country’s multiculturalism. By making Chinese culture a spectacle of Otherness, CIs fit comfortably in a landscape which has normalized whiteness and the consumption of ethnicized Otherness. And yet CIs, by moving beyond mere spectacle and actively engaging their audience, entice Canadians to not only consume but participate in aspects of Chinese culture defined by China itself and ultimately to become invested in China. Through an examination of Confucius Institutes in Canada, this paper explores the process of comparing the Chinese or Western Self to the Western or Chinese Other in a way that leads to unintentional and indirect mutual reinforcement.

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师文德 Swindall Harold, 孙继成 Sun Jicheng On translating Swinburne into Chinese and parallels with Shao Xunmei hswindall@pusan.ac.kr, jichengsun@sina.com Shao Xunmei (1906-1968) was a poet, translator, essayist and publisher of entre-guerre Shanghai. In all these guises, he combined the persona of a traditional Chinese scholar-literatus with that of the fin-de-siecle European aesthete, chiefly as inspired by AC Swinburne, to whom he was exposed while studying at Cambridge University. The influence of the Englishman’s poetics is strongly apparent in Shao’s verse volumes Paradise and May (1926) and 25 Poems (1936). Shao himself acknowledged his debt to Swinburne in his volume of essays Fire and Flesh (1928). Both his prose and his verse show that he had an ambiguous quarrel with God much in keeping with Swinburne’s, and he also wrote of woman and the feminine in the same way. Thus, in poems such as “Narcissus” and “Peony,” the image of a flower is a metaphor for a woman who is at once alluring and menacing.

In translating Shao’s poetry into English, we find that his style and themes are markedly Swinburnean, but also that he rendered his avatar’s inspiration into a new kind of modern Chinese poetry that was part of the general baihua movement of the time. However, Shao’s poetry remains distinctive from that of other Chinese poets in a number of ways, chiefly in its Christian and Buddhist religious themes and its treatment of subjects such as Hua Mulan. His celebration of human love in defiance of divine love, and of sensual paganism over Christian austerity, are likewise elective affinities with Swinburne and unlike contemporary poets.

Although there are some differences in lyricism and tone between his earlier and his later poetry, Shao’s basic style remains remarkably constant over the Nationalist Decade.

Although the decadent character of Shao’s poetry caused Lu Xun and other critics to condemn him, Shao is worth translating as a remarkable cultural hybrid.

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田辰山 Tian Chenshan Zhongshu and the Golden Rule: A Possible Common Guiding Principle for the Global Community? chenshan@hawaii.edu 在人文意义上，“金律” 与“忠恕”可谓中西思想传统中最为接近、最具 备构和之可能性的理念。为中西文化真正的汇合指点，有着成为人类发展 “地球村”共享哲理的基础。“金律”区别于“忠恕”之鲜明特点为其超觉醒与 二元性，而“金律”要成为“全球性论理”，需经过去超绝性与去二元性的转 化。“忠恕”之鲜明特质是器非超绝性与非二元性，也即“一多不分”或“心场” 结构。“忠恕”在实用性上接纳、包容具超绝性、二元性的“金律”，可小节 其挑战性逻辑，与其创造构和局面。“设身处地”作为“金律”与“忠恕”之共 同点，基于逻辑的而非绝对性，使得二者虽来源殊途，却可九九归一，实 现构和。 "All things whatsoever ye would that men should do to you, do ye even so to them: for this is the law and the prophets" – the Golden Rule in Christianity is best known a fundamental moral value in Western culture, and of course it is not particularly Christian; and “do not impose on others what you yourself do not desire,” is reputed to be its Chinese version attributed to Confucius, the founder of Confucianism (but it is not specifically Confucian, the equivalent is also found in expressions of Daoism and Moism). I will argue that they cannot be regarded as the same principle, but also that they could be considered structurally agreeable and constitute a common ground as well as a shared value for both Christianity and Confucianism while human beings of the whole world is in the process of forming a global community.

Many standard interpretations of the Confucius’s shu as simply a Chinese version of the golden rule in the West as well as the golden rule as the most essential basis for the modern concept of human rights are problematic since there are structural differences between the golden rule of the West and the Confucius’s zhong and shu, which is that the golden rule is deep embedded in trancendentalism and dualism of the Western intellectual tradition while the concept of zhong and shu has a non-dualistic relativism, which is culturally specific Chinese. As the possibility for them to be structurally agreeable, the golden rule is required to be dedualized and detranscendentalized, and undergo transformation from the separateness to correlativity and continuity of human persons. Finally, the two expressions, though embedded respectively profound in the two structurally different intellectual traditions, perhaps make the most significant elements that provide an opportunity for a conversation between the Chinese and Western civilizations.

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Walter, Justine Inundatio and 大洪水: Comparing historical disasters in Ancient Europe and Early China j.walter@studserv.uni-leipzig.de In the past decades, much effort has been taken within the cultural sciences to compare the development of thought and medicine as well as political structures of Ancient Europe and Early China. Many similarities between thinkers like Confucius and Socrates, cosmological theories or the overall designs of the Roman and the contemporaneous Han-Empire have been stressed. A search on the internet reveals that an awareness of certain analogies has even spread beyond the purely academic context. However, there are still a number of aspects within the history of both cultures that have not been comparatively analysed so far.

Among those aspects, natural disasters and their consequences present historical moments whose analysis may provide new insights into various aspects of the ancient societies in the Mediterranean and East Asia. Frequent in both regions, extreme natural phenomena like floods and earthquakes set in motion processes of re-evaluation or change in many spheres within the society: they required political aid measures, interpersonal strategies of coping, philosophical explanations and religious interpretations. Many of these are recorded within historiographical or philosophical sources.

The presentation will introduce some chances of and obstacles in comparing extreme natural phenomena in the Ancient Roman and the Chinese Empire. The focus will lie on floods and their effects on the respective society. Apart from a short introduction to measures of coping, the specific cultural features of perception and interpretation of the events within the ancient sources will be at the centre of the presentation.

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张晖 Zhang Hui 规训文化的研究 – 对“文化研究”领域在中、美语境下发展的比较分析 Disciplining the Study of Culture – A Comparative Analysis of the Evolution of Cultural Studies in China and the U.S hzhang@soci.ecnu.edu.cn 在人文社科领域有几个不同学科都将”文化”作为最主要的研究对象。 自学科范式的“文化转向”以来，文化研究作为一个跨学科，甚至反学科的 取向，关注权力、表征与身份认同的问题，在美国学界，某种程度上挑战 甚至重塑了人类学与民俗学的研究方式，影响深远。但在中国，文化研究 始终未能进入由国家行政机构控制的学科分级的系统当中，也因此面临一 系列理论与实践方面的困境。本篇论文着重探讨在中国与美国的学术语境 当中，此三个学科在研究范式、学术机制设立等方面的冲突与融合。在一 个愈加全球化的学术生产体制背景下，我将特别对“学科本土化”这一问题 做重点的理论探讨。讨论的焦点在于：文化研究的激进政治视野如何能够 结合到当下中国政治话语的意识形态格局当中？此三个学科在中国本土有 着如何区别于美国学术的显著特征？它们各自在理论与方法上的长处如何 能够相互弥补结合，贡献于有关当代中国的学术研究？ Several important humanities and social sciences disciplines place the notion of “culture” as their primary object of study. Since the “cultural turn”, the rise and popularity of cultural studies, as a trans-disciplinary or even counter-disciplinary approach to the research on cultural phenomena, has challenged and reshaped anthropology and folklore studies in the American academia by casting new light on the issues of identity, power, and representation. Whereas in China, cultural studies is mostly perceived as an uninvited latecomer into an academic disciplinary structure that has been rigidly regulated by the state, and hence is confronted with a series of theoretical dilemmas as well as practical constraints. In this paper, I want to focus my analysis on the trajectory of development, the clashes and merging of research paradigms, and the institutional accommodation of these three disciplines in China and in the U.S. Based upon such analysis, I will lay out a theoretical reflection on the issue of “indigenization of academic discipline” in an academic world that has become increasingly globalized. The questions to be discussed here include: how would the radical political visions of cultural studies fit into the ideological configuration of contemporary Chinese political discourses? What are the unique characteristics of these three disciplines in China that can distinguish them from their counterparts in the U.S? How can the respective methodological strengths and theoretical insights of these three disciplines constructively inform and complement one another in the interdisciplinary area of contemporary Chinese studies?

