Taiping leaders were adept at using material from traditional Chinese sources and Western Protestant writings. The Taiping Three Character Classic, or Sanzijing （SZJ） exemplifies the Taipings＇ skillful adaptation o...Taiping leaders were adept at using material from traditional Chinese sources and Western Protestant writings. The Taiping Three Character Classic, or Sanzijing （SZJ） exemplifies the Taipings＇ skillful adaptation of a pre-existing popular text in order to propagate its religious doctrine and political ideology. The traditional SZJfeatured an appealing style and imparted Neo-Confucian values to readers. The style of traditional SZJ contained a unique pattern that was kept in latter adaptations, while the text＇s content was modified to suit new realities. The Taiping SZJfollowed the structure of the traditional SZJ, but it provided its own historical ideas and utopian visions, which differed from Christian Millennialism. The Taiping utopian vision was not about the future, but about a return to the period of the ＂the three dynasties＂ in Chinese history, an approach also used by Confucian intellectuals. The persuasive power in Taiping propaganda text lies in Taiping＇s exploitation of Chinese and Western resources, especially in utilizing existing concepts, popular texts and cultural patterns.展开更多
＂Intersemiotic translation＂ is categorized by Roman Jakobson as one of three types of translation. Translation of illustrations in the late Qing novels, either directly from verbal signs or visual signs, can also be...＂Intersemiotic translation＂ is categorized by Roman Jakobson as one of three types of translation. Translation of illustrations in the late Qing novels, either directly from verbal signs or visual signs, can also be regarded as a typical kind of ＂intersemiotic translation.＂ The present article studies illustrations in Chinese Christian literature in the late Qing period, especially those in the Chinese translations of John Bunyan＇s works, The Pilgrim＇s Progress and The Holy War. Questions to ponder are how inter-semiotic translation occurs between these illustrations--in either transferring or transplanting the meanings from one sign system to another--and how it establishes its legitimacy through religious negotiation, ideological conflict, and cultural integration. The illustrations in the Chinese translation versions of The Pilgrim ＂s Progress manifest the translators＇ and illustrators＇ manipulation of repertoires of Chinese religious signs, thereby indigenizing a foreign religion. These illustrations, nevertheless, are not only associated with Christianity, but also with the long-lasting visual signs of Chinese culture. Hence these translated illustrations could be considered as a type of ＂Translated Christianity.＂展开更多
文摘Taiping leaders were adept at using material from traditional Chinese sources and Western Protestant writings. The Taiping Three Character Classic, or Sanzijing （SZJ） exemplifies the Taipings＇ skillful adaptation of a pre-existing popular text in order to propagate its religious doctrine and political ideology. The traditional SZJfeatured an appealing style and imparted Neo-Confucian values to readers. The style of traditional SZJ contained a unique pattern that was kept in latter adaptations, while the text＇s content was modified to suit new realities. The Taiping SZJfollowed the structure of the traditional SZJ, but it provided its own historical ideas and utopian visions, which differed from Christian Millennialism. The Taiping utopian vision was not about the future, but about a return to the period of the ＂the three dynasties＂ in Chinese history, an approach also used by Confucian intellectuals. The persuasive power in Taiping propaganda text lies in Taiping＇s exploitation of Chinese and Western resources, especially in utilizing existing concepts, popular texts and cultural patterns.
文摘＂Intersemiotic translation＂ is categorized by Roman Jakobson as one of three types of translation. Translation of illustrations in the late Qing novels, either directly from verbal signs or visual signs, can also be regarded as a typical kind of ＂intersemiotic translation.＂ The present article studies illustrations in Chinese Christian literature in the late Qing period, especially those in the Chinese translations of John Bunyan＇s works, The Pilgrim＇s Progress and The Holy War. Questions to ponder are how inter-semiotic translation occurs between these illustrations--in either transferring or transplanting the meanings from one sign system to another--and how it establishes its legitimacy through religious negotiation, ideological conflict, and cultural integration. The illustrations in the Chinese translation versions of The Pilgrim ＂s Progress manifest the translators＇ and illustrators＇ manipulation of repertoires of Chinese religious signs, thereby indigenizing a foreign religion. These illustrations, nevertheless, are not only associated with Christianity, but also with the long-lasting visual signs of Chinese culture. Hence these translated illustrations could be considered as a type of ＂Translated Christianity.＂
