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Xiao Hong: corpi in fuga
Get PDFXiao Hong (1911-1942) il cui vero nome era Zhang Naiying, attraversa il primo novecento cinese lasciando inizialmente le tracce riconosciute di scrittrice impegnata, sensibile ai temi della guerra e della patria e alla descrizione della sua terra (Manciuria) devastata dell’invasione giapponese. In seguito la critica cinese la ignora durante tutto il periodo maoista, perché il suo apporto letterario non appare abbastanza concreto e convinto, le sue povere creature finzionali – soprattutto contadine, vittime della miseria e della violenza sia essa naturale o umana, politica o di genere – non contribuiscono alla costruzione di una visione positiva del radioso futuro che attende la Cina. Viene riscoperta solo alla metà degli anni ’80 del secolo scorso, quando la critica sia cinese sia occidentale rilegge le sua opera, anche in chiave femminista, superando il pregiudizio ideologico e riconoscendo la grandezza di Xiao Hong nel panorama della letteratura cinese moderna.
Esilio, fuga, insicurezza sono parole che descrivono adeguatamente lo stato esistenziale e letterario di Xiao Hong: nella vita quanto nella sua scrittura troviamo le coordinate di una provocatoria instabilità, che Yan Haiping (2006, 136) definisce “mobile violence”, dovuta alle sue scelte anticonformiste come donna e scrittrice, alla tragica precarietà dei tempi, ma anche a una ricerca instancabile di testimonianza che la spinge a non fermarsi (fisicamente e intellettualmente) sulla soglia delle apparenze e all’ombra delle idee. Per questo non solo i suoi personaggi femminili, frammentari ma intensi, sono venati di un realismo lirico anche quando sfregiati dalla condizione di umana sofferenza che li affratella agli animali e a tutte le creature viventi, ma anche la sua stessa figura, nei riflessi autobiografici presenti nelle sue opere, emerge come fonte di costante memoria e mimetico verismo. La pratica espressiva che più caratterizza la fuga di Xiao Hong da stereotipi e ignoranza è la rappresentazione del corpo femminile dislocato e rivelato in tutta la sua oscena verità: gravidanza, malattia, abusi, invecchiamento, i suoi “placeless bodies” (Yan Haiping, 2006, 146) sono segni tangibili di sottomissione ma anche di resilienza a un destino di genere
Absorption enhancement using nanoneedle array for solar cell
No full textA theoretical analysis of light trapping properties of Gallium arsenide (GaAs) nanoneedle arrays(NNAs) solar cells is presented. The effect of geometric parameters on the optical absorption of NNAs has been analyzed by using rigorous coupled wave analysis algorithm and finite element method. Compared with nanowire arrays and thin-film layer counterpart, higher light absorption efficiency can be achieved in GaAs NNAs, due to the graded refractive index of NNAs that incident light can be coupled into the NNAs efficiently. The absorption profiles at different wavelength and angle-dependant optical properties of NNAs are also evaluated. Meanwhile, the short-circuit current of GaAs NNAs for various lengths at fixed filling factor is obtained
Cuentos selectos de Xiao Hong : traducción al español y comentario
Get PDFTraducción al castellano de la obra Cuentos selectos de Xiao Hong (萧红短篇小说选) de la autora china Xiao Hong y análisis del proceso de la traducción. Se trata de unos cuentos de temática patriarcal que ilustran la vida de la mujer joven en China. No se han traducido ni al castellano ni al catalán hasta el presente momento. Sí existe una traducción previa al inglés, no obstante, ésta no se ha hecho servir como puente para una traducción indirecta. Finalmente se llevará acabo un estudio de la metodología empleada en los problemas emergentes en la traducción.Traducció al castellà de l'obra Cuentos selectos de Xiao Hong (萧红短篇小说选) de l'autora xinesa Xiao Hong i anàlisi del procés de la traducció efectuada. Es tracta d'uns breus contes de temàtica patriarcal que il·lustren la vida de la dona a la Xina. No han sigut traduïts al castellà ni al català. Sí que hi ha una a l'anglès però mai no s'ha fet ús com a pont per una traducció indirecta. Per últim, es durà a terme una anàlisi de la metodologia emprada i dels problemes sorgits a l'hora de traduir.The present work consists of a translation of Xiao Hong's Selected Stories (萧红短篇小说选) from Chinese into Spanish and analysis of the translation process. The stories depict patriarchal influence as well as woman in China. It hasn't been translated nei-ther into Spanish nor into Catalan yet, there is however a previous translation into English, which I haven't used as relay translation in order to translate indirectly from English instead of Chinese. Lastly, I will carry out an analysis of the methodology and all problems that have arisen during the translation