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张金凤 Zhang Jinfeng A Comparison of Chinese and Western Ancient Philosophy — From the Perspective of Research Objects zhangjinfeng_ly@126.com Ancient philosophy is an integral part of traditional culture and has ineffably influenced the ethics and values of the society, no matter ancient or modern. In order to have a deeper understanding of the difference between Chinese and Western culture, a comparative study of their philosophy is essential. The following thesis makes an effort to compare the ancient philosophy of both China and the West from the perspective of their research object. Then it analyzes the reason and consequences of the difference. It is hoped that such a study will contribute to an inheritance and innovation of both philosophy and to the cultural exchange and integration of the modern world.

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张静 Paul Jing Zhang Comparative studies between Chinese and English: The case of motion-events expressions jzhan2@hawaii.edu

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Chinese and English are traditionally classified as satellite-framed languages pertain to motion events expressions (Talmy, 1985). However, different voices have arisen in the last few years in terms of the classification of Chinese. For example, Slobin (2004, 2006) argued that serial-verb languages such as Mandarin Chinese should classified as simultaneously verb-framed and satellite-framed, depending on motion event types. The present study investigated different-trajectory (DT) caused motion events in Chinese and its acquisition for English learners. The results have shown that English and Chinese display similar typological features in describing DT motion events, however, advanced L2 Chinese learners have difficulties in using appropriate syntactic structures such as the disposal constructions while transferring a similar concept from English to Chinese. In particular, they are not able to differentiate the expressions between a dynamic path and a static location. The contributions of this study are as follows: First, it investigated a specific type of motion event that had not been examined before; Second, the results are not theoretically biased; Finally, it provided a finer-grained analysis of motion events expression in Chinese and English.

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张曼 Zhang Man 翻译与制造冲突——以《断魂枪》与“The Spear That Demolishes Five Tigers at Once”为中心 Translation and Creating Conflicts——Analysis of the Chinese Short story “Duan Hunqiang” and English play“The Spear That Demolishes Five Tigers at Once”by Lao She gracezhangman@yahoo.com.cn 英文话剧 “The Spear That Demolishes Five Tigers at Once”是老舍改写 自他的中文版短篇小说《断魂枪》。作者企图通过该话剧向美国传播中国 现代文化，但实际上，该剧不仅具有传播文化的功能，同时也投射出作者 对中西文化和中西戏剧关系的个人认识。 Lao She adapted his Chinese short-story “Duan Hun Qiang” for an English Play named“The Spear That Demolishes Five Tigers at Once” ,wishing to spread modern Chinese culture in America. Actually It is, beyond the disseminating ,reflects the author’s own understanding to the relationship between Chinese and western culture ,which is quite different from the popular writers.

章晓英 Zhang Xiaoying 发言题目

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从《易经》看奥巴马传播的思想及其传播观念 Ideas Barack Obama Communicated and his Communication Philosophy --A Perspective from Yijing Jane@bfsu.edu.cn 跨文化比较往往侧重不同文化之间的差异，该文则旨在寻求文化的共通 之处。本文选取了奥巴马分别在 2008 年和 2012 年大选胜利后的演讲作为研 究对象，并从《易经》的视角，通过文本细读，对奥巴马传播的思想及其传 播观念进行了深入分析。分析显示，奥巴马传播的主要思想及其传播观念与 《易经》思想有许多地方不谋而合，比如：同人观、应乎民心、止于至善、 自强不息等思想。奥巴马的传播观念也与《易经》中的“已敬终结”的交感 传播思想相通。这些共同的思想可以把中美两国作为人类一族紧密地联系在 一起。 While most intercultural studies focus on cultural differences rather than commonalities, this paper intends to explore a different route. It selects Obama’s two victory speeches in 2008 and 2012 as the object of study. The study derives from a Yijing perspective what key messages he has communicated to the audience and what kind of communication philosophy he has adopted, consciously or unconsciously. It is discovered that Obama’s key messages disseminated and his communication philosophy adopted in his two victory speeches can surprisingly find resonance in Yijing, the book of changes, an ancient Chinese classic of wisdom and divination that has been used for thousands of years as a useful source of ideas in times of uncertainty. This author wonders if Obama has read Yijing, which most probably not, for all the publicized information about him has never mentioned this. In that case, the paper concludes that China and the West see agreement with each other when they meet at a deeper cultural level. Just as the famous Chinese historian Qian Mu said: “Your heart…my heart... two hearts beat as one.” It is one of the best wishes of this author that today’s world of uncertainties requires understanding of cultural commons rather than differences. It is believed that the common dream China and the West share deep in their heart can connect us as a human race.

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2013-07-13 第三分会场 丁新锐 Ding Xinrui 影视作品字幕翻译过程中的本土化现象 The Phenomenon of Localization in Subtitle Translation of Film and Television Works 1004851213@qq.com 随着科学技术的发展，影视作品展示出其强大的文化传播功能。在受 众源语接受程度普遍较低，译制片配音成本过高的现实情况下，依托文本 实现的字幕翻译，因具备突破语言限制并能令受众在短时间内感受到原作 的魅力等优点，成为又一热门的翻译领域。汉语和英语植根于两种差异显 著的文化。因此，在翻译英文影视作品中的文化意象时，中国译者受自身 汉语文化背景知识的影响，不可避免地会在翻译过程中留下“本土化”的 印记。此时，影视作品所起的文化沟通作用也会因这种本土化现象而受到 一定的影响。本文首先对字幕翻译过程中文化本土化现象进行了概述，并 以实际译例了说明该现象的具体特点，进而对该现象对跨文化传播造成的 影响进行了初步探究。 With the advancement of science and technology, film and television works have shown strong functions in the aspect of cultural dissemination.

Restrained by the current conditions that the audience are still at a low level of understanding source language of film and television works and dubbing cost of dubbed film and television works is high, so that subtitle translation supported by texts has become another popular field of translation due to its advantages such as exceeding the language limits and enabling the audience to capture the charm of original works in a short time. Chinese and English rooted in two distinct cultures respectively. Therefore, when translating the cultural image from English films and television works, affected by their Chinese background knowledge, Chinese translators tend to leave the localized texts in their translation inevitably. Meanwhile, the function of cultural dissemination of film and television works would also be affected by this phenomenon of localization more or less. This paper begins with a generalization of the phenomenon of localization in subtitle translation of film and television works; following, it expounds on the concrete features of this phenomenon through some practical examples; in the end, it preliminarily explores the influences on cross-culture communication exerted by this phenomenon.

冯春园 Feng Chunyuan 国外多丽丝·莱辛研究述评 Literature Review of Doris Lessing’s Studies Abroad chunyuanfeng999@163.com 本文概述了多丽丝·莱辛的国外研究现状。从作品研究、理论视角、 发言提纲 和关注侧重等方面考察了国外莱辛研究呈现出的特点、不足和进一步拓展 的空间。与之前大多数莱辛研究综述性文章不同,本文以一种宏观的视野放 眼国外，对国外莱辛研究进行系统地梳理和概述，以期更加完善、充实莱 辛研究，为全面、客观看待莱辛作品提供有益的参考。 This article is a literature review of Doris Lessings studies abroad. It explores the features, deficiency and fields of Lessings oversea studies that need to be further probed from the studies of works, literature theories and the public attentions. It puts Lessing’s study in a broader vision which is different from the former reviews related to this study. The whole essay is a systematic survey which aims to improve and enrich the studies of Doris Lessing and offers the valuable references for the researchers to have an overall and objective overview of Lessing’s works. 发言题目

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龚晓辉 Gong Xiaohui 鲁迅与纳博科夫“硬译”观比较 Lu Xun and Nabokov in the Light of the “Hard Translation” Concept gxiaohui2002@126.com 本文通过分析文学巨匠鲁迅与纳博科夫二人所处的历史文化背景，翻译 受众，文学与文化使命异同，并进行译著文本细读，发现二人的翻译理论有 着奇特的相似之处，都提倡“直译”，且按此理论进行了相似的翻译实践。 鲁迅认为古代汉语在转变为现代汉语的过程中，需要输入国外译介过来的新 的表现法，籍此丰富汉语的词汇及表达方式，所以反对将外面的文化归约为 本土文化的翻译理论及实践，而要求采用直译。而纳博科夫刚是因为希望将 自己祖国的文化尽可能准确全面地输入给美国，所以尽量采用了原汁原味的 语言风格和感觉，为便于理解，他还在译文中加入了复杂的注解，旨在极其 准确地翻译普希金，让读者努力去理解作品的每一个细微之处。 Lu Xun and Nabokov were both independent and unique literary writers, and both were criticized for their adherence to literal translation theory and practice.

