Contemporary Chinese Short-Short Stories A Parallel Text

C O N T E M P O R A RY CHINESE S H O R TSHORT S TO R I E S A PA R A L L E L T E X T TRAN TR AN SL AT ATED ED A N D E DI DIT T E D BY

AILI MU WITH MIKE SMITH

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‫ܧ‬٩Ֆࡄय़ჭϦϢЙጭйТࡖϡЗ‫׺‬䩟ЇӸ‫ݬ‬ϦϤӎм р䦙ҹ٩ԁϪ‫ھ‬ҏҽϡ‫ے‬Ե䦚Ѽґᰫᑳঞ௅䩟ϢЙؑϴՐ ‫ࢹ٭‬й‫܊‬ѸϽϡӤҨϱҶՖԚૠҏҽϡϦ‫ث‬䦚‫ڦ‬аЅмϨ мকѨࠖЅϡӑѓя೯ѷԳ䩟ϢЙНйЃϺ䩟՝ҤѺ‫ܠ‬Ѕм‫ߞܬ‬ϡࣳঙЇ ϽϽҶ‫מ‬䩟Ϧ‫ث‬Ѕмҹ٩ϡջєЇ‫׺‬ӓҙඞ䦚Ԕԁ‫ױ‬ӎЗ䩟࣊ѼХϩЪЄ Ϫߙ‫ڶف‬ЋЅҹ஬‫׶‬ԡѺ䩮цјЙϱЛ䩟ЅмЇ࣊ଓ‫࠻଼੶ظ‬䦚 ۵ӓ䩟ϨѤм‫ڪࢴࡪޥ‬ϡЅмѺТӔսР Ϫ 䦚ԚԝҏЎ䩟Ѥм ѺТЅϩЌҨ‫ؽ‬ѓЅҹϨЅмѺ‫ܠ‬ϡϪ‫׊‬ᥩᥩѪӪ䦚‫҇ױ‬૮ୂўϢЙϤЏ Ϥ‫ݘ‬Тϣ҇ࠤྋҀ䦚ՉϨ ё䩟ൖᅸ䦛ྫ৸ာϦϲ٤ՏϢЙ‫ڀ‬Һ䩟ϨԒ ֎‫ܙ‬ЄсҤ䩟䦧юϪࡢϩЄ҇‫ߞܬ‬ЌҨϥ૦ৄϡѴࢣ䩟ґۘຎ֔䦨䦚䩛 Delabatista and Grutman ҷ ‫ސ‬䩜ॎѼϽЄّмрђϩϣ҇‫ܥ‬Ҥ‫ߞܬ‬䩟ԔϨϸϣ ԣࢣЎ䩟Є҇‫ߞܬ‬ϡ‫ے‬ᑭٍѓϨϢЙТ҅ЅՉӔϥϤ৏ϡѨӥ䦚ԗ‫ߞܬ‬ԁ ҹ٩ֲׁвϱ䩟ѓࡷЈϡ‫ڌ‬ѺҤܴЧӌцϸϣѴӥ䩟ҥϥцѺТ૎ૺϡ҂ ֚䦚 ጞࡽ঒䦛ࡽ஻ૌԗцࡷЈ‫ڌ‬Ѻϡ‫ߎڽ‬ঞՊϦѸϽϡࠧ࢓ҏЅ䦚ј‫ڶ‬Ћ䩟 Ԫࢬፈࡠ֏Ѓ䩟߭‫ܬ‬ϥϣϬվّϪळϡ‫ߞܬ‬䦚֍ӹϨӊ䩭䦧߭‫ܬ‬Ϥϥࢬ ፈϡ‫ߞܬ‬䩟ґϥЋࢬፈӛѓϡ‫ߞܬ‬䦨䦚䩛&URQLQ 䩜ࡽ஻ૌϡ؇ࡠ䩟Ѫ௅ ϥϨኗ᎝ϣϬϡЈথܴ䩟й۬Ќ‫܀࡙ۯޢ‬ԁϺ䦧‫؝‬ӊ‫۟ف‬Ԯ‫ݱ݆ڍ‬ЅϡԒ ֎䦨䩭䦧Ҩ֝цԝϡϤआԸ٩䦨ϴؒϢЙ䦧Ϥआ‫ޥ‬Ԝ䦨‫׏‬цϡ೫ଯ䦚䩛 䩜ӆ‫ڪ‬

1. Տබ՜http://www.iie.org/Research-and-Publications/Open-Doors/Data/Fact-Sheetsby-Country/2015 . 2xQF f93dk ‫ݓ‬ЃѤммক‫ڌ‬ड़൓Ͽ䩛II 䩜2015ё䦭՟‫ݐ‬эӵ‫ۏ‬ ‫ݍ‬䦮ԍ޿ϡّࣝ䦚

INTRODUCTION

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lobalization compresses the time and space in which we live and accelerates exchanges among nations, cultures, and peoples. It goes without saying that we need even greater e ort to understand one another. As China’s role has grown in world a airs, we have seen a surge of interest in Chinese language in the West and an unprecedented enthusiasm to learn about Chinese culture, yet the myth of the Chinese language as exceptionally di cult to learn and of China as enigmatic remains a truism for many.

We feel a sense of urgency when more than 304,000 students from China are currently studying on U.S. campuses,1 while few American students have the language competence to study in Chinese in China. Norman Denison had, as early as 1976, called attention to the fact that there were places in the world where “adult multilingual competence is the rule, not the exception” (Delabatista and Grutman 2005, 12). Beneath the surface of o cial monolingualism of most nation-states, multilingualism has become a fact of life. It is in our students’ best interest to embrace this phenomenon with innovative approaches to language and culture education.

Michael Cronin contextualizes the problem thus: nglish is a minority language in translation terms because “it is not a language of translation but a language for translation” (1998, 160). His perspective is a call for a new model of proactive participation in “a world of continuous relational adjustments.” The “constantly shifting power nexus” requires “endless calibration” of our strategy of engagements (161). This book takes a rst 1. Please see the Institute of International ducation’s “Open Doors Data: Fact Sheet: China,” last accessed June 23, 2016, www.iie.org/Research-and-Publications/Open-Doors/Data /Fact-Sheets-by-Country/2015 . 2xQF f93dk.

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ӛ৪ؒϡ۵ࡣ䩟‫ٷڈ‬ЛϥЋӥѴ᜝⎵ҏ࢑ґጞоϡҷϣ‫܌‬䩟۬ϥЋഷ‫۔ޚ‬ ϱϡԒ֎ԍ‫ھ‬ґцӾЎఉ‫ߞܬܬ‬ҹ٩‫ڌ‬Ѻϡ೫ଯԁҤ֚ՖҲ݆‫ݱ‬䦚

ϸӆఉ߭цؕ‫ࢴܬה‬ӆԗఉ‫ߞܬܬ‬Ѻ‫ܠ‬ԁЅмҹѺ䦙ҹ٩ϡѺ‫๎ܠ‬Ћϣ Մ䩮‫ؚ‬ϡֲพᕴବЌ‫ࡾݨޢ‬Ѻ‫ߞܬܠ‬ϡҙёٛѺТࡽ‫ע‬Ѻ‫߳ܠ‬Ꭿ䦚Ϩϸϣ ‫ܬה‬ᕴବЅ䩟߭ҹࢬፈ‫ࡾݨ‬ԑ‫ث‬Ѕҹ֍ҹ䩟ґԑ‫ث‬ҍϩࡾӊтࣁ౓်ԛ‫ڽ‬ ᗙЌҨ䦚Җ‫ٷ‬ЁϥѺТԁӾѵЅмՖҲ‫ٹ‬Պૠ҃ӛ‫ؑۓ‬ϡ䦚 ЩЩЛ ϡҹՄ‫ئ‬෥䩟йߵ‫ؚ‬ϨЅмϡܲጷ૦ߵ䩟ٍϸϣҹՄюЋӥѴ‫ݱ‬ ׁܴ‫ߞܬ‬ԁҹ٩‫ڌ‬ѺϡԮඡ䦚ϸϣࢴӆӛ‫ש‬ϡӑԘ䩟ӗ֏ϣડϨ ‫ܒ‬ਅ ૼ䩟දԷ޸ׁࠅஇ‫ڌ‬Ѻ䦚ЅҹҙёٛϡѺТḫؑᇓϽ୫ཹ֝фѓ֚‫ڄۯ‬䩮 ‫כܬה‬Ҳϡ۴ܴЋјЙҰ҃‫܀‬ԁ䩟ᓛࣁ䦙‫ڄۯ‬ϸҖҤӌҌࡧ٤పϦ‫ݡכ‬䦚 ѺТ‫࡙ۯ‬сϨЅ߭ҹҏҽ҂‫ے‬ᑭ‫ߎ܀‬䩟ЇЌӸьјЙϨ‫॒ܬ‬ЅѺϿ᫢୫߃ ‫ط‬ϡ‫֏ݬ‬䦚‫ڪ‬Ѕҟ‫א‬ϡҟϬ‫ݞ‬Ѩњ䩟ЁปϩϣϬᆨׁϡ୫ཹѓ֚ԣ䦚ԣ Ѕӛѯоϡӡॶ䩟Ёϥऴӊ؎‫ئ‬ӡ‫ݞ‬ѨϡϼЎҹє॒䩟ґۘϸԈ‫ܒ‬୫䦙ю ‫ܬ‬䦙ཞ‫ܬטڈܬ‬ԣܼϡ‫ث࡙ټ‬౥䦚‫ܒ‬䦙୫䦙‫ܬ‬䦙ѓ֚ҳϡՊ‫ש‬ԁ‫ؚ‬ЙоѴ ϡࠏଛԮ‫ڍ‬ϤϽ䩟ԣЅϡ୫‫ڈܬ‬ԣܼ‫܊܊‬ѓ֚‫ئ‬ቕ䩟т‫ٸ‬ϩԡ֏䩟‫ڈ‬Һ‫ڽ‬ НЌ‫߃ډب‬юண‫ث‬䦚ϩԮҒ‫ح‬Ϩ‫ڌ‬ѺЅٍѓӆ‫ڪ‬䩟Տ‫ؕ܀‬ӆ‫ڪ‬ඵഅϡ䦭‫ܬ‬ ߞҹ٩ϡૠ҃๎֡䦡䦡Ғ‫ٍح‬ѓϸӆఉ߭цؕ‫ڌ‬୰䦮䦚Ѫ‫ڋڹ‬ਢԗ‫ڪױ‬ѓ ӊ૦֡ࠅࡄ䦙֣֠୳ॗࠅ䦙‫ڈ‬ϥϣцϣϡ୳ࢴࠅ䩟༊ࢴϸࢡҹ‫א‬НЌЁϿ ϩӛ∼೯䦚 ӆ‫ڪ‬ϡऴӆԑ݉ߣ‫؀‬ҴϦ䩭Һ௰়୞௢ീ‫ߞܬ‬䩟‫ۓ‬છ‫ڶ‬ѐѺ‫ܠ‬ҹ٩䦚 ‫ڪ‬Ѕϡ‫ݞ‬ѨЁϥӾ‫ڊ‬Ѕмӑ‫ٷ‬ϡ֍ࡷӑԘ䦚‫ؚ‬Й૽ϥӾѵЅмघϿϡ‫ܐ‬ ؕ䩟Ї‫ྱބ‬ϦЅмϪ‫࢕ھ‬ӎԮКϡ՜֣䦚 ϨЋϦ‫ث‬ЅмϪя‫׶‬Т҅հϱҤ

2. цЅмЩЩЛҹՄѸ૘࢛ϡೀཾ䩟‫ئ‬Ԇϥ‫ؚ‬ϨРЧ30ёЅϡтࣁф૦ߵ䩟Տ‫ࢯߎ܀‬ ൕԝ਒ϽѺо‫ؗ‬घ2006ёо‫ؗ‬ϡ䦭ᑙᑎϡਝᓗ䩭Ӿ‫ڊ‬ЅмЩЩЛ䦮ϣ‫ڪ‬Ѕϡ৉ߞ䩟 йߵᢣЕውϨ࠶ࡽլᆼо‫ؗ‬घ2012ӛоϡ䦭ЅмфЈਅ൨݁࢓䩭ू੽фҹ٩ϡ‫܀‬ ԁ䦮ϣ‫ڪ‬Ѕ֣Ћ“ЩЩЛҹՄϡ៷в”ϣҹ䦚

INTRODUCTION

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step toward an ambitious goal adjusting current Chinese language and cultural learning strategies for the education of future global citizens who will embrace this new model.

