This article examines the fiction of the Self-Reliance Literary Group as a form of ethical narrative in which modern subjectivity is constituted through processes of moral choice rather than through the affirmation of predefined ethical norms. Moving beyond approaches that interpret these works primarily in terms of individual liberation or social reform, the study argues that the ethical significance of the Self-Reliance Literary Group's narratives lies in their capacity to stage moral dilemmas, ethical hesitation, and responsibility within the specific historical context of colonial modernity in Vietnam during the 1930 s. Drawing on narrative ethics and literary ethical criticism, the article analyzes how ethical meaning is generated not only through characters' actions and decisions but also through narrative form, including open endings, shifts in focalization, and the deliberate suspension of moral judgment. These narrative strategies invite readers to participate in ethical reflection rather than to accept fixed moral conclusions. By situating Vietnamese modern fiction within broader debates on ethical narrative and moral reasoning, this study contributes to the reconfiguration of ethical criticism from a comparative and non-Western perspective, highlighting the discursive potential of Vietnamese literature in global discussions of narrative ethics. (sic)(sic)(sic)(sic)(sic)"(sic)(sic)(sic)(sic)"(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).
Sinologist Andrew Lam once presented The Peony Pavilion (Mudan Ting,<<(sic)(sic)(sic)>>) as "Romeo and Juliet of the East." Tang Xianzu also mentioned "Four dreams in my life, I am only satisfied with The Peony Pavilion." Although The Peony Pavilion is not as well-known as Romeo and Juliet worldwide, its cultural imprint is noticeable in its adaptations. Sinologist Cyril Birch takes it as the best work of lyricism in Chinese drama. This article will pay close attention to how poetically the two plays represent love, by comparing their titles, names, structures, styles, seven-character quatrains and sonnets, vulgarities, etc. This paper demonstrates that they all contain the holistic poetic nature in different language systems and cultural backgrounds. (sic)(sic)(sic)(sic)(sic)(sic)center dot(sic) (Andrew Lam)(sic)(sic)<<(sic)(sic)(sic)>>(sic)(sic)"(sic)(sic)(sic)<<(sic)(sic)(sic)(sic)(sic)(sic)(sic)>>".(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic): "(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)."(sic)(sic)<<(sic)(sic)(sic)>>(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)<<(sic)(sic)(sic)(sic)(sic)(sic)(sic)>>, (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic) (Cyril Birch)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic),(sic)(sic),(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic): (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).
Drawing upon Henri Lefebvre's theory of the production of space and introducing Gernot B & ouml;hme's "aesthetics of atmosphere," this paper explores the liquefaction and corporeal turn of urban spatial boundaries in contemporary American fiction. It contends that as the demographic complexity and organizational flexibility of the modern American metropolis increase, traditional functionalist and physical demarcations between the public and private spheres have become increasingly obsolete. Through an in-depth interpretation of Underworld, Open City, and Let the Great World Spin, this research finds that "atmosphere," acting as an interstitial "quasi-thing," reconfigures the dialectic between the public and private realms through sonic infiltration, emotional resonance, and mechanisms of power exclusion. On one hand, the public sphere utilizes the "expansive force" of atmospheric saturation to reinforce collective memory and communal ties. On the other hand, individual "contrastive experiences" and bodily "ecstasies" carve out microscopic sites of resistance against grand narratives within spatial fissures. The study suggests that urban space is not a rigid physical container but a phenomenological field of force continuously reshaped by bodily practices and embodied perceptions. This shift not only heightens the self-awareness of individual existence but also reveals the ethical possibilities for the reconstruction of subjectivity within the modern cityscape. (sic)(sic)(sic)(sic)(sic)& centerdot;(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)& centerdot;(sic)(sic)(sic)"(sic)(sic)(sic)(sic)"(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)<<(sic)(sic)(sic)(sic)>>,<<(sic)(sic)(sic)(sic)(sic)(sic)>>(sic)<<(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)>>(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)"(sic)(sic)"(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)"(sic)(sic)(sic)", (sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)"(sic)(sic)(sic)"(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic); (sic)(sic)(sic)(sic), (sic)(sic)(sic)"(sic)(sic)(sic)(sic)(sic)"(sic)(sic)(sic)"(sic)(sic)"(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).