This author, through intensive reading of their translation works, finds that both reached the same goal by different routes and drew almost the same conclusion.

Lu Xun’s reason lay in enriching the local Chinese culture and modern language through literal translation of foreign works while Nabokov sought to introduce his own native culture and language to American readers.

We should not omit the cultural factors behind their theories of literal translation. For Lu Xun, he would like to take advantage of literal translation to introduce foreign advanced culture and language into disastrous China while Nabokov would like to introduce his own culture and literature into American life. Almost all of the critics’ comments are focused on their language facets rather than their cultural intentions without understanding their profound motivations to transmit or improve their modern native language and literature.

Their original objectives are to transmit information accurately and completely and help their readers acquire information to the largest degree possible.

However, we still need to differentiate their literal translation theory from translation word for word.

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贺爱军 He Aijun 汉奸·假洋鬼子·普罗米修斯 Chinese Translators’ Image: From “a Bogus Foreign Devil” to “Prometheus” heaijunfirst@163.com 从鸦片战争至“五四”新文化运动之间，中国的社会历史语境发生了翻天 覆地的变化，译者形象也由“汉奸”“鬼子”转变为“盗火者”。作者认为“汉奸”的 译者形象是传统中国华尊夷卑社会观念的产物，“假洋鬼子”的译者形象折射 出中国传统文化对于西方异质文化的憎恶和排斥态度，而“普罗米修斯”的的 译者形象则反映了中国传统文化对于西方异质文化的肯定和接受心理。译者 形象作为一种社会集体想象物，既是一种具体的符号形式，也是一种社会心 理表征，它反映了想象主体所处的历史语境，其实质是主体文化在面对异质 他者文化时，如何设计自身的精神文化演进及其处理态度。译者形象的建构 并非是对译者实际情况的客观反映，而是对文化“他者”的集体想象，这种集 体想象是由主体所处的历史语境和意识形态话语直接控制 China’s social context has changed beyond recognition from 1840 when the First Opium War broke out to 1919 when the New Culture Movement unfolded.

The image of translators has accordingly seen the reversal from “a devil” to “a human being”. The image of “a bogus foreign devil” reflects the hatred and resistance of Chinese traditional culture to the western heterogeneous culture while the translator’s image of a “fire bringer” embodies the acceptance of the former to the latter. The image of Chinese translators, a social collective imagination, is not only a symbol but a social psychology as well. It reflects the historical context of the people then and its essence lies in how the chair culture devises its spiritual evolution pattern and what the people’s attitudes are. The construction of translator’s image is not an objective embodiment of the true states of translators, but the social collective imagination of a cultural “others”. The collective imagination, in turn, is controlled by the discourses of social context and ideology.

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姜莉 Jiang Li 《庄子》中“超越”意象的英译 Conveyance of Transcendental Images in Chuang-tzu’s English Version thornbird422@sina.com “超越”是《庄子》内七篇中一个重要的主题，他通过鲲鹏和蝴蝶等能飞翔的 动物来表达这一含义。本文分析了《庄子》内七篇中具有超越意味的典型意 象，考察翟理斯、理雅各英译本中意象的传译是否恰当，由此发现不恰当的 传译如何与其对应的文化语境相联系。意象置换的同时，相应的读者审美体 验也发生改变，导致了译本意义的流变。 Transcendence is a main theme in the Seven Inner Chapters of Chuang-tuz.

Chuang-tzu expresses this theme by presenting images that can fly such as roc and butterfly. This paper analyses the two images in its own cultural context, and try to find what the images mean in Western culture, so as to argue if the images in Legge and Giles’s version are properly conveyed. When the image has changed, so did the readers’ perception of the original aesthetic value and the philosophy that Chuang-tzu attempted to express.

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金雯 Jin Wen 感伤主义的跨国之旅 Sentimentalism’s Transnational Journeys: Kushehui and Lin Shu’s Translation of Uncle Tom’s Cabin wenjinenglish@gmail.com 1905 年出版的小说《苦社会》长期以来是清末赴美洲华工遭遇小说中最 受重视的一部作品。通过对其解读，批评者可以窥见一个大的动态，即清末 的情感政治、中美关系及小说写作和翻译史几者之间的联系。近代中国盛行 中国人对国难“麻木”的话语，这个话语最初在传教士写作中出现，之后被 许多近代中国知识分子引用阐发。此时，政治色彩浓厚的感伤主义小说也在 中国蓬勃发展，融合翻译小说的影响，提出了种种塑造新型情感模式的方式。 林纾 1901 年翻译的《黑奴吁天录》可以解读为对原文《汤姆叔叔的小屋》中 感伤主义的改写，为《苦社会》的写作提供了文学背景和渊源，而《苦社会》 是对清末中文感伤主义小说的再创造。 This essay constructs a transnational genealogy of sentimentalism in Chinese and Chinese American fiction from the beginning of the twentieth century. It analyzes the presentation of physical pain and suffering in Heinu yutianlu (1901), Lin Shu’s translation of Uncle Tom’s Cabin, and depictions of Chinese laborers in anti-U.S. exclusion novels, including in particular the novel Kushehui (1905).

The essay relates the peculiarities of the brands of sentimentalism in Heinu yutianlu and Kushehui to the rise of the politicized sentimental novel in late Qing and to the modern notion that the Chinese were impervious to pain and lacking in feeling. Through these case studies, the essay offers reflections on viable methods for comparative studies of literary affect---that is, studies of how literary writings articulate, evoke, explore, and elicit feelings in a translingual, comparative framework.

Lane, Stephen ART: BEIJING/NEW YORK Exploring Dualities of Form and Meaning The dichotomy of combining paint, canvas, books, & writings paintnyc1000@gmail.com This art based power-point presentation explores dualities of form and 发言提纲 meaning, which is achieved through a combination of paint, canvas, books, and the collaging of Chinese writings, which I use in combination with my writings on contemporary art theory in my New York and Beijing studios.

The usage of material is key to this presentation, not simply because as representations of concepts and ideas, artworks are material objects, but because my engagement with the context of my artwork would be incomplete without equal regard to the formal qualities of the materials used and the temporality embedded in them.

This presentation will also explore the corridors between representation and abstraction; image and text; and how cultural references play into the making and viewing of art. 发言题目

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李成坚 Li Chengjian, 田径 Tian Jing 中西文化比较与交流课程设计刍议 On Course Construction of Chinese and Western Culture Comparison and Communication lichengjian623@hotmail.com 本文以电子科技大学开设的《中西文化比较》作为个案研究，指出在语言 教学中融入文化（文明）比较的重要性，从而达到“培养学生跨文化交际能力” 这一语言教学的终极目标。本课程在教学中，选择七大核心话题展开讨论。 在精选相关文本的基础上，开展各类讨论式以及辩论式的课堂教学互动，在 此过程中学生的语言技能也得到相应锻炼。更重要的是，学生逐步树立起全 球化的国际视野以及跨文化交际的自觉意识。在课程考核机制上，开放性论 述题是卷面考试的主要形式，学生的阅读、思辨、论述及写作能力将得到综 合评估。此外，学生每周的阅读笔记、课堂讨论参与、小组口头展示等都将 是课程考核的重要组成部分。 The paper takes “Chinese and Western Culture Comparison and Communication” offered in University of Electronic Science and Technology of China as a case study, and is divided into four parts, the course objective, topic-centered content, course practice and evaluation. It emphasizes the importance of incorporating cultural comparison into language teaching so as to achieve the ultimate goal of “cultivating abilities of intercultural communication”. The course is designed as a topic-centered one. There are seven major issues addressed throughout the semester. Based on selected readings, discussions and debate-like interaction in class are designed to get all students involved. Improved reading and speaking skills of students’ are also acquired thereby. Furthermore, students’ international horizon is broadened and awareness of intercultural communication is raised.

With regard to evaluation, essay questions are the major ones in the final exam so that all students’ abilities are assessed, including reading, critical thinking, argumentation and writing. Besides, students’ weekly reading journals, in-class participation and group oral presentation are also included in the evaluation.