This parallel textbook integrates the learning of Chinese language with the learning of Chinese literature and culture for advanced students. The format helps overcome the plateau in language and culture learning by facilitating reading original Chinese texts with nglish translation and by developing critical skills necessary for in-depth interactions with China today.

Because of the genre’s formal properties and its popularity in China, the short-short story2 is key to achieving the goal of integrated learning. Averaging fteen hundred characters in length, the selected stories have proven particularly e ective for classroom study. The parallel format allows students to participate in the construction of a necessarily large repertoire of vocabulary and usages. The active cross-references between Chinese and nglish also accelerate the learning of how to use terms properly in context. A combined glossary and usage guide is also provided for each story, to de ne in context verbal, idiomatic, and local or colloquial expressions that resist interpretative mastery. The selection of words and expressions is based on their uniqueness of usage and pronunciation and the possibility for ambiguity rather than on the frequency of their appearance. For detailed suggestions on how to use this book for a course, seminar, or independent study, please look at the short essay “How to Use This Parallel Text to Teach Chinese Language and Culture” at the end of this volume.

This volume is based upon the conviction that the learning of culture complements mastery of language. The selected stories are all original works by contemporary Chinese writers. They o er authentic glimpses of Chinese society and address issues of common concern. However, these stories provide more than convenient access to everyday life in China.

2. For a detailed introduction of the genre in China, especially its development and popularity in the past thirty years, please see the introduction to Loud Sparrows: Contemporary Chinese Short-Shorts (New York: Columbia University Press, 2006) and Aili Mu’s article “The Rise of the Short-Short Genre” in China and New Left Visions: Political and Cultural Interventions (Lanham, MD: Lexington, 2012).

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۬ϡӎЗ䩟ϸԈӑԘѸЋϢЙ٤పϦՖՊ‫ࢅت‬Ѕмϡಬዓ䦚ӹЋ䩟Ѕм ϪҟяҟЗϡТ҅䩟۬ϥЅм࡛ٚёҹ٩ф‫ۯࢅت‬ጯϡз૟ᅲѴ䦚‫ڪ‬Ѕϡ ѧ֐ϣϬ‫ݞ‬ѨੜؕϤӎϡҰ֣дЋ॰‫א‬䩟ҟ‫א‬ϡ‫ݞ‬ѨЁࣻᄴаϣϬ‫޴ࢅت‬ ݉䦚ϸԈ۠ѵകѼᤀਧϨЅмϪТ҅ϡҤҤӌӌϡ޴݉ϥ䩭٘фწ䦙ᖮ䦙 ം‫ݵ‬䦙䩛ࢅ䩜੽䦙ІϢ ‫ئ‬ԛ䩟ӱ‫ڤ‬ф‫ڶ‬ӎ 䦙࠘ӌ䦙䩛‫ࢿع‬䩜єЕ䦙ࠝ࿧ йߵ‫ډ‬䦚 ‫ڪ‬Ѕҟ‫א‬Ёйϣࢡߦҹэࢡ䦚ॎѼ‫ۘ׍‬Ն֘Ћࢴ‫ٷ‬ϡ༊ࢴՄࡑਢӡᶲ ᫙䩟Ԕ‫ؚ‬ϡ৭ࡢϩ৉ࣔࢴ‫ٷ‬ԑ‫ث‬ҹ٩‫݉޴ࢅت‬Һዧϡ‫ۋ‬Ќ䦚ߦҹӛвϡӑ ѓ䩟ϥᇓϽґۘࡳ‫ٷࢴء‬цҟϣ‫א‬Ұ֣޴݉ϡԑ‫ث‬䩮‫ؚ‬Ќ‫ٷࢴࡾݨޢ‬ᓛஞ ‫ݞࢴث‬Ѩϡ؇ఀ䦚ϸԈߦҹ‫܊܊‬ϿঠߵЅмࣄ੗䦙ҹ٩Ѕ‫ئ‬ϩϡ‫ܠ‬ཞ‫ڈ‬Ү ࡑ䦚Է۵ϡ䩟ϥٍࢴ‫ٷ‬цӊ‫ݞ‬Ѩϡԑ‫࣠ث‬ယӊԷ‫ئ‬ӡϡҹ٩‫॒ܬ‬ҏЅ䦚ҟ Ϭ‫ݞ‬ѨҏњЁปϩϣ‫࠶ڍ‬эӵܴॗ‫ڹ‬Ҧ֣䩟й۬೩тՖϣ‫܌‬ϡ༊ࢴ‫ߎڽ‬䦚 Ҧ֣੅ІᢣЕውϨѤм‫ڌ‬ဨϸԈ‫ݞ‬ѨЗϡҮࡑ䩟Է‫ڋޕ‬цѺТНЌϿ߁Ϻ ϡ੡ԡЁϩӛఱц䦚 ӆ‫ڪ‬ӛ‫ש‬ϡѧ֐֧ӑр䩟٧ӊѧϬϤӎळՄ䦚ԷЅѧдҏϣϥҌӜӑ р䩟Ғटվ‫ۋ‬䦙ࣼྤ䦙۴ۘ䦙ඥжࠃ䦙ขКે䦙੗੏Т䦙ข౜࠭䦙℺ᰧ ာ䦙ྴ݉ѐфể‫ݔ‬ҏҳ䦚јЙ‫ڊ‬ԣϦЩЩЛҹՄзҹ਴ϡϣӌ䦚ҷԏण‫ۥ‬ Ӿ‫ڊ‬Ѕм‫ئ‬ϩϡϣणҹѺ਴भ֠‫׭‬Ϫ‫ॵ؃‬ю䦚јЙ‫ڈ‬ϥϨмр‫ڈ‬ओՄϡҹ Ѻ਴भҜพѦ஍‫ڗ‬ੲࠖ䩟‫ڈ‬ϥॵюϸԈҜพϡӑрф൜প䦚зњϣण䩟ॎ ѼϨЅмЇЁϥҪмҌӜϡЩЩЛӑр䩟‫׊‬ЇӎЗϥϱІ‫ٿ‬Ҳ‫׭ٿ‬ϡ૦ ֡‫ښ‬࿲䦚ϧϿϨјЙӾЅтѴభ‫ڪݒ‬䦙ू௞‫؃ܥ‬䦙‫֞ھ‬䦙௕ࣤԍࠖ‫؃‬䦙࣮ ۵Үԑ䦙‫خ‬ԥ䦙఻‫ھ‬䦙േЎ಑ᅔѽ‫ݙ‬ё䩟ࡷ‫ٷ׭‬䦙‫ؔڌ‬䦙Ͽ‫ڋ‬ҳҳ䦚ϸԈ Ϫ䩟ॎѼԁъԈझҨЋІѝϡТ҅ґ୓૓ϡӾ‫ڊ‬ЅмϪЬϩѮАϤӎ䩟‫׊‬ ‫ڊ‬ԣаъԈੵ؇‫ܐ‬ӑ䦙ԗҹѺԁᅮѤӾӑТࡖЅϤН‫ڈ‬ઑϡॵю‫ח‬дϡस ࣠ळՄ䦚ҟࢡ‫ݞ‬ѨњЁปϩӑ‫ߣٷ‬ೀ䩟‫ٷࢴז‬٤పϦӑ‫ٷ‬Ѵ૮䩟‫ܐ‬ӑࠧ ࢓䩟йߵјЙϨЅмӛիӧࣽࡄ֏ҳҞ֥䦚‫ֳܨ‬ϸԈҞ֥Ќ‫ۯٷࢴࡾݨޢ‬ ࡙Ұ҃ՖՊ‫ݞ‬ѨӾЅ䩟‫׍‬ԪЅԅЏц‫ݞ‬Ѩ֍‫ݘ‬сҹ٩Јᔎ‫ئݼ‬ϡЃ֚䦚

INTRODUCTION

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They are also pathways to China’s past and traditions, in that China’s ve thousand years of culture and tradition are best conveyed by the lives of its people. The thirty-one stories are grouped by theme into nine chapters, each of which centers on a traditional concept that still permeates those lives. These nine themes are: li (٘ ritual or propriety) and ren (წ humanity or benevolence); the concept of being lial (ᖮ [LDR); the working of yin-yang (ം‫ ;)ݵ‬approaches to governance ([ࢅ]੽); the sense of identity (ІϢ>‫ئ‬ԛ䦙ӱ‫ڤ‬䦙‫ڶ‬ӎ@); the importance of face (࠘ӌ); (romantic) love (єЕ); the issue of marriage (ࠝ࿧); and the meaning of yi (‫ ډ‬change). ach of the nine chapters is prefaced with a short essay. Though it does not mean to chart the course of the reading experience, the essay does function as a guide to the meanings of the concept in Chinese cultural tradition. The essay should open up rather than limit the reader’s understanding of each chapter’s theme, broadening the interpretative horizons of the stories. When a chapter preface invokes particular Chinese cultural or historical practices or experiences, it anchors particular understandings in their speci c contexts. Reading and re ection are further guided by a series of open-ended discussion questions at the end of each story. Generated from Aili Mu’s experience of teaching these stories in the United States, these questions anticipate and target problem areas of understanding.

The thirty authors selected belong to three di erent groups of writers.

One third of them are celebrity writers such as Han Shaogong, Wang Meng, Ge Fei, Chi Zijian, Liu Xinwu, Shi Tiesheng, Liu Zhenyun, Nie Xinsen, Wu Nianzhen, and Zou Jingzhi. They represent the genre at its most literary.

The second group is composed of literary professionals unique to contemporary China. They either hold o ces in state institutions for art and literature or work as writers and editors for these institutions. The last third, though nationally known as short-short writers, are ordinary people from all walks of life. Among them you will nd a village leader, some government o cials, a migrant worker, a retired civil servant, a project manager, a security guard, a handicapped daughter of a farmer, a business owner, a teacher, and an accountant. They, like many others trying to live a successful life in contemporary China, represent those at the grass-roots level who value writing as an essential part of life. A brief biography of the author follows each story. The additional information on authorship, background, and reception encourages readers to approach each story proactively to gain nuanced perspectives on each story’s culture of origin.