The present research study focuses primarily on the common challenges of translation strategies and their negative consequences on comparative literature studies. The problem addressed in the present study centers on the challenges posed by translation methods that create certain obstacles in comparative literature studies. By the way, they explore how urgent it is to develop literary translation strategies for the sake of having valuable results of investigations and treasury findings of Arabic literature and culture throughout the world, and by the way, being perfectly recognized in the world's literatures and cultures on an equal footing. As a matter of fact, the research study can help translation specialists and experts as well as professors to do intensive studies in this regard on the one hand, and on the other, the literary comparatists will be aware of certain problems and consequently they will make sure of the poetic text details (form and content + denotatively and connotatively) even from the source text - taking help from its bilingual native speakers. The reason fundamentally lies in the significance of fair comparison not only between two literary works or two poems but also between two cultures and societies for literature is being defined as the mirror of life, the mirror of society, the mirror of culture, and the aesthetic reflection of situations and the way people introduce their poetic imageries to be effectively attractive and efficiently influential on their audience or readers. (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic), (sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic);(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic) ((sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)"(sic)(sic)(sic)(sic)"(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).
The golden masks unearthed from the Sanxingdui and Jinsha sites, as iconic artifacts of ancient Shu civilization, reveal through their craft differences not only technological evolution but also profound transformations in the belief system of the ancient Shu people. Taking the construction of divinity as its core perspective, this study compares the differences between the gold masks from these two sites in terms of material selection, manufacturing techniques, and morphological characteristics. Combined with archeological context and documentary records, it unveils the intrinsic correlation between craft evolution and belief systems. The research finds that Sanxingdui gold masks, through their attachment-based craftsmanship, reinforced the unity of divine authority and kingship, while Jinsha gold masks, through the technological breakthrough of creating independent objects, accomplished a transformation of belief from symbols of deities to vessels of ancestor worship. This process both perpetuated the core spirit of ancient Shu civilization and adapted to the demands of social structural changes, providing crucial clues for undserstanding the ancient Shu pathway within the pluralistic yet unified pattern of Chinese civilization. (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).
This article argues that Victorian poets were precursors to British poetic Modernism and that they had many poetic attempts that, in their revolutionary nature, and daring experimenting spirit can be considered Modernist. Apart from the introduction and the conclusion, the article has the following sections: (a) Browning's Dramatic Monologue: Intrapersonal Poetry, (b) Fragmenting and Freeing of Verse: Alfred Tennyson's Contribution (to Modernism); (c) Sprung Rhythm: Creating One's Own Rhythm; (d) Organicism: Let Sounds (and Structure) Convey the Message; and (e) Allusions: Worlds into Words. Under these subheadings, the paper explores some of the characteristics of Victorian poetic experimentations that turned, in the twentieth century, into characterizing features of British Modernist poetry. It is worth noting that despite their significance, the Victorians' sheer individual poetic attempts of creating new, unconventional forms of expression never crystalized into a theory. Victorian poetic experimentations are viewed against the backdrop of the great economic, religious, and cultural upheavals of the time. The paper considers the ways the Victorian audience and Modernist poets responded to these Victorian attempts of renewing (Modernizing) English poetry. (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic): (a) (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic): (sic)(sic)(sic)(sic)(sic); (b) (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic): (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic) ((sic)(sic)(sic)(sic)(sic))(sic)(sic)(sic); (c) (sic)(sic) (Sprung Rhythm): (sic)(sic)(sic)(sic); (d) (sic)(sic)(sic): (sic)(sic) ((sic)(sic)(sic))(sic)(sic); (sic)(sic) (e) (sic)(sic): (sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)20(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic) ((sic)(sic)(sic))(sic)(sic)(sic)(sic)(sic)(sic)(sic).
This study explores the "Traditional Chinese Medicine (TCM)+Chinese" education model and its role in promoting global dissemination of TCM culture, based on empirical research in nine Thai universities. Facing challenges of language barriers and cultural differences in TCM communication, the model integrates TCM professional education with Chinese language training to cultivate localized talents proficient in both TCM practice and cross-cultural communication. Findings reveal that the model, featuring a 5-6-year curriculum with 25%-30% Chinese language credits and HSK Level 5 requirements, has effectively addressed terminological translation issues and improved clinical communication efficiency. Supported by Thai policies and Sino-Thai academic collaboration, the model has fostered 2194 registered TCM practitioners and a nationwide service network by 2024. It demonstrates that integrating professional competence, language proficiency, and cultural understanding can transform TCM from a "Chinese experience" to a "global solution," providing a paradigm for international TCM education and cultural soft power enhancement. (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)"(sic)(sic) (TCM)+(sic)(sic)"(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)5(sic)6(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)25%(sic)30%,(sic)(sic)(sic)(sic)(sic)(sic)(sic)HSK(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)2024(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)2194(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)"(sic)(sic)(sic)(sic)"(sic)(sic)(sic)"(sic)(sic)(sic)(sic)",(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).