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李美 Li Mei 所与非所求？——中国古诗英译的跨文化研究 The Difference Between What We Offer and What They Want—Translating Ancient Chinese Poetry into English limei206@126.com 诗歌在中国并非诗人的特定实践活动，其典型的表现形式就是大量出现 在各种中国古典作品之中。人们阅读诗歌不是为了读取信息或知识，而是为 了获得一种情感的熏陶，或文化探险之旅。诗歌所使用的那种意味深长的、 往往能唤起读者强烈感情的多重语义的语言，需要读者具有相当高超的理解 原作意图和意境的能力。基于上述原因，诗歌比任何文学作品都会更晚进入 异域文化读者的视野，因此，诗歌译者必将承担重任以提升译诗的可读性。 在古诗英译“最接近原文”的背景下，我们要问至少两个问题： （1）拥 有西方诗歌背景知识的西方读者的阅读期望是什么？（2）英文在保留韵律 的前提下能够多大程度上传递中国古诗丰富的文化负载？本文的目的是探 索创译的力量。 Poetry in China is conceived not as an activity practiced by poets but as a general human activity, and it is the very form of literature that appears in most ancient Chinese written materials. One does not read poetry for information or instruction, but for a complicated combination of reading experience, for a sort of emotional edification, or a journey of cultural adventure. The language of poetry, which is essentially evocative, pregnant, and ambiguous, requires a fairly higher degree of ability to understand the images and implications employed by the poet.

For the above reason, the poetry of an alien culture is likely to be appreciated much later than the other parts of its literature, and the translator will therefore have to shoulder great responsibility in empowering the readers of the translated poetry a better readability, if not overemphasized, in the perspective of reproducing the source culture.

Within the context of “closest to the original” in translating ancient Chinese poetry, we have to ask at least two questions: (1) what do the western readers expect for in reading Chinese poetry, with the background knowledge of their own poetry? (2) Considering the fact that ancient Chinese poetry is richly culture-loaded, to what extent could the target language control that much of information, on the premise of trying to maintain the rhyme of the original words?

In the context of Post-colonialism, the focus of translation of ancient Chinese poetry should be how to keep and inherit the Chinese traditional culture embedded and what kind of cultural identity standpoint the translator and reader should seek for. The aim of this article is to explore the power of transcreation and its effect on improving the acceptability of the translated text in a different language.

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李民 Li Min 译者角色的伦理特性 The Ethical Characteristics of Translator’s Role limin@dlufl.edu.cn 近年来国内外学者从不同角度对于翻译伦理进行了剖析，但绝大部分学 者仅从翻译研究的宏观角度去探索翻译的伦理，并没有真正对翻译的主体， 即译者的伦理特性进行探讨。本文将在译者伦理的基础上，分析译者角色的 伦理特性，从而使译者伦理的研究进一步深化。 In the 21st century, the original “ faithful ” translation value was deconstructed, and various forms of the “excerpting translation”, “changing translation” and “imitating translation” and so on are considered reasonable. In this case, translation study scholars began to question “where is the translator's ethics?” In recent years, domestic and foreign scholars analyze the translation ethics from different angles, but most scholars only explore translation ethics from the macroscopic angle of translation studies, and not really discuss the main part of translation, namely, the translator's ethical characteristic. This paper will analyze the ethical characteristics of translator’s role on the basis of translator ethics so as to deepen the translator ethics research further.

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亚瑟·韦利的诗经译本 Arthur Waley’s Translation of the Shijing qingyanglin@ln.hk 亚瑟·韦利的诗经译本以译笔之精致，诠释之畅达以及人类学之洞见为 特色。论文试图通过分析文本内及文本外的材料，考察韦利诗经译本中文字 学，人类学，诗学这三种取向如何相互关联映射，成就韦利诗经译本的独特 性。此外，韦利诗经译本尤以诗性著称。论文亦着重探讨韦利诗经译本的诗 学特性及其形成。 The topic of my paper is Arthur Waley and his translation of the Shijing, or The Book of Songs (1937), as Waley entitles it. The Book of Songs is especially noted for its poetic appeal, philological ingenuity and anthropological insight. In this paper, I shall make a preliminary attempt to examine the interesting dynamics between the poetic, the philological and the anthropological aspects of The Book of Songs.

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林文昕 Lin Wenxin 语言文化学视域下的诗歌翻译 Poetry Translation in the sight of Linguistic Culturology linwenxin1988@yahoo.com.cn 诗歌作为语言文化的瑰宝备受各民族推崇，但由于它的翻译效果常常不 尽如人意，难以在民族间流传和共赏。本文笔者从语言文化学视角出发，探 究它的可译性问题：既可译，又具有一定困难。这是因为：1、既有其文辞 与所指事物之间必有“空白”，含蓄的诗歌尤甚；2、民族文化的特点决定 了语言的民族特征；3、读者的接受过程里易发生偏差。同时，诗歌又是可 译的：1、翻译诗歌的目的是传递那些人类所共通的情感和思想，这恰是诗 歌存在的现实基础，文辞虽有空白，美的体验却是客观存在的；2、翻译过 程不是简单的原文复制，而是信息的创造性再加工，加工得好，使译作胜过 原文，也不无可能；3、语言和文化的动态发展，不断地减弱不可译因素的 影响。 Poetry as the treasure of language and culture is highly respected, whereas translation effect is often not fully up to expectations, and it’s difficult to get a wide spread among nations. In this paper in terms of Linguistic culturology the authors explores the problem of poetry translatability and arrive at a conclusion: It can be translated, but with certain difficulty. It is because: 1. between the language and object of description there will be "blank space", especially for the subtle connotation of poetry; 2. the national culture determines national identity of a language; 3. process of acceptance conceives deviation or error.

Nevertheless, poetry is translatable: 1. poetry translation is intended to convey the common feelings and thoughts which are shared by all of humanity collectively, that is the realistic existence foundation of poetry, though blank space is lodged in language, the experience of beauty objectively exists; 2. the translation process is not a simple copy the original information, but a creative reworking, and translations could be better than originals in case of an clever reworking; 3. the dynamic development of language and culture, meeting of cultures for mutual enrichment, migration and eventual assimilation of ethnic groups constantly weakens untranslatability factors.

柳莉蕊 Liu Lirui, 田慧 Tian Hui 从文化意识到跨文化意识——我国体育院校文化培养研究 From Culture Awareness to Intercultural Awareness ——Culture Cultivation at China’s Sport Universities floraliuliu@qq.com 文化意识（CA）已成为当今语言学习和教学研究中的重要概念。然而， 发言提纲 随着英语作为世界通用语不断突显的作用和文化的日益多元化，传统概念下 的文化意识（CA）已不能充分满足英语学习者的需求。对跨文化意识（ICA） 的研究逐渐成为一种新趋势，但目前为止，针对我国体育院校文化培养的研 究相对薄弱。基于此背景，本文首先阐释了文化意识和跨文化意识的内涵， 进而分析了我国体育院校从文化意识转向跨文化意识的必要性和重要性。然 后，本文重点探讨了在体育背景下实施跨文化培养的显性途径和隐性途径， 特别是通过体育与文化之间的辨证关系，突出体育文化特色，促进跨文化意 识和交际能力。 Cultural awareness (CA) has emerged as one of the most significant changes in language learning and teaching as a key to conceptualize the cultural dimension over the past few decades. However, with a growing role of English as a lingua franca in the global context, the traditional conceptions of cultural awareness in English Language Teaching (ELT) cannot sufficiently meet the needs of English learners in an increasingly multicultural world. Therefore, how to develop intercultural awareness (ICA) through ELT has become a new trend for teachers and researchers in China, yet little has been touched upon China’s sport universities or institutes. This paper first analyzes the need of shifting from cultural awareness to intercultural awareness through ELT in China. Then, the paper explores the explicit approaches and implicit approaches of ICA in the context of China’s sport universities, such as, the change of teaching methodology, the exploration of language-learning materials, the application of multi-media as an assistant, the construction of an intercultural environment.