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඄ՖЅм‫ߞܬ‬ҹ٩Ѻ‫ܠ‬ϡ۵ϡᖝ‫ܕ‬Ϧӆ‫ڪ‬ϡ‫ݱ‬ϬࢬፈРࡄ䦚ϨϸϣР ࡄЅ䩟ϢЙ૽झҨ҂Ϻᇝӥӊ֍ҹ䩟Їࣘд۱ѓϦϢЙϡ߭‫ߞܬܬ‬ҹѺҌ ࡧфцЅмҹ٩ϡϦ‫ث‬䩟ߊҨ‫֚ޕ‬ԗѺТϡѺ‫ּܠ‬೯зϽ٩䦚߭ҹϡІѼ ༿ซϥϢЙ‫ټ״‬Ғϣϡ‫ކ‬ज䩮ϢЙцҟϬ‫ݞ‬ѨᅮѤҺ‫ڏ‬ϡӐѴϣࡋϤ᪄䦚 ϸ҈҂ϡ۵ϡ䩟ϥ‫ٷࢴֳ׈‬ϡԑ‫ث‬Ќ‫ۥ‬ԣߵѦ䩟ܼϺцҹӆ‫ֵৢٹ‬ዧϡө ീ䦚Ћ‫ױ‬䩟ϢЙХߊҨ‫فخ‬ӑԘϡ䦧֍ဝ֍‫ڏ‬䦨䩟ߊНЌЄс߈֙ӑԘϡ൘ ТҀ䦚ϸ҈҂ϡ۵ϡ䩟ϥ‫ٷࢴ҅ࢫֳܨ‬ϡϮ࡞К䦙ᅮ؇‫ڽބ‬ϡЌ҃ԛ䦙й ߵࡷЈтѴϡ҃Ҩ䦚 ‫ࢴܬהױ‬ӆҰϴӌ‫ז‬Ѻ‫ܠ‬Ѕм‫ߞܬ‬ҹ٩ϡЅ䦙ҙёٛѺТ䦚ӾѼ䩟‫ؚ‬ Ї޸ѓӊъԈцӾ‫ڊ‬ЅмЩЛфҹѺϩࣳঙϡϣડࢴ‫ٷ‬䦚ӆ‫ڪ‬ϡ‫ڋޕ‬䩟ў ‫૽ؚ‬Нйѓӑϣ՟ࠅϡҰϴ‫ڌࢴؘ‬୰䩟ЇНйѓӑЄणࠅࡄϡਤࣘ༊ࢴҹ ӆ䩟‫ڈ‬ѓӑІѺࢴӆ䦚Ѻ‫ߞܬܠ‬ϡҙёٛѺТХԗի೯ӊӆ‫ڪ‬ӛ٤పϡழ ࣥϡᔅࡾѺ‫੅ޝܠ‬䦚ϸԈ‫੅ޝ‬ϩࡾӊјЙ‫ݞޟ‬ҌЈ䩟٤ҙఉ‫ܬ‬һ‫כ‬䩟ᓛࣁ Јϡҹ٩؇ࡠ䦚ӾѼ䩟ӆ‫ڪ‬ԁ‫حڗ‬Է‫ؚ‬ҹѺࢬፈϡҰϴ۵ϡ‫׍‬Ѫԏঊ䩟‫ؚ‬ ЇЋࢴ‫ٷ‬٤పѺ‫ߞܬܠ‬ҹ٩Јֵ‫ب‬ϡՄࡑ䦚ϨЛЅҹϡс߇䩟ϸӆ‫ܙڈڪ‬ Нй‫ࡾݨ‬йЅҹЋআ‫ܬ‬ϡࢴ‫ٷ‬Ѻ‫ܬ߭ܠ‬䦚 Ϩӆ‫ڪ‬ϡІਡЅ䩟ϢЙӔ૘਎ϦϱІϤӎ‫ߞܬ‬фҹ٩ϡҖϬѺ‫ٷ‬ҏҽϡ ׁӑ䩟Ї‫ڊے‬Ϧӆ‫ڪ‬ᅇТϡҮР䦚‫ב‬Ўϱ䩟ӆҹԗԳѢᶻ਎ӆ‫ڪ‬ϡ‫࣏ئݼ‬ ܴӛࡢϩϡ‫ۤހ‬䩟දԷϥఉ߭цؕϡҹӆфࢬፈӥᒃӆӱҒ‫ح‬ԐՖ‫ߞܬ‬Ѻ ‫ܠ‬ϡІϢ‫ࣔ܋‬䦙йߵҒ‫ح‬೩т౓်ԛ‫ڽބ‬фҹ٩෬౱䦚Ϩ‫֍فخ‬ҹϡߒ૜ ԛф৪ؒ߭ҹϡԟѤԛҖ‫ٷ‬ҏҽҵྜྷࡋ䩟ϣ‫ׯ‬ϥϢЙ൜‫ܐ‬ϸӆ‫ڪ‬ЗзϽϡ ྻႄ䦚ӹ‫ױ‬䩟ٍѓϸӆ‫ۓڪ‬ϴॸԮඡϡϣ‫܌‬䩟ϲϥϴцϢЙϡ֞ӑ҂ᅮዌ ϡд໯фԐዎ䦚‫ֳܨ‬ϢЙϡፈҹϿўࢴ‫ٷ‬䦧ϩӛක҃‫׍‬ҀϺϤԥ䦨䩮ґъ䦧‫ܩ‬ Ϥ֙䦨ϡҀҢϿࢫಿјЙцࢬፈӑЋЄॶᶻ౥҅҃ϡ‫ڶ‬ѐ‫ߎڽ‬䦚

INTRODUCTION

xix

The goal of facilitating Chinese language and culture learning has compelled the translation process. The texts in nglish attempt to remain faithful in lexical meaning to their Chinese originals but are also informed by our knowledge of both nglish language literature and Chinese culture to maximize learning e ciency. That the nglish must be natural and read well has been a driving principle. We paid close attention to the reproduction of the aesthetics of each story to make sure that connotative meaning might be grasped in addition to denotative understanding. To achieve this, we strove to preserve the “accents” of the original works and as much of their “defamiliarizing” e ects as possible. The intention is to activate the readers’ agency of inquiry, re ection, and discovery.

The primary audience for this text is intermediate and advanced learners of Chinese language and culture, but our translations are also aimed at the general reader interested in contemporary Chinese ction and literary translation. The book is designed to serve as both an intensive primary text or supplemental reading text and a text for self-study. Advanced learners of Chinese will also pro t from the wealth of resources included, which will aid in maintaining and improving their Chinese pro ciency or help to develop new cultural perspectives. Of course, the main goal of any literary translation is to allow new readers the experience of learning new aspects of culture and language. In the Chinese-speaking parts of the world, this volume may also bene t native Chinese speakers learning nglish.

In the preface we have elaborated on how the collaboration between two faculty members from two di erent languages and cultures resulted in this volume. The following pages describe the bene ts of the particular format of the book, especially how the parallel arrangement and translation practice encourage self-directed language learning, critical re ection, and cultural discovery. Walking the ne line of preserving the complexity of the original and maintaining the integrity of the nglish language has been a most exciting part of this project. Analytical scrutiny of what we have done is a necessary part of the critical composition of using this book.

We hope that our translation “disturbs” and that the feeling of “unsettledness” motivates students to consider the interpretive act of translation.

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‫ߞܬ‬ҹ٩Ѻ‫ܠ‬ϡ‫ׁݱ‬ ۵ӓϩϣϬѴࢣ䩟ϲϥѺЅҹϡѺТЪЄ䩟ґЌѺϺࡢϩ֠‫׭‬һ‫כ‬ϡ‫׊‬Ъ վ䦚Ғ‫ح‬ԗϣϬϨٟҜԿЌѓߣ‫؀‬ЅҹԁЅмӎ‐ӋӋ੷॥ϡѺТ䩟ഷ‫ޚ‬ юϣϬ‫ګ‬ЏЅмҹ٩䩟ЌԁЅҤтࣁԁ‫فۅ‬൓ӑԮ‫ڍ‬ϡϪҥ䩲ϸϥఉ‫ܬܬ‬ ߞҹ٩‫ڌ‬Ѻḫ‫ݸثۉ‬ϡ՜֣䦚 ԜҒ‫צ‬ᬓӛЯ䦭ԣܼ䦙ᆡ਎䦙ԝࢹ䦙ೀཾ䦮 &HQJDJH +HLQOH ϣ‫ڪ‬ ϡࡣ֣ӛဌܾ䩟ࠖӥϡ‫׏‬ѓϥ۵ӓЅ䦙ҙёٛЅҹ‫ڌ‬Ѻϡ೫ଯࣔ‫ז‬䩟ґ ҹ٩‫ڌ‬ѺϤРϥ䦧ញसӋႯж䦨Зϡᶑհ䦚䦭Ը٩ЅϡЅм䦮 &KHQJ 7VXL

ӛᄬԳϡϥ༊ࢴҤ֚䩮ґ䦭ՄࠟЅҹ䦮 &KHQJ 7VXL जԗԳѢ ӵϨϦܾࠟ‫ߞܬ‬ϡЌҨф৔ಌ䦚ٚඵӆϡ䦭Ѕмҹ٩༊ࢴ‫࠶ڍ‬䦮 &KHQJ 7VXL 䰭 ॎѼ‫݆מ‬ҹ٩Ѻ‫ܠ‬ϡԳϴԛ䩟ԔԷ۵ࡣϥЋ$3йߵࡣ‫ކ‬٩ ߎՆ҂‫ިކ‬䦚‫ף‬ඵӆϡ䦭‫ݞ‬Ѩф‫ࢅت‬䩭Ѕмҹ٩༊ࢴ‫࠶ڍ‬䦮 &KHQJ 7VXL 䰭 ЇࡖϨӎ҈ϡ՜֣䦚ϸԈ‫ڌ‬୰䩟Хϩ䦭սք䦮 ࢯൕԝ਒ϽѺо ‫ؗ‬घ ҳ䩟ЁЋഷ‫ޚ‬ѺТϡӥѓЅҹ৔Ќ҂ϦЪϮϡ֞ӑ䦚ԝҒЋϦ ‫ࡾݨ‬ѺТ֭ষ䩟䦭Ը٩ЅϡЅм䦮ф䦭Ѕмӌӌঠ䦮 0\&KLQHVH&ODVV //&

ЁϩҺࡧсҶӸϦ୫ཹٍѓࠏଛҳ䦚ԔԪ‫ݱ‬ՄϼЃ䩟Ѵࡖ‫ڌ‬୰ઑྩӾ ‫ڊ‬ҹ٩ଭ֝䩟Їઑվцҹ٩ҲЋ‫ٹ‬Պ‫ࢅڍ‬ϡԮ‫ڀ‬䦚 ޳‫ޕ‬ѴࡖӊЕႍ‫߹߮ܗ‬ϽѺϡѴࢣࡢϩ૦ৄԛ䩟ъАϢЙНйԐआ䩟۵ ӓѤмϽѺѦѺ‫ܠ‬ЅҹϡѺТ䩟ϱІԷ‫ؚ‬Ѻ॓ф֠‫׭‬ϡϪӔҮϽϽսРҹ ॓ф‫ࢅت‬Ϫҹ֠‫׭‬ϡѺТ䦚ϨЕႍ‫߹߮ܗ‬ϽѺ䩟䦭ѵяЅм䦮ф䦭Ѕмҹ ٩‫ࢅت‬䦮Җ՟ࠅϡѺТϽЄّϱІ‫ڋޕ‬Ѻࡨ䩟֞ࡄѺࡨ䩟఻Ѻࡨ䩟࠱Ѻࡨ йߵ‫ڌ‬ड़Ѻࡨ䩟ђϩվّϥࣄ੗䦙ू੽䦙‫ߞܬ‬ѺйߵϪणѺҳϡѺТ䦚ۘ ҹ॓䦙ۘϪҹ֠‫׭‬ϡѺТҰ҃ϱϼϸणࠅ䩟ϥӹЋјЙԚҞ䩟ϨԷ‫۔‬ϱϡ ੲ‫׭‬ТᄇЅ䩟јЙԁЅмघϿфҹ٩ϡૠ҃䩟۠վϤϿվӊъԈЂՖՊѺ भ֎ӾЅм՜֣֠рϡѺТ䦚Ғѵϡఉ‫ڌܬ‬Ѻ䩟‫ۓ‬છߎഒϺϸԈۘЅҹф ۘЅм୳ૢ֠‫׭‬ѺТϡϣડؑؒ䦚ЋϦўјЙ‫۔‬ϱѸϮсԁЅмӋ‫ے‬Ѭ䩟 ϢЙ‫ۓ‬છЋјЙ٤పЅм‫ߞܬ‬фҹ٩ҖҤӌϡ‫ࢅڍ‬Ҍࡧ䦚

INTRODUCTION

xxi

INTEGRATION OF LANGUAGE AND CULTURE LEARNING Learners of Chinese are many; graduates with professional pro ciency are few. How do we train a student who can greet a Chinese associate at the airport into someone who also understands Chinese culture well enough to develop and sustain collaborative relationships? This is an urgent issue for Chinese language and culture education.