This article investigates the literary strategies employed by contemporary African American writers: Ta-Nehisi Coates, Colson Whitehead, and Angie Thomas, in articulating the struggle for equality and justice. Using a qualitative-descriptive method informed by postcolonial and critical race theory, the study analyzes Between the World and Me, The Nickel Boys, and The Hate U Give. The analysis focuses on four dimensions: narrative style and structure, symbolism and imagery, genre and form, and language and tone. The findings demonstrate that Coates utilizes an epistolary narrative to personalize systemic racism through intergenerational reflection, while Whitehead adopts a dual-timeline structure to expose the historical continuity of racial violence. Thomas employs a first-person linear narrative within young adult fiction to foreground lived experience and youth resistance. Symbolic representations, such as the Black body, reform institutions, and everyday objects, serve as powerful critiques of systemic oppression. Genre hybridity and strategic language choices further expand the social reach of these texts. This study argues that contemporary African American literature operates as both an aesthetic form and a mode of social advocacy, transforming narrative innovation into a critical intervention in global discourses on justice, race, and humanity. (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)-(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)<<(sic)(sic)(sic)(sic)(sic)(sic)(sic)>><<(sic)(sic)(sic)(sic)(sic)>>(sic)<<(sic)(sic)(sic)(sic)>>(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic); (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic); (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)"(sic)(sic)(sic)(sic)",(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).
This paper presents a contrastive review of similar proverbs in Arabic and English, aiming to explore cultural and linguistic nuances within each language. The objective is to identify shared wisdom, values, and social insights while highlighting differences in cultural contexts that shape these expressions. Through a qualitative analysis of selected proverbs, the study investigates their meanings, usage, and implications in daily communication. Findings indicate that while many proverbs in both languages convey parallel messages, subtle variances arise due to cultural, historical, and social factors unique to each. These findings suggest that proverbs reflect deeper societal attitudes and traditions, and their interpretation is context-dependent. The paper recommends further cross-cultural studies on proverbs to enhance understanding of linguistic diversity. In conclusion, this study underscores the importance of proverbs as cultural artifacts, offering insight into both the universal and specific human experience across Arabic and English. (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).
In recent years, the resurgence of mythical elements combined with metanarrative strategies in contemporary Chinese science fiction has emerged as a significant direction in literary narrative experimentation. Taking three works published in Science Fiction World: "Chasing the Sun,"" "Love Story of Qinghai Lake" and "The Mystery of Tithonus" as case studies, this paper explores how mythic motifs are rewritten within the science fiction context and analyzes the significance of such mythic metanarrative in a postmodern framework. Research reveals that these works employ metanarrative techniques to continually expose the fictional nature of their narratives, achieving a dual demystification of traditional myths and scientific rationality. Simultaneously, as myths undergo re-enchantment, they become vital resources for cultural identity construction and ethical reflection. Consequently, Chinese science fiction demonstrates a paradigm shift from future prophecy to cultural reconstruction, embodying the openness and self-awareness characteristic of postmodern literature. (sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)<<(sic)(sic)(sic)(sic)>><<(sic)(sic)(sic)(sic)(sic)>><<(sic)(sic)(sic)(sic)(sic)(sic)>>(sic)(sic)(sic)(sic)(sic)<<(sic)(sic)(sic)(sic)>>(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)"(sic)(sic)(sic)(sic)"(sic)(sic)"(sic)(sic)(sic)(sic)",(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).
Qianziwen is a renowned ancient Chinese primer classic authored during the Southern Liang Dynasty (502-549 AD) by Zhou Xingsi. It consists of precisely 1,000 distinct Chinese characters organized in rhymed quatrains. Based on the self-constructed parallel corpus, this article attempts to examine the intercultural interpretation of two English translations of Qianziwen by Elijah Coleman Bridgman (1801-1861) and Ernst Johann Eitel (1838-1908). The study reveals that the translators approached the text differently, particularly in their semantic cultural explanations, historical allusion interpretation, and cultural interpretation of paratexts, reflecting their distinct understandings of the text's cultural significance. The variances in intercultural interpretation had great impact on pedagogy, readers' cultural perception, Sino-western cultural dialogue and the emergence of early English Sinology. <<(sic)(sic)(sic)>>(sic)(sic)(sic)(sic)(sic) (502-549 (sic))(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)1000(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)<<(sic)(sic)(sic)>>(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)<<(sic)(sic)(sic)>>(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).