Especially, this paper explores the relationships between sports and culture and highlights the role of sports culture for furthering intercultural understanding. In sum, this paper aims to increase language learners’ intercultural awareness, promote their cultural tolerance, and enhance their understanding and skills toward cultural diversity and complexity, especially in global sports events and communication. 发言题目

罗永洲 Luo Yongzhou 武术翻译与国家叙事：金庸英译个案研究 Martial Arts Translation as a Site of Nation Narrating: The Case of Jin Yong luoyongzhou@126.com 全球化语境下，“国家”意味着“一种文化标识系统”（(Bhabha 1990: 发言提纲 1-2)。而文化的叙述则需要一定的策略。本文援引“架构（framing）”和“身 份（identity）”等相关概念，以金庸武侠小说英译为个案，试图探讨翻译 在建构中国国家身份方面的代理作用。中国武术是中国特有的文化形态，也 是贯穿绝大多数武侠小说的主线。研究发现译者和编者主要在两个层面上对 中国武术文化进行了重新架构(Goffman 1974/1986)：1）文本内架构，包括 称号、选择性挪用等策略(Baker 2006)；2）平行文本架构，包括前言、注 释、书评等策略(Genette 1997)。不同译者在译文中所架构的中国武术文化 及其在译入语中的接受情况不可避免的存在差异。通过该研究有望对全球化 语境下中国国家与文化身份建构有一定启示。 In the face of globalization, nation has come into being as “a system of cultural signification” (Bhabha 1990: 1-2). The discursive strategies of cultural identification that function in the name of nation often make them immanent subjects of a range of narratives. This study draws on the notions of framing and identity, both strongly related to and springing off of narrative, to investigate the translators’ agency in advancing themes related to Chinese national and cultural identity with specific reference to Jin Yong’s martial arts novels in English translation. Chinese martial arts is celebrated in most Chinese martial arts novels and is cherished in reality by the Chinese people as a fine tradition which helps to identify China and the Chinese people in the international community. This study examines the devices the translators and the editors employ in the target texts to reframe (Goffman 1974/1986) contested aspects of the martial arts narratives encoded in the source texts. Those framing devices will be identified on both textual levels such as labeling and selective appropriation (Baker 2006) and paratextual levels such as the format of the books, titles, covers, blurbs, prefaces, glossaries, notes and reviews about the main text (Genette 1997). Following that, the marital arts narratives reframed in the target texts by different translators will be compared and contrasted in terms of their reception in the target language/culture and their significances for China’s nation building in the context of globalization. 发言题目

牛云平 Niu Yunping 人本与物本——中英传统译论的词源学比较 Man-orientation vs. Matter-orientation: An Etymological Comparison between Traditional Chinese Fanyi and English Translation Theories niuyp@126.com 本文所谓传统译论指 1980 年代之前广为接受的翻译理论。对中文“译” 发言提纲 字和英文“translate”一词的词源分析揭示了中英传统译论的异质性。在引入 西方现代译论之前的中国传统译论是以人为本的，特别是以译者/译员为本 的，而传统的西方——英文译论是以物为本，特别是以（作者）意图为本的。 By traditional theories, I mean the theories that had become popular before the1980s. An etymological analysis of the Chinese character yi ( 译 ) and “translate” reveals the heterogeneity between traditional Chinese fanyi theory and English translation theory. Without entanglement of modern Western translation theory, traditional Chinese fanyi theory had been man-oriented, especially interpreter-oriented, whereas traditional English translation theory had been matter-oriented, especially (the author’s) intension-oriented. 发言题目

王雨 Wang Yu 晚清的“毒”与“药”：鸦片在东西方的旅行与翻译问题 Poison and Medicine in late Qing: Travel and Translation of Opium between the West and the East gengshi.wang@mail.utoronto.ca 本文所要讨论的是在十九世纪末和二十世纪初中国以及与中国相关的殖 发言提纲 民世界背景下围绕鸦片这个“物”所产生的理念和情感的变迁，该变迁通过 鸦片在“毒”和“药”两种身份之间的旅行和穿梭中被展现出来。围绕着鸦 片在“毒”和“药”两种身份之间的互译，本文共分为三部分。第一部分讨 论鸦片由英国人带入中国时由“毒”变为“药”的过程。这次翻译在词汇、 经济和文化三个维度上有各自不同的展现。第二部分讨论鸦片在中国作为药 品的生产、消费。第三部分讨论通过 1904 年圣路易斯博览会讨论鸦片在由 中国带入美国时由原来的“药”身份重新被译为“毒”的过程。 This paper focuses on the changes of ideas and sentiments on opium in late Qing under the influence of colonialism and imperialism. By traveling between identities like “poison” and “medicine”, opium experienced domestication and alienation when it was translated between China and England as well as China and the U.S. Following this thread, this paper is divided into three sections. The first section highlights the legalization of opium in China in 1858 through treaty during which it was translated from “poison” into “medicine” and began circulating in Chinese market. The second section discusses the internalization and popularization of opium stimulated by the increasing consumption of both domestic and imported opium. The third section focuses on the display of opium pipes and opium lamps representing China in the 1904 world exposition manipulated by the foreign officials in charge of the Imperial Maritime Customs. 发言题目

王朝晖 Wang Zhaohui 发言题目

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汉语国际教育专业课程《中西文化比较》建设的思考 On the Construction of Comparison between Chinese and Western Cultures, a Course for Majors of Teaching Chinese to Speakers of Other Languages (MTCSOL) wzhxmut@163.com 本文基于近三年来的教学实践，通过教学案例、问卷调查，随机访谈等 方法，从教学目标、教学内容和教学方式三个方面，对汉语国际教育专业课 程《中西文化比较》的课程建设提出思考。汉语国际教育专业课程《中西文 化比较》的教学目标是，从中西文化比较的视角，培养学生客观地分析中国 文化和西方文化的能力，提高学生未来职业目标——汉语及中国文化国际推 广过程中处理中西文化冲突的专业能力。鉴于本科生的学术视野和能力水 平，以及课程本身对教师知识面的要求，教学内容可以包含中西比较研究中 最为基础的五个方面：地理环境的中西文化比较、中西基本文化精神比较、 中西思维方式的比较、中西语言文化的比较以及中西宗教文化的比较。教学 方式以启发式教学法为理论基础，互动教学为主，鼓励学生主动思考，锻炼 学生研究能力。 This paper, based on the last three years’ teaching practice, provides suggestions on the construction of Comparison between Chinese and Western cultures, a course for Majors of Teaching Chinese to Speakers of Other Languages (MTCSOL), from the three aspects of teaching goals, teaching content and teaching methodology, by analyzing teaching cases, questionnaires, and random interviews. The teaching goals of this course is to cultivate students' ability to have an objective understanding of Chinese culture and Western culture and to improve their skills in coping with conflicts between Western culture and Chinese culture they may encounter in their future career of promoting the Chinese language and culture globally. In view of the undergraduates’ academic vision and ability, as well as the knowledge required of the teacher, the teaching content contains five basic parts: the comparison of Chinese and Western geographical environments, the comparison of the basic spirits of the Chinese and Western cultures, the comparison of the Chinese and Western thinking modes, the comparison of the Chinese and western languages, and the comparison of the Chinese and Western religious cultures. Teaching activities are carried out in a heuristic way with focus on interaction between the teacher and students, encouraging them to think actively and improve their research ability.

2013-07-13 第四分会场 发言题目 盖建平 Gai Jianping 民族承担世界：音乐剧《时光当铺》的跨文化创新启示 Ethnicity for the World: the Transnational idea in the Musical “Pawn” gaijianping@hotmail.com 加拿大华人剧作家、留美学生曹禅创作的音乐剧《时光当铺》紧扣“反 发言提纲 恐”问题，通过展现北美华人移民被遗忘的真实历史，将反战精神与种族平 等理念融为一体。《时光当铺》有力的艺术效果扎根于曹禅对当代中西文化 关系现状的深入把握与对中国之美的深刻体认。此剧对中国当前的文化建设 具有独特的参考价值。 The Canadian Chinese playwright Cao Chan's original musical "Pawn" (2011) organically integrated her reflections upon the anti-terrorism war of U.S. and the “rediscovery” of Chinese immigrant history. Through this musical, we could vividly distinguish Cao Chan’s essential understanding of the China-West cultural relation and her deep identification with “the beauty of China”. This musical offers valuable ideas for the cultural construction of China.

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Hammers, Rosalyn Lee Representations of Chinese agrarian labor in late-eighteenth and nineteenth-century China and Britain rhammers@hku.hk British and Chinese artists in the late eighteenth and nineteenth century shared similar imagery in the depictions of Chinese agrarian labor and technology. The imagery produced by Thomas Allom (1804-72) in his illustrations from his "China in a Series of Views" is based on elements from the Pictures of Tilling and Weaving (Gengzhi tu) of China. This is evident in a comparison of Allom's work with corresponding imagery by the Chinese court artists Jiao Bingzhen (1689-1726) and an anonymous painter at the court of the Qianlong Emperor (r. 1735-1799).