As the title of Developing Chinese Fluency by Phyllis Zhang (Cengage Heinle 2010) suggests, the current pedagogical strategies at the intermediate and advanced levels of Chinese instruction are pragmatically oriented and only peripherally concerned with culture. Reading Into a New China (Cheng Tsui 2009) places the emphasis on reading strategies and Chinese in Motion (Cheng Tsui 2011) on performance-based language competency and skills. The ve-volume Readings in Chinese Culture Series (Cheng Tsui 2007–2014) stresses the importance of culture learning but the goal is for Advanced Placement and standardized test preparation. The same is true of the four-volume series Tales and Traditions (Cheng Tsui 2009–2010).

These textbooks and Chaoyue: Advancing in Chinese (Columbia University Press 2010) do a ne job of building practical skills, just as Reading Into a New China (Cheng Tsui 2009) and Discussing Everything Chinese (MyChineseClass LLC 2008) help improve retention with increased word frequency, but they generally lack contemporary cultural components and are less concerned with in-depth systematic understanding of cultural behavior.

If what happens at Iowa State University (ISU) indicates a national phenomenon, we have far more students from disciplines other than the liberal arts and traditional humanities learning Chinese. Besides a few students from history, political science, linguistics, and anthropology, students from the schools of design, engineering, agriculture, business, and education are the ones most often taking courses on China today and Chinese cultural traditions at ISU. These students are motivated to learn because they are likely to have at least as much real-life interaction with Chinese society and culture in their future professions as those who wish to become China specialists in academia. We must take these nonspecialist students’ general needs into consideration and a ord them systematic knowledge in both Chinese language and culture to facilitate their future engagements.

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ԗ‫ߞܬ‬фҹ٩Ѻ‫ֲׁܠ‬вϱ䩟ϲϴٍѺ‫ߞܬܠ‬ϡРࡄӎЗЇюЋѺ‫ܠ‬ ЅмϤӎϡ٣ߚՄ‫ڍ‬䦙‫ڽ‬ᔪҤ֚䦙ࢗ᏷෴‫ז‬䦙ू੽‫֏ء‬фТ҅ҤܴҳϡР ࡄ䦚 ёॼϳ䩟ࢬፈр䦙ԑ‫ڹ‬рᱚྦྷ౱ᐩ䦛ఔຩၔ঒䦛చ৸‫ڌ‬ဨϨѤм мрϪҹऴ‫ؖ‬Ͽ䦭ࢬፈᐤ໹ϢЙѮА䩲䦮ϡჴ‫୳׈‬ॗ‫ڡ‬ϼ䩟э՟ԋ‫ځ‬сವ ਎ϦϣϬѨӥ䩭ҒѵϽрЁҌѬቄҹ٩‫ے‬ԵϡԳϴԛ䦚ԧХ৉ѓϦܼᏛ஻ ැϡҦЋᩊ࢙䩭䦧Ϩѵϳ䩟Ъվϩ‫֧ڃ‬Ԓ֎ҹѺϡ‫ؔڌ‬Ͽ‫ ֳܨ‬ԗѺ Тࡳ‫ء‬Ϩ߭‫ܬ‬Մ‫ڍ‬ϡ౒ֵࣻ䦨䦚䩛'DPURVFK ҷ ‫ސ‬䩜ҦॎҒ‫ױ‬䩟Ѵ૮‫׊‬ԡۨ Ը䦚చ৸‫ڌ‬ဨцቄҹ٩‫ے‬ԵЇ‫ۘ׾‬ӂ޴䩟֍ӹҏϣϥ䩭䦧ϸԈ‫ؔڌ‬ઑվ޸ѓ ӊ‫ڌ‬ဨቄҹ٩‫ے‬Եϡ‫ڌ‬୰䦨䦚 ‫ײ‬ёϱ䩟ӔҮϩӪϬЅҹЩЩЛϡ߭ҹፈӆӌ‫ص‬䦚 ՀѦ䦛-䦛ࢷϡ䦭Ѕ мЩЩЛ‫ש‬ओ䦮䩛֔ҹо‫ؗ‬घ ё䩜Ҫӌ‫ש‬ԼϦІࣲ۠ѵϡ‫ݞ‬Ѩ䩮ґ䦭 ᑙᑎϡਝᓗ䩭ЅмӾ‫ڊ‬ЩЩЛ䦮䩛ࢯൕԝ਒ϽѺо‫ؗ‬घ ё䩜जѸЋؕ ઈ߭‫ٷࢴܬ‬ϡԘ‫ڏ‬ф٣ߚ䦚‫֔ױ‬䩟Хϩ䦭ੵ෿࿒ࡽфԷј‫ݞ‬Ѩ䩭Ӿ‫ڊ‬Ѕм రЩЛ䦮䩛੘ඈо‫ؗ‬घ ё䩜䦚䦭ϬՄϪ‫׉‬䩭బޭరЩЛ䦮ϡ‫ؤכ‬ӆЇ ӊ ёо‫ ؗ‬0DNH 'R 3XEOLVKLQJ 䩮‫ؚ‬ӛᄬԳϡϥӾ‫ڊ‬ЅмТ҅Ѕᄯ ᅇา᳦ϡϣӌ䦚Ѽґ䩟ϸԈ‫ڪ‬ЁϤᇎߵ‫ߞܬ‬Ѻ‫ܠ‬䩟ЇϤйᆨׁ‫ࢅڍ‬сѺ‫ܠ‬ ҹ٩Ћ۵ϡ䦚 ϢЙϸӆ‫ڪ‬䩟ԗЩЩЛҹՄϡ‫ۤހ‬ԁఉ߭цؕϡֲׁ࣏ܴвϱ䩟ЋѺ ТࣀࠃϦϣӏ֡‫ז‬Ѕмҹ٩‫ؘ‬ᤚ䦙ӎЗቄքЅٛϺҙٛ֠‫ߞܬ׭‬ЌҨϡඈ ᅯ䦚ЩЩЛӛ٤పϡϥϩаҹ٩ߒ૜ԛϡ‫ۓ‬ϴֵ‫ب‬䩮ґЅ߭цؕϡ࣏ܴज ϥࢫ҅ѺТѺ‫࡙ۯܠ‬ԛϡ‫ڌ‬Ѻ‫ޕ‬ঞ䦚 ӆ‫ڪ‬ϥҷϣӆйࠅஇ‫ڌ‬ѺЋ۵ϡϡЩЩЛఉ߭‫ࢴܬה‬ӆ䩟‫ؚ‬ϡ຺ड़ю࣏ իϺϦҒЎఉ߭цؕࢴ‫׉‬ϡ೩т䩭ऎᲆ䦛࣬঒॓Ꮫϡ䦭ЅҹߦࢡЩЛ䩭Ј ఌᏝ‫כܬה‬Ҳҹӆ䦮䩛 䩜䩟䦭Ѵ‫ڊ‬ЅмҹѺ‫࠶ڍܬה‬䦮䩛ЅҹϽѺо ‫ؗ‬घ 䩠䩜ф䦭з૟ЅмరЩЛҹ‫ש‬䦮䩛ϼ֋֔‫ڌܬ‬ड़о‫ؗ‬घ 䩜䦚 ϸԈ‫ڪ‬ЁЋࢴ‫ٷ‬٤పϦࢴ‫ܒڶڪ‬ϡҤ۬䩟ٍԷϨ༊ࢴЅϤӐؑϴϤ߾сЧ ‫ݓ‬༊‫ܒ‬ਹ䦚

INTRODUCTION

xxiii

Language and culture learning must be integrated in such a way that the understanding of China’s diverse values, reasoning methods, rhetorical tendencies, systems of government, and ways of life occur in the process of language acquisition. In her opening remarks at the 2015 N H Summer Institute “What Is Gained in Translation?,” translator and theorist Françoise Massardier-Kenney called attention to the fact that everybody knows the importance of cross-cultural communication: “Few teachers of world literature today have any wish to . . . con ne students within the imperial boundaries of nglish” (Damrosch 2009, 4). Yet she is far from optimistic that cross-cultural communication can be facilitated: “That being said, they lack the materials to do so.”

There have been a few collections of Chinese short-shorts published in recent years. Harry J. Huang’s An Anthology of Chinese Short-Short Stories (Foreign Language Press 2005) is a comprehensive volume with stories from ancient times to the present, while Loud Sparrows: Contemporary Chinese Short-Shorts (Columbia University Press 2006) pays more attention to nglish readers’ tastes and values. There is also The Pearl Jacket and Other Stories: Flash Fiction from Contemporary China (Stone Bridge Press 2008). Individuals: Flash Fiction by Lao Ma in paperback (Make-Do Publishing 2013) focuses on the absurd and the hilarious in contemporary Chinese life.

None of these are concerned with language learning or intended for comprehensive culture study.

In the combined short-short genre and the parallel text format we nd a bridge for students to reach the essentials of Chinese culture while crossing over from the intermediate to the advanced/professional level of language pro ciency. The former supplies the necessary content of cultural complexity and the latter the pedagogical setup to activate student agency in gaining language uency.

This volume is the rst short-short bilingual reader in nglish and Chinese for classroom teaching. It is inspired by such bilingual texts as John Balcom’s 6KRUW 6WRULHV LQ &KLQHVH 1HZ 3HQJXLQ 3DUDOOHO 7H[W (2013), the Bilingual Series on Modern Chinese Literature (Chinese University Press 2003–), and Best Chinese Flash Fiction: An Anthology (Shanghai Foreign Language ducation Press 2007). They all provide convenient access to meanings of words and expressions without the need to constantly check a separate Chinese- nglish dictionary.