Grounded in Variation Theory, this study examines cross-language variation through a comparative analysis of English and Chinese translations of Dostoevsky's Crime and Punishment. The Theory of Variation explores phenomena arising from cultural heterogeneity during the dissemination of literary works, offering a new perspective and method for the research of literary translation. Since the early twentieth century, more than forty Chinese and over ten English translations of Crime and Punishment have been published. This analysis focuses on four influential translations: the Chinese versions by Yue Lin and Zeng Siyi, and the English versions by Constance Garnett and Oliver Ready. It reveals specific phenomena of variation, identifying the dominant variation at the linguistic level as addition, at the cultural level as the loss of cultural meaning, and at the aesthetic level as a downgrading of aesthetic feeling. Investigating the underlying causes of these variations offers insights into the countries' linguistic and cultural peculiarities and their profound influence on the translator's approach to literary translation. (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)<<(sic)(sic)(sic)>>(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),<<(sic)(sic)(sic)>>(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic): (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).
The migrations from the Balkans to Turkey are among the largest migration events in the Eurasian region in recent history. After the migrations, the Turkish community with the "Balkan" identity has constituted one of the important elements of Turkish sociology. Among the Turkish and Muslim communities who migrated from the Balkans, those who migrated after 1950 have a more dominant "immigrant" identity, and elements related to their Balkan cultural background have been better preserved. The cultural fabric of the Balkan migrant community in Turkey can be analyzed primarily through traditions and customs, as well as in areas such as language, folklore, and literature. The literary works produced by poets and writers from the intellectual class among Balkan migrants serve as one of the most significant reflections of this "immigrant memory" in Turkey. This study focuses on the theme of "immigrants" in the poetry of Turkish-speaking poets born in Bulgaria who were forced to migrate to Turkey, with specific limitations in terms of time, region, and subject matter. While conducting a comparative analysis of the migration and immigrant-themed poems of these poets, the aim is to highlight the distinct, widespread, and emphasized characteristics of the "immigrant" identity within the literary context. (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic),(sic)"(sic)(sic)(sic)"(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),1950(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)"(sic)(sic)"(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)"(sic)(sic)(sic)(sic)"(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)"(sic)(sic)"(sic)(sic),(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)"(sic)(sic)"(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).
Grounded in Foucault's theory of power and the body, this paper, in dialogue with post-structuralism, feminism, and critiques of consumer society, examines the gendered implications of the imagery of "mutilated lips" in contemporary American fiction. It argues that lips, as the nexus of desire and power, have been culturally sexualized, commodified, and internalized into women's self-discipline. Texts such as Last Night in Twisted River and American Pastoral link lip trauma to sexual violence, class oppression, and fractured maternal bonds, exposing the collusion of patriarchy and consumerism in sustaining gender order through aesthetic norms. At the same time, mutilated lips also signify possibilities of resistance: stuttering, filth, and acts of self-destruction function as practices of "counter-gaze," carving out spaces for subjectivity within disciplinary structures. The study concludes that the imagery of "mutilated lips" represents not only individual trauma but also a postmodern ethical metaphor wherein domination and resistance coexist. (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)"(sic)(sic)(sic)(sic)"(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).<<(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)>>(sic)<<(sic)(sic)(sic)(sic)>>(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic): (sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)"(sic)(sic)(sic)",(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic),"(sic)(sic)(sic)(sic)"(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).
The study compares the works of representatives of Western and Eastern culture -Volodymyr Vynnychenko and Lu Xun. Common features of the works of Ukrainian and Chinese authors have been identified: focus on the transformation of outdated traditional forms and methods in literature, involvement of new themes, problems, images and genres, social engagement, excessive journalism, use of the modernist technique of stream of consciousness, use of the narrator, use of simple vernacular, sharp criticism of the social system, Nietzschean trace, use of the image of a madman to denote a political opponent and dissident, etc. Historical, genetic, and typological connections between the analyzed works, in which the spirit of European modernism is keenly felt, have been proven. The author emphasizes that talented writers do not imitate European cultural influences. They interpret foreign trends in their own way, adapting them to the peculiarities of their own national literature. The comparison of the works of prominent representatives of seemingly different cultures allowed us to show that no political, ideological, geographical, religious, linguistic, or even mental barriers can stop intellectual exchange within individual nations and entire cultures. (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)--(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)"(sic)(sic)(sic)(sic)"(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic): (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic); (sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic),(sic)(sic)(sic)(sic)(sic); (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic); (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic); (sic)(sic)(sic)(sic)(sic)(sic)(sic)"(sic)(sic)(sic)"(sic)(sic); (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic); (sic)(sic)(sic)(sic)(sic)(sic)(sic); (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic); (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic); (sic)(sic)"(sic)(sic)"(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic),(sic)(sic),(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).