This paper seeks to consider the motivations behind the formation of similar imagery of Chinese agrarian labor in China and in Europe. In China the Pictures of Tilling and Weaving provided systematized representations of the sequences of procedures involved the production of sllk fabric and the cultivation of rice, representing an idealized society, inspired by classical political theory. In them an informed government responsibly taxed the citizens, advancing conditions that guaranteed farmers' well-being. Successive Qing emperors patronized the Pictures of Tilling and Weaving to promote public relations.

The initial interest in the Pictures of Tilling and Weaving in Europe emerged from a desire to improve the profitability of silk fabric production. In 1837 the French sinologist Stanislas Julien published translations of key Chinese technological treatises to improve the production of silk production. Europe was interested in developing an ability to supply demands for silk, and Allam provided illustrations.

Similar imagery delivered highly divergent messages to their respected audiences. This paper explores the contiguities of a visual dialogue of agrarian labor that circulated in China and Europe. The "shared" imagery was regarded as useful to both the imperial Qing court; Western merchants and European governments who wished to use representations of agrarian labor to validate conflicting claims on China.

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Hilton, Brian Shared Experience, Common Goals, and Mutual Misperception in Early Cold War Sino-American Relations” bphilton@gmail.com My presentation examines the shared early-twentieth century context within which both Americans and Communist Chinese shaped their views of the world, and how these shared experiences compelled both groups to strive for common international goals rooted in their desire for security in a troubled world. Both the United States and People’s Republic of China wished to nurture an international environment that would free them from external threats to their ways of life and ensure a more stable, just world order. Yet the ideological prisms of each side cast the other as an aggressive, imperialist threat to this goal. Thus, what truly occurred during the first few decades of the Cold War between China and the United States was two nations striving for similar objectives yet unable to comprehend this essential fact. Ironically, this mutually misperceived threat drove both sides to violate the same principles they claimed to uphold, particularly the notion of non-interference in the affairs of other states. As a result, just as the United States endeavored to subvert the leftist governments of Guatemala, Iran, Cuba, and even China during the 1950s and ‘60s despite its professions of non-interference as a core international principle, so too did China, contravening its own principle of non-interference, actively support the revolutionary movements in Vietnam, Laos, Cambodia, Thailand, Indonesia, and several African nations. This does not mean, however, that these two countries adopted these principles as mere pretexts or that the principles mattered little to those making policy – far from it. Both sides apparently remained in a sort of crisis mentality during the 1950s and early 1960s, but gradually freed themselves from some – though not all – of the more dire assumptions that drove their earlier policies.

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Lee, Seokmin Social Origins of Public finance and the ‘Great Divergence’: Money, Merchant and Legitimacy in Early Modern China and England slee166@binghamton.edu Why did current capitalism emerge in the West, not in China even though China was more prosperous until the 18th century in economic development?

Seeing the establishment of public finance since 1694 in England as a driving force of the Western capitalism, this paper seeks to find the origin of the different historical paths from the way finance and money has been developing in China and England in relation to the pattern of local society and merchant network.

Credit and finance, which is defined as ‘social relation’ and embedded in society (Ingham 2004), was rooted in and formed by the socio-historical context. Local society under Qing dynasty where the governmental power was polarized into Beijing and local elites was organized with the nexus of local officials, gentry and merchant, usually based on (extended) kinship network in a regional and clannish way, and was paradoxically autonomous (Wong, 1997) with the Qing state concentrating more on foreign and taxation affairs. While in England, local society was fragmented among the classes and between town and rural area but relatively open to outsiders introduced by the negotiation between political powers, in the absence of closed local order. Thus the legitimacy by which merchants could expand their business beyond their home ground was also provided by the local society in China, whereas it was sought to secure by English merchants through combining with the political power which has later developed into the nation-state with the public finance as we see England of 1694. In the end, Chinese credit system has been focused more on consumption of peasants, and thus could not be accumulated as was in England.

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Leibo, Steven Confronting Climate Challenge: China and the West Compared leibos@sage.edu There is no greater challenge facing contemporary human civilization than that of successfully dealing with challenge of an accidently destabilized global climate system which has resulted from the prolific burning of fossil fuels since the Industrial revolution. And ironically the two most important players in that destabilization, and hopefully a successful transition toward less damaging green energy sources, are the world’s oldest continuous civilization, China and its newest major civilization the United States. Unfortunately both the contemporary politics and the historic evolution of each nation has made it difficult for the two nations to successfully cooperate in this historic endeavor. It is that challenge in a comparative context that this proposed presentation will explore.

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李兰 Li Lan The Lung, The Elixir, and the Lancet: The Personal Paradox of Lu Gwei-djen lanli@mit.edu Medical modernity has been a subject of great concern in China over the last century. Cross-cultural discussions on how to articulate Chinese medical theory as science and integrate it with biomedical therapies (中西医结合) seek to modernize medicine in China, but result in fragmented and pluralistic systems of knowledge.

This paper seeks to examine from a historical perspective what (or who) lies at the heart of producing Chinese medical modernity.

In 1981, Lu Gwei-djen published Celestial Lancets, the first and only historical survey of acupuncture and moxa in English. Written in collaboration with Joseph Needham, Celestial Lancets translated Chinese perspectives of the body to a Western audience. But despite Lu’s attempts to situate acupuncture and moxa on par with biomedicine, she ultimately described Chinese medicine as a paradox: clinically proven, but theoretically antiquated—innovative, but ultimately medieval. What was the source of this ambivalence?

To understand this unsettling ambivalence towards Chinese medicine in Celestial Lancets, we must first understand its author. Some know of Lu Gwei-djen as the woman who inspired Joseph Needham to write Science and Civilization in China, but far beyond a muse, Lu had been a successful biochemist, living in Britain, France, and the United States before retiring to Cambridge as a historian of Chinese medicine in the 1960s. Yet despite her accomplishments, Lu remained private about her affairs. Why did she contradict the very project to which she gave life? Did Lu’s perceived paradox extend from a kind of paradox in her own way of being? In the course of this exploration, at stake are boundaries between east and west, between medieval and modern, between the known and unknown, the visible and invisible forces that shape ideas of medical modernity in China.

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李圆圆 Li Yuanyuan 台湾生态文学研究 Research into Taiwan's Eco-literature liyuanyuan2003@126.com

笔者以文学为中心视角,在借鉴国内外文学研究成果基础上，对人类自 发言提纲 然生态危机和精神生态双重危机加以分析，对台湾生态文学的发展与特征加 以深度研究,从而优化生态文化对人的生存意义的指导性，唤醒人们的生态 意识,更好地保护我们的家园。 Drawing on research accomplishments in domestic and foreign literatures, the author sets out to analyze the two-fold crises, namely the natural eco-crisis and human spiritual crisis, from the perspective of literature. An in-depth study is conducted about the growth and major features of Taiwan’s eco-literature with a view to highlighting the role of eco-consciousness in guiding human existence and awakening people’s eco-awareness so as to protect the earth, which is our homestead.

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刘昉 Liu Fang 《罗密欧与朱丽叶》的 “西洋化” 越剧改编研究 Remaking Romeo and Juliet—A Case Study in Yue Opera doris1982103@163.com 本文立足于译介学理论，回归经典研究，以越剧的形式对莎剧经典《罗密欧与朱丽 叶》作“西洋化”改编。通过比较莎剧经典《罗密欧与朱丽叶》与越剧经典《梁祝》， 发现中西戏剧虽然有很多差别，但也有很多相通之处，可以通过比较分析将两者很好地 融合，这为中西戏剧比较研究拓宽了思路。同时，这种“越剧艺术的人文取向”熏陶了 民众修养，促进了社会主义精神文明建设，具有一定的实际应用价值。

This thesis aims at the remaking of the classic Romeo and Juliet in the form of Yue Opera, applying the methodology of medio-translatology. By comparing Romeo and Juliet with The Butterfly lovers, we find that there are similarities as well as differences between the Western theatre and Chinese theatre. Therefore, we can combine them on the basis of harmony, which broadens the research on The Western theatre and Chinese theatre on one hand, and promotes our cultural civilization on the other hand.