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ϨϸԈ‫ࢴܬה‬ӆЅ䩟ЈఌᏝфЅҹϽѺо‫ؗ‬ϡҖӆ‫ש‬ѓϦᇟҒҡ਺䩟៭ ᅌ䩟ჀႭ䩟ᖃ‫ێ‬䩟਻Ԫҹ䩟йߵϣԈѸ‫׈ײ‬ϡҒޭ֍䦙ଽᑯҳЯӜӑрϡ ҮਹӑԘ䦚ߊ‫܉‬ϸԈӑрϨЅмҹѺ੗ϼ฼ϩԳϴс֧䩟ԔԷՊ‫ש‬ϡӑԘ ࢡๆРӗ䩟ѯࠅஇ‫ڌ‬ѺհϱϦϤ۬䦚ґॸҪӌೀཾӾ‫ڊ‬ЅмघϿЇϤϥϸ ԈࢴӆԮ‫ڀ‬ϡဖѢ䦚‫ۥ‬ӊЬϩ٤ప‫حڗ‬ᔅࡾ‫ڌ‬Ѻϡ֞ࡢ䩟ϼ֋о‫ؗ‬ϡరЩ ЛओЇԡܼϺ‫ߞܬׁݱ‬фҹ٩Ѻ‫ܠ‬ϡ۵ϡ䦚ЋϦ቉ਤϼ਎ࢴӆϡઑྍ䩟ϸ ϣࢴӆ‫ؘ‬Кख‫ש‬Ϧࡢϩܲጷ‫ڊ‬ԣԛϡӾ‫ڊ‬ЩЩЛ‫ؘ‬Ԙ䩮‫ؚ‬ԗӑԘੜؕЅм ҹ٩ม݉дॵϡ҂֚䩟Н஼‫ࡢݼ‬ϣ۴䦚‫ࢴױ‬ӆХЋϸԈӑԘԥٕϦ‫҇ٿ‬ᔅ ࡾѺ‫ࡢ֞ܠ‬䦚ӛ‫ש‬ϡѧ֐ϣϬ‫ݞ‬ѨЁߦЩНସ䩟޸ׁ‫ࠅࢅت‬இϡЗࡳ䩮ґ ॰Ϭ‫ڝא‬ϡֲพЇҤ۬ϣϬԜ੻Ѻ‫׈‬ϡٍѓ䦚

‫ڌ‬Ѻ೫ଯ ‫ߞܬ‬Ѻ‫ܠ‬ ӆ‫ٍڪ‬ѓ‫ؕ܀ܬה‬ϡ࣏ܴۨՖ‫ڌ‬Ѻ䩟‫׍‬ϤҺ‫ڏ‬ац‫ے‬ক‫ڌ‬Ѻ֚‫ڈ‬ਭዽܴ‫ڌ‬ Ѻ֚ϡਦӡ䦚Ԛ‫ބ‬䩟‫ؚ‬ϤРϥцӔϩ‫ڌ‬ѺҤ֚ϡϣϬਤࣘ䩟ϤРϥѓЈ೫ ଯ‫׏‬цϤआԸ٩ϡ‫ڌ‬Ѻࢲ॒հϱϡЈख‫ږ‬ϡϣϬ൪Ն䦚Ғҝོ֡ԁૠ҃ϥ ‫ߞܬ‬фҹ٩Ѻ‫ܠ‬ϡ۵ࡣ䩟ъАਭዽӊҖ҇‫ߞܬ‬ҹ٩ҏЅ䩟֡Рོ֡ԁૠ҃ ϱӥѴϸϣ۵ࡣ䩟ज‫׏‬ϥзׁলᔓপϡ‫ࡺש‬Ϧ䦚 ӆ‫ڪ‬ಈѓϡҤ֚䩟ђϥ䦧ϨѓЅѺ䦨ϸϣԑ݉ϡϣϬЈ‫ؗ‬ӆ䦚ϸѦ䩟Җ ҇‫ߞܬ‬фҹ٩ϡ‫ے‬ԵӔѼᢊՊ‫׍‬Ҳцؕϡҹӆ࣏ܴӾЅ䩟‫ܼױۥ‬ϺѺѓ ׁϣ䦚ॎѼѺТНйЧЅм‫ڈ‬ЅмԴҎ‫؝‬ଷ‫טװ‬ӳོ֡ૠ҃ϡҜϿ䩟Ԕϸ ҈ϣӆ‫׊ڪ‬НйўѸЄϡϪ䩟ϨІѝࠚҽϡ‫ݔ‬᫬ዝࣻЅ䩟Ҁի䦙Մ‫ڏ‬Җ҇ ‫ߞܬ‬ҹ٩ҽ‫ٹ‬ᲇϡ‫ڽ‬Ђ‫ے‬Ե䦚༊ࢴӆ‫ڪ‬䩟ϲҒӎ೗ϼϦ‫ڽ‬Ђϡ‫ے‬ԵтѴҏ ߫䦚

INTRODUCTION

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The rst two of these bilingual readers select canonical works from such famous writers as Lao She, Lu Xun, and Xiao Hong, or more contemporary ones like Ma Yuan and Liu Rui. As important as these authors are, the length of selected works presents pedagogical challenges for today’s classroom. An eclectic coverage of contemporary Chinese society does not seem to be a focus of these bilingual readers. The ash ction collection from Shanghai, with no instructional tools to facilitate learning, falls short of the goal of integrated language and culture learning. Making up for what these texts do not have, this parallel reader carefully selects contemporary short-short works of broad representation and uniquely groups them with key cultural concepts and accompanies them with various learning tools. Divided into nine chapters for a regular semester course, all thirty-one stories are in manageable sizes for traditional class meetings.

PEDAGOGICAL STRATEGIES

LANGUAGE LEARNING Making adjustments to current pedagogies with parallel format does not negate the communicative approach or immersion methodology. Rather, this volume complements previous approaches with new strategies to meet the challenges of changing instructional environments. If communication and interaction are among the goals of language and culture learning, it is only logical that we also try to reach these goals by way of immersion in the communication and interaction between the two languages and cultures.

The methodology of this volume is but an additional way of learning through using, since communication between the two languages and cultures are embedded in the parallel format. Although some students are able to go to China or to their Chinese friends for oral communication opportunities and interactions, volumes like this one will allow many more to experience profound intellectual exchanges in the quiet of their rooms. To use this book is to begin a dialogue of discovery.

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ϸ҈ϡ‫ے‬ԵтѴ䩟‫ڈ‬ी‫ے‬Ե‫ڌ‬Ѻ֚䩟зࡢ٣ߚϡҤӌϲϥԷІϢ‫ࣔ܋‬ ϡЌ҃ԛ䦚ІѺϡЌ҃ԛؑϴϨѺ‫ܠ‬ϡРࡄЅЏϺϤआϡచӡԁೖಿ䩮ґ ‫כܬה‬Ҳϡҹӆ䩟ሂಌЌϨఉ߭цؕϡ༊ࢴРࡄЅԗచӡԁೖಿߵЗ‫ت‬ခ ѯѺТ䦚ϸӆ‫ڪ‬ϡ‫׺‬ҽѦ䩟ϤࡖϨਘࢴ‫ٷ‬ᑸᑋԡჺҏ‫؝‬䩟ӹЋцԁӮ‫ۘ׍‬ ߯٣ϡࡣ‫ކ‬䦚Ӿ‫ݞ‬Ѩӆӱйߵ‫ݞ‬Ѩϡࢬፈ৉вѺТ‫ߎڽ‬З䩟јЙЪНЌϿ ٤о՜֣䩟‫ݘ׍‬Тцҹӆ䩢ፈҹՖҲࡷ߃ԛۨ‫ܐ‬ϡҺ݁䦚јЙНЌϿ৪՜ ‫ב‬ЎϱϿтТѮА䩟НЌϿЋ‫ݞ‬Ѩ൜‫ܐ‬ϣϬЈֲ঵䩟ЋϣϬ‫؀‬୫䦙ϣॵߦ ‫ܬ‬䦙ϣϬ‫޻ݫ‬䦙ᑏ۠ҪҹЂоЈϡፈ֚䩮ѺТԁҹӆϡོ֡‫ے‬Ե䩟Җ҇‫ܬ‬ ߞҹ٩ҽϡૠ҃䩟۬Ϩϸ҈ІҢϡІϢ‫ࣔ܋‬Ѕ෨۟䦚 ٍѺТਭዽӊԟҪϡЅҹࢲ॒ϥϣϬքϱքԡйӥѴϡٓЂ䦚‫۬س‬ϢЙ өѺТ‫؟‬ϺЅм䩟јЙϡЅмॣҎ䩟ъԈцӊ1%$‫ܧ‬լфѤмԵҲ਴भϦ ‫ث‬ЏԝѤмѺТХЄϡЅм‫י‬ж䩟‫܊܊‬ѸϩࣳঙԁјЙϡ஬мԴҎ୞‫߭ܠ‬ ‫ܬ‬䦚Ѕмϡ‫ۉב‬ҜพЇ‫׶׶‬Ћ਌৉ѸЄ߈ѺТґ٤ప߭ҹဨࠅ‫ࠖע‬䦚ϴц Ѕ䦙ҙёٛϡѺТՖҲѸЋϩ‫݌‬ϡ֠‫׭‬ਖ୞䩟‫ۓ‬છϨҟլ‫׈‬ѧϺٚЩЗϡ ࠅஇ‫ڌ‬Ѻҏ֔҂ҹ‫א‬䦚

޴݉䩢ҹӆѺ‫ܠ‬ ૦Ⴠᱚ๥ख़߲ҮЛР䩟ϨѴ‫ڊ‬Ԓ֎䩟ϣϬѐԜիР‫ڌ‬ड़ϡϪ‫ۓ‬છϩР䦧‫ڽބ‬ ܴс䦨ԪϣϬघϿና௄ϺࡔϣϬघϿϡҮࣄ䦚䩛&RRN 6DWKHU ҷ ‫ސ‬䩜ዐው ာ䦛ᆟࡽ䩠ຩ෻‫׏‬ф૦Ⴠᱚ๥ख़ϡ޴Ѣ䩟‫׍‬ਤࣘѬ䩟‫ڌ‬ड़ϡֵ‫د׏ب‬၉䦧ц ϤӎघϿϡ٣ߚՄ‫ڍ‬ՖҲԝࢹ䦨ф䦧цԒ֎ϡЧЅК٩䦨䦚䩛ҷ ‫ސ‬䩜 ԧ൬۠ ‫ڶ‬Ћ䩟‫ڌ‬ड़‫س‬ϥࢬፈ䦚ӹЋϨϣӡҺॶϼ䩟‫ڌ‬ड़ЇϥԪӛԅҞ֥ЅԐವо Ј䩟ӎЗ䩟Җ‫ٷ‬Ї୐йհϱ‫׆‬٩Ћѝ‫ڗ‬䦚ӛй䩟ԧ‫ڶ‬ЋࠅஇҮࡑ‫׏‬ϥϸ҈ ϣϬ‫ݡכ‬䩭ѺТϨѺ‫ܠ‬Ѕҵ‫ז‬ІҌ䩟‫׍‬Ϩ‫ڽބ‬ЅٍІӱтТ‫׆‬٩䦚䩛ҷ ‫ސ‬䩜ࢬፈ‫س‬ϥ‫ڌ‬ड़ϸ҈ϡԑ݉ϴؒࠃพԛ‫ڌ‬Ѻ䩟‫ؔڌس‬ЋѺТࡷ߃ֺխ䦙 ٤పࢲ॒䩟ґ‫ۥ‬ѺТІѝюϲ‫ٿ‬ІϡѺ‫ܠ‬фюӗ䦚

INTRODUCTION

xxvii

The most valuable aspect of this methodology of communication is its self-directedness. Self-directed learners need a rmation and encouragement. The parallel texts communicate these messages right back to them. In the space of parallel text, there is no room for embarrassment, because right or wrong are not evaluative norms. When students re ect on the stories and the translations, it is very likely that the process will provoke questions and desires for creative changes.

