1,721,017 research outputs found
Note per un dono segreto – Il viaggio in Italia di Shan Shili
No full textIl libro presenta e analizza il resoconto di viaggio che Shan Shili (1856-1945), moglie del Ministro di Cina in Italia, Qian Xun (1853-1927), compose nel 1910 dopo un anno di permanenza a Roma.This book is dedicated to the analysis of Guiqian ji, written by Shan Shili, the wife of the Ministry of China to Italy from 1908-1909, after her sojourn in Rome.
The analysis is aimed at pointing out the peculiarities of this text, one which is very difficult to classify, because it does not easily fit into any label of Chinese literary genres nor into any of women writing genres. It is a text that generically can be included within the youji, travel literature genre, but it greatly differs from the prototypes of Chinese travel literature. It is the first text mainly dedicated to the description of the art and the artistic heritage of Rome, a text which is built on the artistic itinerary that the author realized during her sojourn in Rome. Shan Shili tried to create a dialogue between Italy and China, through the description of their cultural, artistic and historical pasts
The First Translations of the Italian Literary avant-garde movement on the Chinese press at the beginning of the Twentieth Century
No full textIl contributo della letteratura italiana al rinnovamento e alla nascita del canone letterario moderno in Cina fu certamente limitato, soprattutto se paragonato ad altre tradizioni letterarie europee; tuttavia alcuni autori e opere italiane furono significativamente presenti nel dibattito culturale cinese di inizio Novecento. Alcune riviste del periodo (Xiaoshuo yuebao, Dongfang zazhi, Xin qingnian) offrirono ai loro lettori 'assaggi' di narrativa, poesia o drammaturgia italiana. Il contributo analizza le prime traduzioni di piéces futuriste pubblicate sulla Dongfang zazhi negli anni '20, per capire quale fu la lettura cinese di questa avanguardia letteraria, e quale il contributo, se ve ne fu, di questo movimento alla nascita del teatro parlato cinese. Queste opere furono solo tradotte o furono messe in scena nei nuovi teatri delle metropoli cinesi dell'inizio del secolo scorso?The role played by Italian literature in the renewal of the Chinese literary canon was certainly limited, compared to other western literatures. However Italian authors and their works were not completely absent in the cultural Chinese arena at the beginning of the 20th century. Some important magazines of that period (Xiaoshuo yuebao, Dongfang zazhi, Xin qingnian) offered to Chinese readers a taste of Italian fiction, poetry and drama. This paper will be focused on some of the first Chinese translations of Italian literary works published in the Twenties; these are theatrical pieces of Futurism Avant-garde, the unique literary contribution that Italy was able to offer to world literature at the beginning of the 20th century. The paper will also analyse two short novels written by the author who Chinese intellectuals, in that period, defined as “the first giant of Italian contemporary literature”: Gabriele D’Annunzio.
Through the analysis of translations and writings on the western drama by Song Chunfang, we will try to interpret what was the Chinese reception, or mis-reception, of these works, and what was the aim, and perhaps, the contribution of these translations in the process of definition of Chinese spoken drama. We will also try to determine whether these works were only translated for the pleasure of the reading or also played on stage in that period. And what was, if any, their contribution to the creation of the new modern Chinese drama and to the cultural and literary Chinese debate at the beginning of 20th century
Mirabilia Romane negli appunti di viaggio di Shan Shili
No full textUn resoconto di viaggio, compilato nel 1909 da una penna femminile, Shan Shili, che, per la prima volta, consegnò al lettore cinese una dettagliata e accurata spiegazione del patrimonio storico-artistico di Roma. Un’opera di difficile catalogazione, perché si discosta sia dai resoconti di viaggio di fine epoca Qing, sia dai generi letterari cui solitamente le donne cinesi affidavano la propria soggettività. La peculiarità del Guiqian è la continua ibridazione dei generi, i quali si fondono e si alternano nel corso dei dodici capitoli. L'opera di Shan Shili è il racconto e la descrizione di un percorso, di un itinerario artistico che la viaggiatrice compie all’inizio del Novecento, ma è anche il tentativo di dipanare una sorta di diacronia,in cui l'autrice tenta di ricostruire in termini storici l'incontro,il dialogo,tra Occidente e Cina.This essay is dedicated to the analysis of Guiqian ji, written by Shan Shili, the wife of the Ministry of China to Italy from 1908-1909, after her sojourn in Rome.
