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Grant County, Winifred and Mabel Lee
No full textA studio portrait of Winifred and Mabel Lee, daughters of Mr. and Mrs. Richard Lee of Pinos Altos.8 bit; 517 ppi; ScanMaker 9800X
Aesthetics in Gao\u27s Soul Mountain
Get PDFIn her article Aesthetics in Gao\u27s Soul Mountain Mabel Lee analyses Nobel Laureate 2000 Xingjian Gao\u27s aesthetics. Transnational conglomerates today control the book industry from publishing house to bookshop and through aggressive market strategies they exert considerable influence on readers. Nonetheless, there are writers who refuse to capitulate to market demands and seek only to actualize their aesthetic ideas in the creation of literary texts. One such writer is Gao, author of the novel Soul Mountain. Lee posits that Gao\u27s aesthetics is founded on the close interrogation of both Chinese and European models and practices and explores specific aspects of Gao\u27s aesthetics and how these are embedded in his novel Soul Mountain. In an Appendix the article includes lists of Gao\u27s works in Chinese and English, as well as a list of studies on his oeuvre
Nobel Laureate 2000 Gao Xingjian and His Novel Soul Mountain
Get PDFIn her article, Nobel Laureate 2000 Gao Xingjian and his Novel Soul Mountain, Mabel Lee introduces Gao Xingjian, the winner of the Nobel Prize in Literature of 2000. Lee is the translator of several of Gao\u27s works from the Chinese into English, including the Nobel\u27s main text of reference, Soul Mountain (first published in Chinese in 1990). Lee\u27s article combines descriptions of Gao\u27s biographical background and its relevance to his work and writing with a brief analysis of literary aspects of Gao\u27s work based on tenets of the comparative literary and cultural studies approach. As is evident in Gao\u27s texts, Lee explains that Gao refuses to enter political and ideological debates in or with his texts and that Gao, consequently, argues vehemently against the inroads on the individual in modern times wreaked by tyrannical politics, mob action, religious fundamentalism, and crass commercialism. For Gao the creation and production of literature represents the solitary act of the individual and thus the return to the author, in theory and practice. In the history of literature, of significance is the fact that this is the first time the Nobel Prize for Literature has been awarded to an author on the basis of a body of work written in the Chinese language
Nobel in Literature 2000 Gao Xingjian\u27s Aesthetics of Fleeing
Get PDFIn her paper, Nobel in Literature 2000 Gao Xingjian\u27s Aesthetics of Fleeing, Mabel Lee explores the aesthetic dimensions of Gao Xingjian\u27s play Taowang (Fleeing 1990), and its significance in establishing the recurring motif of fleeing in Gao\u27s later writings on literature. Lee argues that the intensely emotional times during which Gao wrote Fleeing were comparable to those seventy years earlier confronting May Fourth writers. Urging his compatriots not to be bystanders, Lu Xun, the most influential of May Fourth writers, had chosen to allow his creative self to suicide, as shown in the prose-poems of Yecao (Wild Grass 1927). For Gao Xingjian, however, such heroic gestures are anathema. He is prepared to be a bystander and he refuses adamantly to sacrifice his creative self. Although the play is undeniably an aesthetic appraisal of a specific political event, Fleeing is resoundingly a declaration for literature that is unburdened by politics
The Spiritual Road is a Hard Road to Walk: Gao Xingjian’s One Man’s Bible as Translated by Mabel Lee: A Political Primer
Get PDFThis review considers One Man’s Bible by Gao Xingjian, as translated by Mabel Lee. It looks at: an addressee’s influence; events that took place during the Cultural Revolution in China (from the mid-1960s to the mid-1970s); and subsequent disillusionment
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Translations of Poems by Yang Lian
No full textBiographical note on Yang Lian
Yang Lian grew up in Beijing and began to establish his credentials as a poet from 1979. His early collections in China include Ritualisation of the Soul (1985), Desolate Soul (1986), Yellow (1989) and his long poem Yi that was first published under the title Sun and Man (1991). His poetry began to appear in English translations by John Minford, Sean Golden and Alisa Joyce in the Hong Kong translation magazine Renditions (1983 and 1985). He travelled to Australia in 1988, and then to New Zealand in 1989. After the June 4 events in Tiananmen Square, Beijing, he sought and obtained New Zealand citizenship. In 1991 he relocated to London where he now lives. His poems, essays and criticism have been collected in Yang Lian’s Works, 1982–1997 (1998) in two volumes and amounting to over 1000 pages, and in Yang Lian’s New Works, 1998-2002 (2003). Yang Lian’s major collections in English include: Masks and Crocodile (1990), The Dead in Exile (1990) and Yi (2002), translated by Mabel Lee; Non-Person Singular (1996), Where the Sea Stands Still (1999), Notes of a Blissful Ghost (2002), Concentric Circles (2005), translated by Brian Holton; and Unreal City: A Chinese Poet in Auckland (2006), translated by Jacob Edmond and Hilary Chung. Selections of his poems have been translated in over thirty languages, and have enabled him to travel regularly to literary festivals all over the world. In 1999 he won the Flaiano International Prize for Poetry
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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