The communication between students and the text and the interaction between the two languages and cultures thus continue as students think about what happens next or write a new ending to a story or come up with di erent translations for words, phrases, paragraphs, even entire texts incorporated here.

To immerse students in a Chinese environment has become a more and more di cult dream to pursue. ven when we send students to China, their Chinese roommates, better groomed with knowledge of NBA stars and American pop artists, are oftentimes more interested in practicing their nglish. Host institutions often o er courses in nglish to draw bigger enrollments. ective training for professional pro ciency at the intermediate and the advanced levels has to go beyond the three to ve hours of immersion in class each week.

CONCEPTUAL/TEXTUAL LEARNING In the modern world, Proefriedt has argued, to be truly educated a person must have undergone the experience of moving from one society to another “in the re ective fashion” (Cook-Sather 2006, 40). Alison CookSather echoes Proefriedt’s view and adds that education should involve “comparing values of societies” and “decentering of the world” (41). She actually de nes education as translation in the sense that it is also about restructuring knowledge in light of newly acquired information. ducation and translation share in the phenomenon of transformation. The classroom experience should be the platform for students to make themselves comprehensible and to allow transformation to take place through re ection (36). The concept of translation as education calls for a constructivist pedagogy wherein teachers create and present contexts for students to e ect their own learning.

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ӾѵԒ֎ϡѴӥ࢙ҴҪ‫ܧ‬٩ϤϿ䩟ЇϤНЌ᪲‫ھכ‬ఓфҹ٩ҏҽϡऴӆ ई஬䦚ӑЋ‫ߞܬ‬ҹ٩‫ؔڌ‬䩟ϢЙХϥҮ‫׶‬ϿထՊ䦧‫ے‬ԵϤ֡ϡᒴ঵䦨䦚ѕ঒ ᚳট৓Рϸ҈ϣϬຎж䩭ӎ҈ϣ‫ݫ‬Ҧ䩟䦧আ‫ٷࢴܬ‬ಶೄϺϡϥ䩟ᱢֿԱϺԲ Ϫϡߥ‫ل‬ЗӚϦ䩮ґፈҹࢴ‫ٷ‬ϡ‫ྱބ‬जϥ䩟फ़ϩϪԚҞࡖϨϸ҈ঊ‫ܞ‬ϡߥ ‫ل‬䦨䦚䩛%RUJHV ҷ ‫ސ‬䩜ॎѼፈҹࢴ‫ٷ‬ϡ‫׏ބ‬ѪНധۘ䩟ԔјЙЬϩ䦧‫ܴڽބ‬ с䦨ՖҲϤӎ٣ߚՄ‫ڍ‬ҽϡԝࢹ䦚ӹ‫ױ‬䩟јЙϡ༊ࢴѪࡾӊцҷϣࢴ‫ٷ‬আ‫ܬ‬ ҹ٩ϡԑ‫ث‬䩟Їԡй඄Ֆҷϣфҷԏࢴ‫ٷ‬ҏҽϡོ֡‫ے‬Ե䦚 ӾѤмѺТӛҀࣳঙϡ՜֣ԁআ‫ٷࢴܬ‬ӛԮКϡ՜֣ϽԚዓ೛З䩟ϢЙ ‫؎׏‬՘А‫ފ‬䩲‫ޔ‬ᒈ঒䦛޿ၔᵹ‫ڶ‬Ћ䩟Тࡖӊ䦧Ϥӎϡ>ҹ٩@Т‫ݘ‬Կ෢䦨Ѕ䩟 䦧֔мࢴ‫ٷ‬ϣӡϿйϤӎϡҤܴ༊ࢴҹӆ䦨䦚јЙӛࡷ߃ϡ䦧ԚঐѨ‫׉‬ҏҽϡ ஢޳ц߹䦨‫ڈ‬ϥ䦧࣠ӆϤӎϡѨ‫׉‬ҏҽϡӮணԝป䦨䩟ЁϤРϥቄҹ٩༊ࢴӥ ᒃЅϡ૦ৄѴࢣ䦚䩛%RXUGLHXҷ ‫ސ‬䩜Ӿ༊ࢴԷ‫ؚ‬ҹѺҹ٩ϡϬՄѪ֚௭ ௳Іѝ‫ئ‬ӡϡ䦧>ҹ٩@Т‫ݘ‬Կ෢䦨ϡࡳ‫ء‬З䩟ӑЋ‫ڌ‬ड़֞ӑ‫ٷ‬䩟‫ބ‬ґЧ‫ݍ‬ऩѺ Т䩟НйцϣϬҹӆ‫ڦ‬Кӛ௰䩟Нйԗ۵ࡣի੃ϡӍϮӾӑҷϣ‫܏ހ‬䩟Н йϣ‫ڏ‬с‫ٹ‬٩јЙӔҌфӂӊ‫ב‬իϡև՝䩟ϸϥ૎ૺ‫ڗ‬ϡ҂֚Ӷ䩲ϨԁЅ мӋ‫ے‬ѬЗ䩟՝Ҥц‫ف‬Ϥӎूԋ‫ٷ‬ϡԮ‫ڀ‬фцЅмҏբϡ‫ڱ‬௅䩟‫׍‬ЬϩϨ Ѕмԍ੃ӾЅ৉вЄվ࢕ም䦚РЧϡѧ֐ЄёЅ䩟՝ҤਭࣿӊѓІѝ়๐ ϡӛ஼䦧॓Ѻ䦨Ҥ֚фѲ‫ݫ‬ϱ‫ث‬໯Ѕмϡѵϳ䦙ব࠻Ѕмϡ‫۔‬ϱ䩟ԔϮՌЇ ϣ‫ׯ‬Ϥϥ‫ئ‬Ԇϩ‫݌‬䦚 १஻঒䦛ጞ঒ԗѓІѝϡ޴݉䩢౒₧Ч‫ࡧڶ‬фპೄ֔мҹ٩‫ݘ‬Ԙϡ҂֚ ीҏЋ䦧‫ڛ‬ई஬Ӿոۜ䦨䦚Էњҝ䩟ϥөࢴ‫ٷ‬Ԫቄҹ٩༊ࢴԑ‫ث‬ϡૺ‫ڗ‬Ѕэ ௳оϱ䦚䩛'LQJZDQH\ DQG 0DLHU ҷ ‫ސ‬䩜цᱚྦྷ౱ᐩ䦛ఔຩၔ঒䦛చ৸ фԧϡӎѨ޿༌൛䦛ᴐᏛট䦛म঒ϱЛ䩟ϸ҈ϡэ௳Һ‫ڏ‬аϣϬԛ‫ڱ‬଴Գ ϡ‫ה‬Գᔧᅙ䩭ѺТҩᔧᅙϦ‫ޕ‬ӱ‫؝‬с䦧ѓјϪϡႾ֏ᅮ؇јϪߞҲ䦙Ϭԛ䦨 ϡҜϿ䩮ґ‫ؔڌ‬ज‫޵׹‬Ϧ䦧ϣϬഷ‫ޚ‬ቄҹ٩‫ے‬ԵҏൕԑѬख़ϡԮඡࢲ‫ڝ‬䦨䦚 䩛 ёѤммрϪҹऴ‫ؖ‬Ͽჴ‫ڡ׈‬ϡ‫ݍۏ‬䩜ӹ‫ױ‬䩟ӑЋ‫ڌ‬ड़֞ӑ‫ٷ‬䩟ў ѺТ়๐ӾсϪ‫ھ‬ԮКϡ՜֣䩟Ϧ‫ث‬јЙϡ‫ۅڽ‬ԁҲЋҤܴ䦙٣ߚՄ‫ڍ‬ф घϿ‫֏ء‬ҳ䩟ϥϢЙॶϤ‫ب‬᏷ϡૺ‫ڗ‬䦚

INTRODUCTION

xxix

The reality of the world today has shown us that globalization cannot and will not iron out the fundamental di erences between peoples and cultures. As teachers of languages and culture, we often face “impasses of non-communication.” Borges makes this point: “The rst audience appreciated the fact that the whale died when it heard the man’s cry; the second, that there had ever been men who lent credence to any fatal capacity of such a cry” (Borges 2000, 40). alid as the second audience’s response is, no comparison of values “in re ective fashion” happens, which does little to help us understand the rst audience (i.e., the audience of cultural origin) or to facilitate communication between the rst and the second audiences.

What do we do when issues of interest to American students are at odds with the concerns of readers of cultural origin? In Pierre Bourdieu’s opinion, “foreign readers are bound to perceive the text in di erent ways” due to their presence in “di erent eld(s) of production”; the creations of “ ctitious oppositions between similar things” or “false parallels between things that are fundamentally di erent” are but a common phenomenon in reading (Bourdieu 1999, 225). If, as a human being, one cannot avoid being limited by one’s particular “ eld of production,” is it responsible to tell students to do what they want with a text, to make acceptability by the target audience the priority, and to continue internalization of the familiar? When dealing with China, the critical focus of the West on political dissent and contestation has not resonated much with the Chinese public.

Familiar and “scienti c” methods and applications used to analyze China’s present, to predict its future, have not been particularly e ective over the past thirty-some years.

Carol Maier regards the practice of applying our own categories of perception and appreciation to a foreign cultural product as “an uncritical assumption of di erence” that exonerates readers from the task of ever reading cross-cultural texts (Dingwaney and Maier 1995, 312). For Françoise Massardier-Kenney and her colleague Brian James Baer, this means a double deprivation of a serious nature: students lose an opportunity to “see the behaviors and dispositions of others in their own terms,” and educators miss “a crucial step in developing an ethics of cross-cultural communication” (presentation at the 2015 N H Summer Institute). It is therefore incumbent on us to familiarize students with local concerns, practices, values, and systems.