Xiao Hong xiao shuo yu yan yan jiu
No full textZhang Naiying (1911 - 1942), pseudonym Xiao Hong, was an outstanding writer throughout the 1930's and 1940's. Given her short life span, she has written many great works in the twentieth century. She is a writer with characteristics; all these were reflected in her works, especially in the use of vocabulary as well as her ways to express thoughts and feelings. However, literary critics concentrate mainly on her life and thought, whereas overlook her style of writing and use of language. Thus, this thesis delves primarily into the rhetorical devices and the analysis of the lexicon used by Xiao Hong in her fiction.This thesis comprises six chapters. Chapter One deals with the aims and scope of the study. Apart from giving a brief account of the studies on Xiao Hong's fiction, it also points out her unique literary language as "san-wen style".Chapter Two and Three revolves around the analysis of the lexicon used by Xiao Hong. This includes findings for Xiao Hong's frequently used vocabulary and the distinctive aspects of these usages. Examples were extracted from the literature and were carefully examined. Discussion includes the use of idioms, colour words, onomatopoetic words, foreign words and native words, measure words, use of "men" (plural form), repetitive words, function words and others.Chapter Four and Five attempt to analyse in detail the rhetorical devices used in her fiction. These devices enrich the literature in expression. The most distinctive feature is the use of metaphor. Xiao Hong has shown her unique style in expression with her own preference. Owing to the long discussion needed, two sections were devoted for exploration.Chapter Six, the concluding chapter, using sources based on personal interpretation and findings, sums up the thesis and gave an overview on Xiao Hong's style of writing. It also supplements the use of words of the titles of the fiction as well as sifts out the differences in Sheng Si Chang in different versions of publications. This thesis reflects the value of Xiao Hong's fiction, particularly in the area of stylistic study, and draws out a great many facets still awaiting further study
Xiao Hong and her Tales of Hulan River
Get PDFThis bachelor thesis focuses on Tales of Hulan River (Hulan he zhuan 呼兰河传), a masterpiece written by Chinese modern author Xiao Hong 萧红 (1911-1942). The prose was published posthumously in 1942. It has distinctive autobiographical elements and describes hard village life in Northeastern China. The prose consists of seven stories that can be read separately or as a whole. The thesis aims to introduce the writer and her work, and more importantly analyze Tales of Hulan River. The main focus of the analysis is look for unifying principles of the seven stories and name them, while considering the prose as a possible cycle. For unifying principles we use Forrest Ingram's approach of dynamic patterns such as setting of the stories, characters, recurring motifs of home, death and the overall mood of the narrative
«Manchurian Princess» by A. Heidok and «Spring in a Small Town» by Xiao Hong: Comparative Analysis
No full textThe article compares two works — «Manchurian Princess» by Russian emigrant writer A. Heidok and «Spring in a Small Town» by Chinese writer Xiao Hong, which were created in approximately the same epoch and reproduce the same place of action — the north-east of China. Heidok’s work appealed to the mystical ideas of Chinese culture (the idea of reincarnation); Xiao Hong’s work was deeply influenced by Russian classical literature. Both stories present a story of tragic love, which breaks the traditions of a conservative society and radically changes the lives of the characters. The meaning of the characters’ lives lies in returning to the true nature of man — love, because only in it does existence find meaning; at the same time, the theme of love is closely intertwined with the theme of death. In both works there is an intersection of different epochs — the past and the present; at the same time, it is the past that determines the course of events of the present. Specific situations of the characters’ lives are revealed in a broad historical and cultural space, which allows the author to put before the readers the most important ethical and philosophical problems. A. Heidok’s story shows how life in the previous birth influences the actions of a person in subsequent births; in Xiao Hong’s story «the past» is the power of tradition, which does not allow a girl to get an education and determine her own destiny.</p
Hui yi Lu Xun xian sheng.
No full text回憶魯迅先生 /蕭紅 ---p.1-55Chapter 附錄一魯迅的生活 /許壽裳 ---p.56-83Chapter 附錄二魯迅和青年們 /景宋 ---p.84-109後記 ---p.110蕭紅著.Xiao Hong zhu
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