刘芬 Liu Fen 《暴风雨》：“人类涉足过的最奇异的迷宫” The Tempest: “as Strange a Maze as Ever Men Trod” 235555022@qq.com 威廉·莎士比亚用他的舞台故事为我们创造了一个又一个魔法世界。本 发言提纲 文通过文本细读，分析莎士比亚在《暴风雨》中创设的神奇迷宫：在自然的 迷宫中，大自然是人类最完善的共和国；人类必须仰仗大自然的帮助才能成 就自己；在信仰的迷宫中，人们经过死的涤荡、良心的惩罚、音乐的教化和 宽恕找回迷失的本性；在知识（魔法）的迷宫中，知识和魔法法术强大，但 要化导人心，还须借助天乐；另外，《暴风雨》还呈现了一批并不完美的人 类，他们高下不同的认知能力和天性，跟大自然的迷宫、信仰的迷宫和知识 （魔法）的迷宫构架成一个立体的人性迷宫。这个“人类涉足过的最奇异的 迷宫”启示我们，真正有力量的人是既懂得人性又懂得如何超越人性弱点的 人。 William Shakespeare has made a wonder with his stage stories. With text analysis, this study finds William Shakespeare has designed a storm in which man’s fate and nature can be tested in shipwreck and a series of mazes in which we can see how men can get back their senses and themselves, that is, the labyrinth of the isle, the maze of belief, and the maze of airy magic; meanwhile, Prospero, Gonzalo, Alonso, Antonia, Miranda, Caliban and other imperfect men construct a pyramid of recognition and human nature, which overlap with other mazes and build a multidimensional maze of human nature. As a revelation, this maze reveals that, man’s recognition and human nature varies, while the real powerful men are those who not only know about human nature but also know how to surmount human weakness. 发言题目

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陆琳 Lu Lin 比较研究儒学中的人文思想与欧洲文艺复兴时的人文主义 A Contrastive Study of Oriental Confucian and European Renaissance Humanisms linlin1616166@126.com 东方儒学中的人文思想，西方欧洲文艺复兴时期的人文主义，是影响东 西方人类生存意识、心理结构和思维方式的两大类重要的关于“人学”的思 想。它们有共同的“重视人”的思想特质，却有着不同的一个重视共性、另 一个则侧重表现人的个性的价值取向，它们都从文化积淀的方式成为东西方 各自不能轻易替代的人类文明史的重要部分。儒学中的人文关照，是直径从 人的心智出发，注重人的道德主体的修炼，争取圣人的精神境界。人文主义 的人文观照是“从身体出发”，从个人的生存出发，注重个人的实际获得，从而 获取自己的独立人格和自我价值的肯定。这两种人文关照共同成为了至今（也影 响未来）确立东西方的人的本质、地位和价值观的重要依据。 Oriental Confucian and European Renaissance Humanisms are two significant kinds of anthropological thoughts which have impacted the existential awareness, psychological structures and thinking methods of the East and the West respectively. While similar in their emphasis on the Human, they differ in their ethical focus: one is concerned with collectivism, the other rather individual-oriented. These two kinds of humanisms, formulated out of distinctive cultural backgrounds, have become unalienable parts of human civilization.

Confucian humanistic concern takes origin from human intellectual potential and is devoted to self-cultivation of moral subject on the way towards the possible realm of the sage. By contrast, European humanism “starts from the body”, that is, from the existential reality of the individual, caring for the actual material acquirements as well as for the affirmation of independent personality and personal value. These two kinds of humanistic concerns together form the important cornerstones of human essence, status and values for the East and the West that have persisted up to the present and may even resonate in the future.

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彭保良 Peng Baoliang Different Bicycles Different Projects of Being: a Sartrean Study of Italian and Chinese Neo-realism blpeng63@163.com Chinese scholars (Lian Wenguang (1994), Jin Yuandan et al. (2008), Zhang 发言提纲 Xianyun (2011) have validated the Eastern-ward existentialistic influence over the Chinese cinema particularly that of the Italian Neo-realism and French New Wave in relation to the fifth and sixth generations of Chinese directors. This research, also with resort to the theoretical strength specially those conceptions developed by Jean Paul Sartre such as ‘project’, ‘faith’, ‘being’ and ‘responsibility’, examines the different connotations of ‘being’ in different cultural and societal ‘situations’ actualized in the two bicycle films The Bicycle Thief and Beijing Bicycle respectively against the background of the post-war Italy and the post-Mao China. Therefore it counter-argues that, if a bicycle is an object which, according to Sartre, the filmic hero chooses to construct the meanings of his life and thus to be ‘being’, the bicycle with which Antonio Ricci (in The Bicycle Thief) makes a living and the one Ah Gui (in Beijing Bicycle) depends on is by no means arranged or predetermined, for to be 'being' due to its free and contingent nature.

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唐立新 Tang Lixin The Ideological Basis of Modernization Movement of Judaism in America tanglx2005@yahoo.com.cn 十九世纪前期至二十世纪初，犹太教在美国经历了现代化思想运动。其 思想基础为：西方的宗教改革，美国宽松的宗教环境，启蒙运动的时代精神， 自然神论的崛起。这些因素共同推动者犹太教在美国的现代化运动的进程。 From early 19th century to early 20th century, Judaism had experienced modernization movement in America . So many factors jointly served as the ideological basis of the movement, that is, the impacts of religious reform in the west, the tolerant religious environment of America , the spirit of Enlightenment Movement and the rise of Deism. All these Factors had brought along the process of modernization movement of Judaism in America .

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王之杰 Wang Zhijie, 文杰 Wen Jie 20 世纪初英国“人情”小说的译介 Translated British Fiction of Thérésie de l’Enseignement at the Beginning of the 20th Century China WenjaySim@gmail.com 本文通过对“银字儿”这一传统文学概念的考察，将“人情小说”看做 中国艺术认知文学的美学视角，尝试演述中国 20 世纪初通过翻译对英国小 说的某一特定审美体验。 “银字儿”作为区别于“铁骑儿”、 “讲经”、 “公案” 的主体认知模式之一种，在传统文学中的功能是相对于“劝善”的“娱心”。 “娱心”本该是文学最古老、最本质的特性，但在中国长久的儒家诗学体系 中却被极大削弱，尤其涉及男女之情更是有违礼乐文化的规导。中国 20 世 纪初借助翻译跨越与扰乱的属性冲毁历史的网罗，突破沉淀于过去的典律， 开始了中国小说现代化的旅途。其时基于“人情”概念对英国小说的译介和 解读，致使审美经验中“情”的主观泛滥、对本土“史传”教诲传统的破坏 以及文艺完全无偿性的凸显，最终引向今天对文学自律与自由的思考。 This paper is intended to demonstrate one sort of aesthetic experience at the beginning of the 20th century in China, realized through translation from British fiction. “Trivial Story-Telling on Male-Female Relations” is more than a theme appeared in Chinese traditional literature, but a certain aesthetic perspective being applied domestically to understand literature. It is originated from the term “In-Tsi’er” adopted by the Chinese literati in the past, which was differentiated from other terms like “Te-Tschi’er”(fiction on war and the fate of dynasties), “Kong-An”(fiction on litigation or violence) and “Chang-Gin”(popularized sutra stories about karma). As a subjective cognition mode, the interest of “In-Tsi’er” lies in entertainment as in contrast with didactic purpose of the others.

Entertainment could be taken in some sense as an essential and ancient quality of literature. However, it has been suppressed severely over thousands of years once it was confronted with the powerful Confucian poetic criterion that literature (originally The Book of Songs) can and should serve only the moral function.

This was especially so when it came to the discussion of human emotion that was generally considered as the heresy of etiquette norm. At the beginning of 20 th century, translated literature has triggered the process of literary modernization by blurring and striding across literary boundaries, and thus smashed the trammels of rigid rules left by history. Based on the notion of “male-female relations”, a series of British fictions were selected for translation. The excess of emotion as well as irrationalism hidden behind lashed China’s mainstream of biographically historical literature, putting an emphasis upon the gratuitousness of art. Then, the discussion gets down to fundamentals of literature autonomy.