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஦Ѽ䩟ੜ՝Ҥࢴ‫ڏטٷ‬ԗЅҹӑԘ䦧ІѼ٩䦨ϡ҂֚ЇϤѪѬԑ䦚ԔҒҝ ϸ҈҂Ͽ߃юࢴ‫ٷ‬цӊ‫҇ױ‬䦧ІѼ٩䦨ϡ࣊༌䩟ϢЙϡ೫ଯϲؑϴ҂о݆‫ݱ‬ Ϧ䦚ϣ‫ח‬ӑԘϡআ‫ߞܬܬ‬ҹ٩ԁ۵ϡ‫ߞܬܬ‬ҹ٩ϩа‫҇ح‬Ԯ‫ڍ‬䩟ϪЙϡЃ ⃒֚஬䦚ᰟझ᠟ϡ޴Ѣঐল‫ײב‬ണࢫ䦚ј‫ڶ‬Ћ䩟‫֍فخ‬ҹϡϤਧҴ֏䩟ў ፈҹࢴ‫ٷ‬ҀիϺ‫ؚ‬ϡႛҨ䩟Ї‫؎׏‬ϥࢬፈϡϣϬ۵ϡ䦚ј൬۠৏ᔪЛ䩟ࢬ ፈЅٍѓ䦧ԵҲѓ֚䦨䩟৪ؒ䦧ፈҹ‫ߞܬ‬ϡϣ৩ԛ䦨ф䦧цҦડϡ‫ڝ‬ᄊ䦨ҳ䩟ॎЌ ٍ༊ࢴРࡄԵซ䩟ԔϸԈ҂֚հϱϡ۬۱‫׊‬Ͽഡߛ֍ҹֵϨϡ䦧ҹӆ‫׏݌‬䦨 䦚䩛0D\ ҷ ‫ސ‬䩜ӆ‫ڪ‬ϡ൜‫ܐ‬䩟ԗѺТԁ‫ߞܬ‬ϡІтૠ҃䩟йߵјЙϨѺ‫ܠ‬ ЅцϤӎҹ٩ϡܷӱҀիঞӊЅКс֧䦚ϸ҈҂૽Ќ‫ࡾݨ‬ፈҹࢴ‫ٷ‬䩟ҍц ᰟझ᠟ϡ஍КϩӛԮؕ䦚 ёჴ‫׈‬䩟ϨѤммрϪҹऴ‫ؖ‬Ͽӊచ‫ئ‬ϽѺ৓‫ފ‬ϡࢬፈ୳ॗ‫ڡ‬ϼ䩟 ϢЙѺϺϦϣϬ‫כ‬႗൓݆֚䦡䦡ўѺТц൘ТҹӆϡՄ‫ڏ‬䩟фԁЈ࡞ҹ٩ ϡૠ҃Մࡑ૽ྻႄҍ౜ቂ䦚ϣϬϩૺ‫ڗ‬Ҁϡ‫ڌ‬ड़֞ӑ‫ٷ‬䩟‫؎׏‬झҨЧ৉т ўѺТҀϺϤІϨϡ‫ڽ‬Ђख‫ږ‬䦚 ёٚ֊䩟๛ख़䦛แ‫ئ‬৆Ϩ䦭ҙҳ‫ڌ‬ड़ ‫ۏ‬䦮ϼтԣϦ֣Ћ䦭ϤЋիϺ౜ྍ䩟ϧЋ‫ح‬ϱϼϽѺ䩲䦮ϡҹ‫א‬䦚ҹЅ䩟 јЋ༊ࢴЅ‫ݘ‬ТϡϤІϨ䩟ߵϸ҇ҀҢᖕᡨӛ‫ڽ‬ϡ඗ଏ䦡䦡ԑԛ䩟ՖҲ৏ ᔪ䩟ԗҖ‫ٷ‬ӎ҈؇Ћ‫ڌ‬ड़ϡ҃Ҩ䦚Ϩӆ‫ڪ‬൜‫ܐ‬ϡРࡄЅ䩟ϢЙϩҺ‫ࡺש‬Ϧ ߷оϤӎࣄ੗Ҁիфҹ٩є॔䦡䦡ъԈЪԡϨ՝ҤҮࡑЅ‫װ‬ϺϡҀիфє ॔䦡䦡ϡ‫ݞ‬Ѩ䦚ϢЙϡఉ߭цؕҹӆцзϽࡳ֏сӐѴ֍ҹ‫ݱ‬Մ‫݌‬ҝйߵ ߭ҹ‫֝ڱ‬ϡԮ‫ڀ‬䩟սРϦцፈҹࢴ‫ٷ‬༊ࢴস޸֏ϡԮ‫ڀ‬䦚ϢЙᗆိᅮ፻Ϫ ϡնਯࠃ৷䩟ԗъԈϨЅмҹ٩фЅмϪϡཡዚ޴Ѕ‫׍‬ϤࡖϨ䦙ϱІ߭ҹ ϡЛ֚ԪፈҹЅ࿋ङϦ䦚ϢЙԗ‫ݞ‬ѨੜҰ֣д‫׍א‬Ћҟ‫ߦܐא‬ҹ҂ਡ䩟۵ ϡϥЋϦँվӔҌфӛ়๐ϡև՝ц༊ࢴϡ‫ݾ‬ൢ䩟‫׍‬ᚤୟ‫ڦ‬Кӛ௰‫ثࡺש‬ ࢴфᩊ࢙Іѝ䦧܏ԋҏҴ䦨ϡ෴‫ז‬䦚ϢЙԪԑ‫ڹ‬ϡҙ֏䩟࣊๛цࢬፈϡ‫ߎڽ‬ ࠃพвϦ‫ߞܬ‬ҹ٩Ѻ‫ܠ‬ϡᕴବ䩟ԪґЌ‫ޢ‬ԗј‫ٷ‬ԛ RWKHUQHVV ՜֣ঞӊ‫ڶ‬ ӎԁ߇ഭ䩟઼֬ԁԸ஬䩟࢕ምԁइ࡞ϡ҃‫ݮ‬Ԯ‫ڍ‬ЅՖҲ෬ॗ䦚

INTRODUCTION

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Naturalizing Chinese works for Western audiences can be helpful, but we need to adjust our strategies of engagement if we develop a dependence on naturalization. Among views of the relationship between the target language culture and that of the source, Lawrence enuti’s seems extreme. In his opinion, keeping the opacity and the experience of resistance of the original for nglish readers should be a goal of translation.

He goes as far as arguing that uency in the target language, especially the convenience of “current usage,” “linguistic consistency,” “conversational rhythms,” and so on, could be detrimental to the “textual e ect” of the original (May 1994, 6). This volume takes into consideration both what helps target readers and what enuti worries about by putting students’ spontaneous interactions with the languages and their felt experiences of the culture at the center of learning.

The 2015 N H Summer Institute at Kent University prepared us for a balanced approach to make student interactions and experiences with unfamiliar texts and cultures pleasant and disturbing at the same time. thically responsible educators should work to cause intellectual discomfort. “You Are Here to Be Disturbed” is the title of Todd Gitlin’s article in the Chronicle of Higher Education in May 2015. He argues for discomfort and its odd-duck partner, reason, and sees them as driving forces of education.

So when structuring this book, we selected stories that highlight di erences of historical and cultural sensibilities for which equivalents are hard to nd in the West. When setting up the parallel format, we were more concerned with closer approximation of the macrostructural impact of the original and the quality of signi cation in nglish than the levels of comfort for nglish readers. We followed the reviewers’ advice and eliminated the use of terms nonexistent in Chinese culture and cosmology. We themegrouped the stories with a preface not to reinforce the known or the familiar, but to work against the tendency to cherry-pick elements as support for preexisting views. By theoretically framing the learning of language and culture with the problematics of translation, we anchor the issue of otherness in the dynamics of identi cation and di erence, intimacy and alterity, and resonance and surprise.

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߭ఉцؕϡ࣏ܴԁ‫ڽ‬ᗙЌҨ ‫ڽ‬ᗙ ԑ‫ڹ‬р‫ޔ‬ᒈ঒䦛޿ၔᵹ‫ڶ‬Ћ䩟֔мҹѺϡ৉Ֆ‫׶׶‬ϥ‫؝‬ӊҩ‫ࡈݒ‬с֧ϡ‫ܬ‬ ߞ৪ׁ֚ؒԛϡԣѴ䦚 %RXUGLHXҷ 䰭 ‫ ސ‬Ѽґ䩟ԪЅм৉ՊϸԈЩЩ ЛӑԘ䩟ϢЙԮКϡϤϥԷू੽‫ۋ‬Ќ䩟ґϥԷֵϨϡᅮѤ‫ڽ‬ᗙၘЌ䦚Ӿѵ ϡू੽Ү௸Ӥԃ৭ӥНЌцЅм‫ߞܬ‬ҹ٩ࣳঙϡтࣁϩ۱䩟Ԕ঎঎ԗѺ‫ܠ‬ фի‫ڌ‬ड़Ӿӑ‫ࠖע‬ӊू੽Ү௸۵ϡϡ੹௱ҏ‫ڋ‬ਘϪ஍ಁ䦚ӑЋ‫ࡪޥ‬фѺ՜ ϡௗ՟Ϫ䩟ϢЙђЂЋѺТөௗ֙‫࡙ۯ‬ᅮ؇‫ڽބ‬ϡҜϿфԿс䩟йўԷϨ цІӱϩࡳࢲ॒фҮࣄ䦧ᩲ஖‫׏݌‬䦨ϡ‫ڽ‬ᗙРࡄЅ䩟ԟюԳϴϡІϢюӗ䦚 ѴϨϡѺТ‫ګ‬Џ䩟Ϥӎϡ޴Ѣ䦙٣ߚ޴䦙‫ڽ‬ЂфҦ‫ܬ‬ҳЁϩІӱϡࣄ੗ фҹ٩юӹ䩟‫ؚ‬Йϡ࣏юфԸ٩ЇЁԁҺࡧ࣏‫઼ܷݮ‬ԚԮ䦚ѺТЇҴՁ䩟 ϨԁԷ‫ؚ‬ҹ٩Ӌ‫ے‬ѬЗ䩟ϩ‫ۓ‬ϴּв౓߯ф‫ૺ܋‬ϡ‫֏ݮ‬䩟๐К‫ۄ‬Պई஬Ӿ Ѕ䦚ӆ‫ڪ‬Һ௰հјЙӐ‫ז‬ӓҵϣ‫܌‬䦡䦡ഷ‫ޚ‬јЙц䦧Ϥӎ‫ھ‬ఓмр‫ؽ‬ҲҤ ܴϡ‫ڶ‬Ҍ䦨䩟ўјЙϦ‫ث‬ϥѮАюϲϦԁІѝТ҅ҤܴϤӎϡТ҅থܴ䦚 䩛 %RXUGLHX ҷ ‫ސ‬䩜ϸϣ‫܌‬ϡ‫ۓ‬ϴԛϨӊ䩟‫ؚ‬ϿࢫтѺТцϤӎՄ‫ڍ‬䦧ࡖ Ϩࢉ‫ۥ‬䦨ϡࣳঙ䩟‫׍‬৉вц䦧ई஬Մ‫ڍ‬䦨ϡ‫ߎڽ‬䦚䩛$QWRLQH %HUPDQҷ ‫ސ‬䩜 ЇԜϥϸ҈ϡࣳঙф‫ߎڽ‬䩟ٍЏּв౓߯‫ૺ܋‬䦙‫ڶ‬ѐ‫ۄ‬Պई஬ϩϦю‫ۋ‬ӥ ැϡНЌ䦚ԜҒ䦭Ӑ෬ਭࢪϡᐇ୩Ϫ䦮ϡҖ֧ӑ‫ٷ‬ӛ‫܋‬о䩟ണԋϤϥߣ‫؀‬ ϡ䦧‫ڶ‬Ҍ՜֣䦨䩟ґϥϨ䦧Ҧ‫ܬ‬ЅՖҲϡघϿҲЋ䦨䦚䩛6DMDYDDUD DQG /HKWRQHQ ҷ ‫ސ‬䩜Ϩᐇ୩䩟ԁϨЅмϣ҈䩟䦧‫࡙ۯ‬ϡਭࢪ䦨ϥϣ҇ᏠЋԵҲϡҲЋҤ ܴ䦚ђϩӾѺТϨҦ‫ৢܬ‬ҋϼцϸϣҲЋҤܴϡख़Ҳ‫݌ۋ‬ϩӛԑ‫ث‬䩟ѐԜ ϡऴӊಀԳϡོ֡ҥϩНЌтТ䦚 ‫ֳܨ‬ѺТ෬ॗϤӎՄ‫׍ڍ‬໎୳ԷࡖϨԑ‫ۥ‬ϡֳ݁䩟Ї‫ؙ‬ড়Ϧӆ‫ڪ‬ӑԘϡ ࢬፈ䦚ԝҒ䩟ፈҹЬϩЋँվ༊ࢴԡ֏ґԗѺТϤ়๐ϡԣܼ䦧ІѼ٩䦨䦚 ϸԈԣܼ‫د‬၉ࣲਹ䦙Үਹ৉ҹ䩟ࣄ੗ਹ‫ݞ‬䩟‫ئ‬ቕҹ٩Ѵࢣ䩟ю‫ܬ‬䩟‫ܠ‬ཞ䩟 ‫ئ‬ቕՄ‫ء‬ϡพюф‫ؽ‬ӑ䩟ц਴भԘ䩟‫ݞ‬Ѩф‫ظ‬ҦϡᎨ৉ҳ䦚ϸԈ൘Тӛ Ϩ䩟ԜϥѺТϩ‫݌‬Ѻ‫ܠ‬Ϥӎ٣ߚ䦙‫֏ء‬Մ‫ڍ‬ф‫౒ۅڽ‬₧ҏ‫؝‬䦚ӹ‫ױ‬䩟ϢЙ

INTRODUCTION

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THE PARALLEL FORMAT AND CRITICAL COMPETENCE

CRITICAL THINKING According to theorist Pierre Bourdieu, literary imports are often dominated languages seeking legitimacy (1999, 222–225). We are more concerned, however, with the critical and aesthetic potential of these Chinese works than their political agency. The political and economic climate may have created the conditions for interest in Chinese language and culture to develop, but education and learning for political and economic expediency is bothersome. In our role as academic gatekeepers, we have no ulterior motive in o ering students opportunities to take proactive account of the “prism e ect” of limited elds of experience and to be able to think re ectively as part of critical self-development.