It is the first text mainly dedicated to the description of the art and the artistic heritage of Rome, a text which is built on the artistic itinerary that the author realized during her sojourn in Rome. Shan Shili tried to create a dialogue between Italy and China, through the description of their cultural, artistic and historical pasts
Italian Futurism in the Chinese press at the beginning of the twentieth century
No full textThe role played by Italian literature in the renewal of the Chinese literary canon was certainly limited, compared to that played by other Western literatures. However Italian authors and their works were not completely absent in the cultural Chinese arena at the beginning of the 20th century.
This paper is aimed at analyzing the reception, or “mis-reception”, of some Italian Futurist works in China at the beginning of the 20th century. Through the analysis of translations and writings on Italian Futurism written by Song Chunfang 宋春舫 (1892-1938) and Mao Dun 茅盾(1896-1981) and published in some of the most important Chinese periodicals of that period (i. e. Xiaoshuo yuebao 小說月報 and Dongfang zazhi東方雜誌), the paper will examine the different voices and positions within the new Chinese theatrical movement during the 20s and 30s of the last century. The paper tries to interpret what was the aim, and perhaps, the contribution of the Italian Futurist works, which were translated into Chinese and presented to Chinese readers in the process of defining Chinese spoken drama
Is it the Chinese language monosyllabic by nature? The Debate between G. I Ascoli (1829-1907) and G. Senes (1850-1920)
No full textL'intervento esamina come fu descritta la lingua cinese e le sue caratteristiche alla luce della nuove teorie della linguistica comparativa, in particolare prende in esame la polemica che scaturì tra due linguisti italiani all'inizio del XX secolo, G. Senes e G. I. Ascoli, in merito alla natura della lingua cinese, come prototipo di lingua isolante.
Il dibattito tra i due linguisti, che non coinvolse la nascente sinologia italiana, ebbe il merito di consegnare ad una platea più ampia il tema della lingua cinese e della sua cultura.The focus of this presentation is how the Chinese language and its main characteristics and features were discussed and used by Italian linguistics to support or to criticize some arguments and theories that the newborn comparative linguistics were affirming in the second half of the 19th century, by two Italian linguistics.
At the end of Nineteenth century and the beginning of last century the interest in Oriental languages and in particular in the Chinese language was quite strong, because Chinese was considered to be the prototype of an isolating language, and so it was important to demonstrate the validity of the new genealogy of all languages, with the theory of language families, which divided all language into three big groups or categories (agglutinative, inflected or isolating languages).
To understand how the Chinese language was instrumentally used in this debate, I will analyse the writings of two Italian authors, Graziadio Isaia Ascoli and Giuseppe Senes, published between 1860 and 1904, in particular the polemical essays that Giuseppe Senes wrote in response to articles and statements that had been published by Graziadio Ascoli in attempt to describe the monosyllabic nature of the Chinese language.
This debate between Italian linguistics, and not between sinologists, had the merit of drawing the attention of a broader audience to the Chinese language which freed it from its academic boundaries and restricted contexts. At the beginning of the 20th century the Italian Sinology, indeed, was less mature, and still more active in spreading Chinese culture and language outside the academic institutions
Cent’anni di Commedia in Cina: studi e traduzioni
No full textIl saggio ripercorre la storia della recezione della Divina Commedia in Cina dal primo 'assaggio', i primi tre canti dell'Inferno nel 1921, alla recente traduzione di Xiao Tianyou apparsa nel marzo 2021. Il saggio passa anche in rassegna i principali studi critici sull'oper
‘Tradition and modernity’ in the process of creation of Modern Chinese Drama: Song Chunfang and Western drama
No full textAt the beginning of the 20th century, the role played by Italian literature in the renewal of the Chinese literary canon was certainly limited, especially when compared to other western literature. Nonetheless the Futurist literary avant-garde, which began in Italy in 1909, drew the attention of some Chinese writers. Among them was Song Chunfang (1892-1938), one of the most outstanding and original intellectuals engaged in the debate on new Chinese Drama. He translated some futurist plays and wrote some essays on Italian and western drama in order to offer some personal contributions to the renovation of Chinese drama.
The paper aims to describe what was, if any, the contribution of the Italian avant-garde movement to the creation of modern Chinese drama, spoken drama (huaju), through the reading and analyses of some essays by Song Chunfang. His original opinions on how to renovate Chinese drama, often at odds with other intellectuals of the May Forth movement, and his positions on translation techniques of western plays (he proposed to use the gaiyi-adaption technique rather than the yiyi–literal translation or zhiyi–sense translation) were remarkable contributions to the literary and cultural debate of those years and an attempt to conciliate tradition and modernity in the process of creating new Chinese drama
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