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熊秉纯 Hsiung Ping-Chun 从全球视角检视中国【课程改革】的研究 Investigating China’s Curriculum Reform in a Global Era pchsiung@utsc.utoronto.ca 学者检视【质性研究方法】在非英美核心国家的实践时，指出两个危机， （一）英美在非核心国家居于统御地位， （二） 【质性研究方法】学者没有深 刻探讨，自己怎么能对多元文化、社会正义、人性尊严等普世的价值观扮演 震聋发聩的角色。本文作者从研究方法、理论基础、分析思路等方面，分析 2000-2007 年间，以【质性研究方法】探讨中国课程改革的博硕士论文。作 者发现这些论文，以田野观察的资料，具体呈现了学校在推展课程改革时敷 衍、虚报的一面。这些论文不足的部分有：（一）没有探讨，为什么要以西 方的理论框架研究中国（二），用【定量研究方法】分析资料的方式处理【质 性研究】的资料（三）把城乡差距现象，归咎到个人素质差，却忽视了结构 性的因素。 Recent scholarship on the globalization of Qualitative Research (QR) has identified detrimental effects of Anglo-American domination and local hegemonic discourse on the practices and development of critical QR in the periphery.

Insufficient attention has been directed to explore ways to eradicate such detriments. Through secondary analysis of ethnographic and interview data in PhD and MA theses in Education (2000-2007), I examine the ways in which QR is used by the student-researcher to study China’s curriculum reform. I find that critical QR is most evident where the student-researcher uses fact-based qualitative data to present local, alternative realities that are deliberately concealed in official presentation. Critical QR is most missing in three areas: unchecked adoption of Western theories or models; positivistic methodology led to quantification of qualitative data; stereotypes and rhetoric implicated in student-researcher’s interpretative lenses which inadvertently overwrites the informant’s voices. I discuss the implications of the findings to teaching critical QR in the periphery and its implications to knowledge production locally and globally.

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姚达兑 Yao Dadui 翻译基督教：晚清汉语基督教小说中的插图和本色化 Translated Christianity: Illustrations and Indigenization in the Chinese Christian Novels in the late Qing Period yaodadui@gmail.com 基督教若不借助翻译，则不能深植于中国文化的土壤中。雅克布森认为 有三类翻译，其第三种即为“符号系统间的翻译”，即用一种非言语的符号 系统去阐释另一种（非）言语的符号系统。此文聚焦于如下主题：十九世纪 下半叶的汉语基督教小说中的被译的插图，如何体现基督教的本色化。此一 时段的汉语基督教小说——无论是其叙述还是其插图，都渗入了大量西方宗 教的元素，但是又将其置入了中国宗教的语境。此文的首个案例是，利玛窦 的肖像油画，以及它被翻译成插图，置于传记之中。进而本文以班扬的中文 作品如《天路历程》和《人灵战纪》的不同版本中的插图来分析“翻译的基 督教”的主题。将基督教符号本色化的最突出之处，便在于将佛、道两家的 符号融入插图中，以便吸引更多的读者/信众。在这种复杂的视觉再现中， 基督教小说中插图的符号元素，指向的不仅是基督教教义自身，而且指向了 在中国传统宗教和民间宗教的土壤中长久存在的元素。翻译的基督教以这种 本色化的方式，渗入了中国文化的文本和宗教语境之中。 Without translation, Christianity would never deeply take root in the soil of Chinese culture. Jacobson once asserts that there are three types of translation and its third one is the “inter-semiotic translation” that interpreted (non-) verbal signs by means of the signs of non-verbal sign systems. This essay focuses on the theme of the indigenized Christianity in conjuncture with translated illustrations in Chinese Christian novels in the second half of the nineteenth century.The Chinese Christian novels in this period, either in its narration or in its illustration, capture the signs from the content of western religion, but put it in the context of Chinese religions. Starting with analyzing the oil painting of Matteo Ricci’s Portrait and its transformation as illustrations, the essay redirects to discuss the translated Christianity by centering on the illustrations in different versions of Bunyan’s works, The Pilgrim’s Progress and The Holy War. One of the most salient parts of indigenized Christian signs is to embody the Buddhist and Taoist signs into the illustrations for attracting as many readers/converters as possible. In its complex visual representations, the signs in the illustrations of the Chinese Christian novels point not only to the meanings of the Christianity itself, but to the everlasting elements that come from the soil of Chinese traditional religions and folk religions. Hence translated Christianity in this way of indigenization penetrates into the Chinese cultural texts and religious context.

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伊蕊 Yi Rui “中西文明比照”的课程实践——古代经典与当代时事在教学中的创造性 应用 Creative Usage of Ancient Classics and Involvement of Current Issues in the Teaching Experiment of the Course Western Civilization with Chinese Comparisons lucia_yi04@yahoo.com “中西文明比照”是北京外国语大学英语学院面向全体硕士生开设的一 门二级通选课, 本文作者在北外教授这门课程已五年时间。在本课的教学 中，作者以创造性地应用经典文本并结合与讲课内容相关的时事点评作为主 要教学方法，从学生反馈来看，此方法被证明是行之有效的。本文着重分析 了贯彻上述教学法的以下案例：BBC 录制的北京奥运会开幕式；孔子和苏 格拉底的虚拟对话；运用不同国家的世界地图揭示种族中心主义；柏拉图的 “洞穴理论”讲解，“社会契约论”的讲解等。作者认为，开设这门课的目 的不只在于加深学生对中西文明核心理念的认识，更重要的是通过比较的视 角使他们能够更深刻地反观和反思本土文化，在更深的层面弘扬和发展中国 文化。 WCwCC (Western Civilization with Chinese Comparisons) is a graduate-level course for all the English-major graduate students in the School of English & International Studies of Beijing Foreign Studies University. The author has been teaching this course for over five years in BFSU. In her teaching experiment the author finds that the lack of awareness of the Classics in both Western and Chinese civilizations is not rare among English-major graduates.

And their cultural sensitivity towards the current issues is also weak. A creative usage of ancient Classics and a judicious involvement of current issues have proved successful in teaching. Some teaching cases will be examined: the creative involvement of the BBC version of Beijing Olympic Opening Ceremony; a made-up dialogue between Confucius and Socrates; the use of world maps in revealing ethnocentrism; students’ learning moment on Plato’s Cave theory, etc. By examining these successful teaching cases, the author hopes to explore the significance of such a course in enhancing students’ awareness of both civilizations. In the author’s view, the significance of such a course is not only to expose students to the cores of both civilizations, but more importantly, to expose them to an outsider’s view of our own culture, improve the ability of introspection by comparison, and make changes to improve China’s reality today.

A combination of the teaching of ancient classics and the linkage to current issues can well serve these goals.

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曾琳 Zeng Lin 翻译活动的重塑力量 The Shaping Power of Translation zenglin2008@gmail.com 翻译 “催化”社会和政治变革的现象在不同文化，不同历史时期都存 在。与此同时，翻译也重写原文本， 并在不同程度上颠覆了作者的权威。 翻译的这种重塑力量究竟体现在哪些方面，又是什么因素导致了这种颠覆？ 以上问题是本文探讨的重点。本文在梳理相关理论的同时辅以不同时期的中 外文学翻译为例，试图论证翻译的这种重塑力量并不是“主要文化”、 “强势 文化”的专利，其实，“边缘文化”或者“弱势文化”也同样会出于种种原 因而在翻译活动中重塑并改写来自强势文化的文本，重塑作者的风貌。但是， 翻译学研究，尤其是后殖民主义视角的翻译研究主要集中在揭露西方强势文 化对边缘文化和文本的操纵和改写。本文认为重塑力量应被视为翻译活动的 本质，这一本质可以通过对不同文化及翻译文本进行双向性及历时性的研究 比较予以揭示。本文就是希望通过对中外文学翻译文本的这种历时性梳理， 给出例证，并最终证明重塑力量是翻译活动的本质，这种本质不以权力的强 弱和文化的强弱而决定。 Translation has been a “catalyst” that effected political and social change in different countries. Yet, by the same token, translation can also be rewritten to subvert the source text and the authority of the original author. This paper aims to examine this power of translation and pinpoints the main factors that constitute the shaping power of translation. By drawing examples from the literary translation between Chinese and English, the author makes the point that the shaping power of translation is maneuvered by both the “primary” culture and the “peripheral” culture to serve its particular needs. The examples are drawn from translations between English and Chinese, but the issues outlined are not language specific. While previous studies focus mostly on the process that typically involves a Western culture rewriting the text of a non-Western (in this paper, the Chinese) culture, the present paper argues that this is not confined to any single culture, either strong or weak, nor to a certain period of time in history. This paper, thus, aims to analyze the power of translation in a bi-directional manner and regard the shaping power of translation as a dynamic force in both Western and Chinese culture.