This book examines the works of four contemporary first-generation Chinese migrant writer-artists in France: François CHENG, GAO Xingjian, DAI Sijie, and SHAN Sa. They were all born in China, moved to France in their adulthood to pursue their literary and artistic ambitions, and have enjoyed the highest French and Western institutional recognitions, from the Grand Prix de la Francophonie to the Nobel Prize in Literature. They have established themselves not only as writers, but also as translators, calligraphers, painters, playwrights, and filmmakers mainly in their host country. French has become their dominant―but not only―language of literary creation (except for Gao); yet, linguistic idioms, poetic imagery, and classical thought from Chinese cultural heritage permeate their French texts and visual artworks, reflecting a strong translingual and transmedial sensibility. The book provides not only distinctive literary and artistic examples beyond existing studies of intercultural encounter, French postcolonial, and Chinese diasporic enquiries; more importantly, it formulates a theoretical model that captures the creative dynamics between the French/francophone and Chinese/sinophone spaces of articulation, thereby contributing to contemporary debates about literary and artistic production, interpretation, and circulation in the global development of comparative/world literature, as well as intermediality studies.

lgli/Travel_Translation_and_Transmedia_Aesthetics_by_Shuangyi_Li.pdf

lgrsnf/Travel_Translation_and_Transmedia_Aesthetics_by_Shuangyi_Li.pdf

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Li, Shuangyi

Springer Nature Singapore Pte Ltd Fka Springer Science + Business Media Singapore Pte Ltd

Springer Nature, Singapore, 2021

Singapore, Singapore

2, 20220103

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This book examines the works of four contemporary first-generation Chinese migrant writer-artists in France: François CHENG, GAO Xingjian, DAI Sijie, and SHAN Sa. They were all born in China, moved to France in their adulthood to pursue their literary and artistic ambitions, and have enjoyed the highest French and Western institutional recognitions, from the Grand Prix de la Francophonie to the Nobel Prize in Literature. They have established themselves not only as writers, but also as translators, calligraphers, painters, playwrights, and filmmakers mainly in their host country. French has become their dominant--but not only--language of literary creation (except for Gao); yet, linguistic idioms, poetic imagery, and classical thought from Chinese cultural heritage permeate their French texts and visual artworks, reflecting a strong translingual and transmedial sensibility. The book provides not only distinctive literary and artistic examples beyond existing studies of intercultural encounter, French postcolonial, and Chinese diasporic enquiries; more importantly, it formulates a theoretical model that captures the creative dynamics between the French/francophone and Chinese/sinophone spaces of articulation, thereby contributing to contemporary debates about literary and artistic production, interpretation, and circulation in the global development of comparative/world literature, as well as intermediality studies. Shuangyi Li is a Lecturer in Comparative Literatures and Cultures at the University of Bristol, UK. He is the author of Proust, China and Intertextual Engagement: Translation and Transcultural Dialogue (2017) (International Comparative Literature Association Anna Balakian Prize 2019). He received his PhD in French at the University of Edinburgh and was selected as pensionnaire étranger at L'École Normale Supérieure, Paris (2012-13). He worked as a Swedish Research Council/Vetenskapsrådet Research Fellow at Lund University, Sweden (2019-2021).

This book examines the works of four contemporary first-generation Chinese migrant writer-artists in France: Francois CHENG, GAO Xingjian, DAI Sijie, and SHAN Sa. They were all born in China, moved to France in their adulthood to pursue their literary and artistic ambitions, and have enjoyed the highest French and Western institutional recognitions, from the Grand Prix de la Francophonie to the Nobel Prize in Literature. They have established themselves not only as writers, but also as translators, calligraphers, painters, playwrights, and filmmakers mainly in their host country. French has become their dominantbut not onlylanguage of literary creation (except for Gao); yet, linguistic idioms, poetic imagery, and classical thought from Chinese cultural heritage permeate their French texts and visual artworks, reflecting a strong translingual and transmedial sensibility. The book provides not only distinctive literary and artistic examples beyond existing studies of intercultural encounter, French postcolonial, and Chinese diasporic enquiries; more importantly, it formulates a theoretical model that captures the creative dynamics between the Frenhc/francophone and China/sinophone spaces of articulation, thereby contributing to contemporary debates about literary and artistic production, interpretation, and circulation in the global development of comparative/world literature, as well as intermediality studies. Shuangyi Li is a Lecturer in Comparative Literatures and Cultures at the University of Bristol, UK. He is the author of Proust, China and Intertextual Engagement: Translation and Transcultural Dialogue (2017) (International Comparative Literature Association Anna Balakian Prize 2019). He received his PhD in French at the University of Edinburgh and was selected as pensionnaire etranger at L'Ecole Normale Superieure, Paris (2012-13). He worked as a Swedish Research Council/Vetenskapsradet Research Fellow at Lund University, Sweden (20192021).

Acknowledgements
Contents
List of Figures
1 Introduction
References
2 Diverse Forms of Travel and Translation in Franco-Chinese Fiction
2.1 Overview
2.2 François Cheng’s “Spiritual Journey” Through the “Middle” Kingdom
2.2.1 Temporal and Spatial Movements of Travel
2.2.2 Moving Through Mountain-Water
2.2.3 Quests for Knowledge and Love
2.2.4 Travel as Translation
References
3 Translingual Rewriting and Transhistorical Fabulation
3.1 Introduction
3.2 L’éternité n’est pas de trop and the Transcultural Rewriting of Literary Traditions
3.3 Shan’s Transhistorical Novels and Exotic Auto-Translation
3.4 Animals, Humans, and Fabulative Sextuality in Dai’s L’Acrobatie aérienne de Confucius
3.4.1 The Sextual Genesis of the Novel
3.4.2 Animality, Sexuality, and Narrative Style
3.4.3 Race, Species, and Their Dangerous Crossings
References
4 Sinograph, Calligraphy, and Novelistic Aesthetics
4.1 The Transcultural Makeover of the Chinese Script in Dai’s Franco-Chinese Novels
4.1.1 Exoticizing Proper Names in Balzac et la Petite Tailleuse chinoise
4.1.2 Psychoanalyzing Ideograms in Le Complexe de Di
4.1.3 Journey Through Languages in Par une nuit où la lune ne s’est pas levée
4.2 (Sino)graphs in Franco(n)Texts: From Calligraphy to Novels
4.2.1 François Cheng’s Travel Through Calligraphy
4.2.2 Shan Sa’s Calligraphic Approach to Impératrice
4.2.3 Sinographic Novelistic Aesthetics and World Literature
References
5 Translational (Anti-)Storytelling and Transmedia Aesthetics
5.1 Novel, Film, and the Art of Translational Storytelling: Dai Sijie’s Balzac et la Petite Tailleuse chinoise
5.1.1 Transmedia Storytelling
5.1.2 Translation and Exophone Reading
5.1.3 Translation and Exoticism
5.2 Image Transformation as Translation Beyond Narration in Gao Xingjian’s Alternative Cinematic Expressions
5.2.1 Gao’s View of Cinema
5.2.2 Gao’s Cinematic Images
5.2.3 Translation as Transmedia Aesthetics
References
6 Conclusion
References
Index

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Erscheinungsdatum: 04.01.2022

2022-02-07