Margaret Atwood’s The Heart Goes Last is a dystopian narrative about living in a post-apocalyptic world and striving for safety at all cost, with freedom being something the characters are willing to sacrifice on their way to a better life. This article offers a rereading of this novel using the framework of a slasher horror story to reveal its full meaning. The argument is shaped by contemporary theories of surveillance, consent, and horror: Thomas Hobbes’s social contract, Michel Foucault’s theory of panopticism and Shoshana Zuboff’s concept of surveillance capitalism, to show how control in the Positron system operates not through overt violence but through internalized discipline, emotional complicity, and data extraction. Read alongside Carol Clover’s and Isabel Pinedo’s horror frameworks, the novel is shown to blend the tropes of the horror genre with the psychological and institutional terror of normalization. Additionally, theories put forward by Aviva Briefel and Sherryl Vint highlight the body as both target and tool of control. The article concludes with an analysis of Atwood’s nonfiction writing on freedom, positioning the novel as a timely allegory for contemporary problems with defining freedom and finding value in it.
Academic definitions of the Sanxingdui bronze mask with protruding eyes as a "mask" are limited. From design and semiotic perspectives, this study proposes its essence may be that of an independent, bodiless deity statue. Research indicates this deity statue employs "pointed ears and protruding eyes" as its core symbols, constructing divine signifiers like the "geometric gaze" through surreal forms. The piece-molding technique and the "bronze face/clay-wooden body" materiality metaphorically represent the dialectical relationship between the "sacred and the profane." It establishes a hierarchical structure of "top-middle-base levels" through its pictorial genealogy and spatial arrangement, while its bodiless form further intensifies the transcendence of divinity. Cross-civilizational comparisons reveal it breaks from traditional anthropomorphic expressions, forming a paradigm of "impersonal divinity." In ritual practice, it forms a dual mechanism of "static ontology - dynamic medium" with wearable masks, jointly materializing the construction of theocratic beliefs. This study provides a new analytical dimension for research on divine expression in early civilizations.
Since its official proposal in 2005, Variation Theory has received significant attention and high praise from academic circles both domestically and abroad. Theo D'haen, editor-in-chief of The European Review, and Professor of English Comparative Literature at the University of Leuven in Belgium, also spoke highly of it. Theo D'haen said, "Professor Cao Shunqing's Variation Theory of Comparative Literature marks a constitutive phase in Chinese comparative literature's relationship to the discipline of comparative literature in general." Therefore, the author interviewed Professor Theo D'haen on the topic of "Why Variation Theory Marks an Important Stage in the Study of Comparative Literature." In Theo D'haen's view, "Cao's variation theory contributes to the greater acceptance of translated literature & mldr;.it also fosters worldwide cultural and literary dialogue. "Cao's variation theory is an original and important contribution to international comparative literature studies and a decisive step on the road to a specifically Chinese variant of comparative literature studies." (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)2005(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)<<(sic)(sic)(sic)(sic)>>(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)"(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)"(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)"(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)& mldr;& mldr;(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),""(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)."
This article aims to determine the timeline of when Malay translations and introductions of A Dream of Red Mansions began to emerge. We will review previous discussions surrounding the translation and cultural dissemination of A Dream of Red Mansions within the Malay context and seek to correct any unfounded conclusions presented in those studies. Through an analysis of the various Malay translations, we aim to present a detailed portrayal of A Dream of Red Mansions, highlighting its specific imagery as conveyed through these translations. We will examine the subtexts of each Malay version to shed light on how the work has been interpreted and understood in the Malay world. For the scope of this study, we will focus on Indonesia, Malaysia, and Singapore - regions where we can conduct thorough investigations into the reception and interpretation of this classic literary work. By concentrating on these specific areas, we hope to provide a comprehensive analysis of how A Dream of Red Mansions has been translated and disseminated in the Malay-speaking world. (sic)(sic)(sic)(sic)(sic)(sic)<<(sic)(sic)(sic)>>(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)<<(sic)(sic)(sic)>>(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)<<(sic)(sic)(sic)>>(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic),(sic)(sic)(sic)<<(sic)(sic)(sic)>>(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).