Students today know that views and values, ideas, and discourses are constituted historically and culturally and are shaped by ideology. They understand that it is necessary to suspend judgment and to engage di erences when encountering another culture. This volume takes them further.

It allows them to reach an “awareness and knowledge of the ways in which di erent national elds function” in sustaining di erent modes of life than their own (Bourdieu 1999, 226). This is necessary, because it leads to considerations of “the system of these di erences” and “the reasons for this system” (Berman 2009, 31). Both considerations are crucial for successful suspension of judgment and the engagement of di erences. As the authors of “The Silent Finn Revisited” have pointed out, perceptual biases are not simply “an issue of cognitions”; they are “social acts performed in discourse” (Sajavaara and Lehtonen 1997, 269). Only when students understand, at the discursive level, the virtue of “active silence” popular in China and Finland, for example, does true communication based on respect become possible.

The desire to allow students to search for systems of di erences and to study reasons for di erent systems also in uenced the translation of this volume. For example, instead of naturalizing expressions of estrangement for students, we translated them literally and footnoted them or listed them as new expressions where necessary. Such words and expressions include citations from the classics and canonical works, historical allusions, cultural speci cities, idioms, local customs, institutional structures

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ϡࢬፈಀԳ֍ҹ䩟ЇϨ‫ۓ‬ϴЗ۱ѓऑ‫ڈڀ‬Т୫‫ث‬౥ҳ֞ࡢЋѺТ٤పԑ‫ث‬ ϼϡ‫ࡾݨ‬䦚 Ѽґ䩟ϢЙࠀѪҺІ⏻੹୺䩟ѸϤ‫ٲ‬ᕑीϸѦϡࢬፈሂϺϮ‫؝‬䦚ϢЙϡ ֍जфӥᒃЁऴӊϸ҈ϣϬ₪‫ڹ‬䩭ϢЙѯоϡϤРϥϣϬࢴ‫ٷ‬ፈӆ䦚ϢЙ ϡ۵ϡ䩟ϥԗѺТ݆҃вϱ҂Іѝϡࢬፈ䩟ࢫಿјЙ‫ۄ‬ՊϺ෬ଷҹ‫۠ܒ‬Ԯ Գϴ䦙‫ݖ‬ѪࣤঝϡԸ҃ҏЅ䩟ϩӛӑЋ䦚ϸЇϥϢЙ‫߭ࡺש‬ఉц࣏ܴؕϡ ֍ӹ䦚ϢЙ‫כܬהֳܨ‬Ҳ૮‫ݮ‬Ѕ䦧ጊґ‫ݸ۔‬ϡҌࡧ䦨ЌٍѺТ༧оԈ‫ܙ‬䦧ъҌ ࡧϡӆѐ䦨䦚 0DLHUҷ ‫ ސ‬

ఉ߭цؕϡ࣏ܴ ఉ߭‫כ‬Ҳцؕϡ࣏ܴঐলϥϬ੼ছϡ‫ࡺש‬䩟දԷϥ઩ࡽ䦛ख़ѦܼՉϩЯӜ ‫ڹ‬आϨ܏䩭䦧ࢬፈϲϥ䦦ϤНЌ䦦ϡࡔϣϬЛ֚䦨䦚䩛'HUULGD ҷ ‫ސ‬䩜Ѽґ䩟 ࡔϣϬӎ҈ЯӜϡ޴Ѣज‫ڶ‬Ћ䩟ըছԁҜ߁࢕ࡖ䦚ϢЙϤ؎䩟ЇϤЌԗࢬ ፈЃӑϥөӑԘԪϣ҇‫ߞܬ‬ҹ٩࿴‫ؽ‬Ϻࡔϣ҇‫ߞܬ‬ҹ٩䩮Ϩі޴ৢӌцፈ ҹೈࢂؒᯎӥ٧Ў೫䦚ԥ๛‫ݚ‬䦛ᐑᅸ‫ݍ‬ᭆϢЙ‫߯ڒ׾‬်䩟ԗ‫ؘ‬ҨओЅϺࢬ ፈ҅҃ӆӱӛࡢϩϡၘҨϼ䦚ј౗ѓ०޿ඕ঒॓ԝ঒䦛᠍၆ԝϡϣϬঐۘ ґϥϡԣܼ䦡䦡䦧๨ҮҮҹડϡІ੽䦨䦡䦡ϱ࣏‫ب‬ϣ‫ח‬ӑԘф‫ၘؚ‬ϨϡНЌ ԛҏҽϡԮ‫ڍ‬䦚䩛%HUPDQ ҷ ‫ސ‬䩜৆൛䦛‫ح‬แёज‫ڶ‬Ћ䩟Ϥӎ‫ߞܬ‬ҏҽ ࡖϨа䦧ଞᚙґϤНᛯຣϡૠ௑䦨䩮Ԝϥϸϣૠ௑Ԯ‫ٍڍ‬ЏϿҺюЋНЌ䦚 䩛+HMLQLDQ ҷ ‫ސ‬䩜৭Ғख़ѦܼϡࡔϣϬЯӜ‫ڹ‬आӛߞ䩟Ғҝ䦧ЬϩѮАϥ Нፈϡ䩮 ъϣܷЁϥНፈϡ䦨䦚䩛'HUULGD ҷ ‫ސ‬䩜ࢬፈ҅҃ЅϺ‫؝‬ Ёϥц઼⃮ԑԛख‫ږ‬ϡ‫׺‬ҽ䩭‫ٶࣘ૽ؚ‬ϦҺॶό࠱ϡҜϿфսք֍ҹՖҲ ࡷҺԣܼϡНЌ䩟ҍϥц֍ҹфፈӆϤНবҌϡЄׄၘЌϡϤआᅲѴ䦚 ၍෈䦛ᕡਜ਼ᅸϨ‫ߎڽ‬Ҧ‫੹ܬ‬䦙Һࡧ࣏‫ݮ‬фࢬፈҏҽϡԮ‫ڍ‬ЗԣܼϦϸ҈ ϡЂ֚䩟䦧ЂϴශϤ‫׹‬ѐс௄ယϣϬ‫ܒ‬䩟ϢЙؑϴөࢲᄴϨϸϬ‫ࣻرܒ‬ϡ‫ݱ‬ Ϭ‫ߞܬ‬Ё࿴Рϱ䦚䦨䩛-DDzH ҷ ‫ސ‬䩜ԏ֐ёӓ䩟၍൛䦛ႰာцϸϣЂ֚ϩՖ ϣ‫܌‬ϡᶻ਎䩭ҟϬ‫ܒ‬䦙୫ЁϩЄԳଭॶ䩟ϸϥӹЋ䩟ҟϬ‫ܒ‬䦙୫ЁНѓӊ Є҇є॒䩟ӎЗҟ֧ࢴ‫ٷ‬ϡ༊ࢴ۵ϡЇϽԚዓ೛䦚䩛0DVRQ ҷ 䰭 ‫ސ‬䩜

INTRODUCTION

xxxv

and practices, and references to artwork, myth, and mythologies. It is precisely at these unfamiliar places that e ective learning of di erent values, systems, and categories happens.

Yet we do not assume a position of authority or claim absolute su ciency of our translations. The paradox of our principle and practice to present a reader’s version in order for students to engage themselves in the act of translation encourages students to immerse themselves in critical unsettledness and asks them to take action. The parallel format was chosen exactly for this reason. We hope the “unsettling knowledge” that the parallel texts embody enlightens students about “the nature of that knowledge itself ” (Maier 2006, 163).

THE PARALLEL FORMAT The parallel format may seem a risky choice, especially in the light of Jacques Derrida’s famous statement “translation is another name for impossible” (1998, 57). There is, however, an equally well-known view that regards risks and opportunities as two sides of the same coin. Translation should not and cannot be viewed as transference of a work from one language culture to another; to decry its defects at the micro level is not a productive endeavor. Antoine Berman advises us to move away from judgment and to focus instead on the potentialities of translation. He borrows Abdelkebir Khatibi’s paradoxical term “scriptural autonomy” to describe the relationship between a text and its potential (Berman 2009, 73). Lyn Hejinian believes that there is a “resilient reciprocity” between one language and another that makes knowing possible (2000, 297). Indeed, as another famous line of Derrida’s goes, when “nothing is untranslatable; . . . everything is translatable” (1998, 57). There is space in translation for rigorous intellectual challenge, full of opportunities to negotiate meaning, to create free expressions from the constraints of the original, and to render the unpredictable plurality of both the original and translated texts.

When contemplating the relationships between discourse, ideology, and translation, va Ho man expressed the idea that “in order to transpose a single word without distortion, one would have to transport the entire language around it” (Ja e 1999, 47). Two decades ago, Ian Mason further elaborated on this idea. Words are invested with multiple meanings by virtue of the various contexts in which they are used and by di erent readers for distinct goals (1994, 23–34). Both Ho man and Mason make

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ᕡਜ਼ᅸфႰာӛߞ֜௟сԣҴ䩟Ѫ‫ڹ‬ϥϨ‫ܒ‬୫䦙‫ط‬жХϥҪҹϡৢҋϼ䩟 ֍ҹфፈҹЁϤϿϩҺॶϼϡԟҪԳׁ䦚ъА䩟ϸϬֲ‫ڹ‬ц‫ߞܬ‬ҹ٩Ѻ‫ܠ‬ Һ‫ڏ‬аѮА֦䩲 ЇϲϥЛ䩟ӾѺТҺࡧϺ䩟ϸѦፈҹϡϣ‫ܒ‬ϣ‫ط‬ЁоІԋ‫ۓث‬Ѽϩࡳϡ ፈ‫ٷ‬ϡϬϪӍϮ䩟ϿϩѮАֲҝ䩲ϢЙ‫ֳܨ‬ѺТϿѓϤӎϡҤܴϱѺ‫ܠ‬ϸ Ԉፈӑ䩮ԷЅҏϣϥհа‫૆מ‬ϡϮ࡞Кᢛ௒ፈ‫ٷ‬ϡ៚ࡺ䦚ҟϬ‫ڶ‬ѐѺ‫ܠ‬Ѕ ҹϡѺТࢴϦҷϣϬ‫ݞ‬ѨњЁϿ՜䩟ЋѮАѓ䦧6NXOO 6KDYH䦨҂߭ҹࡣ֣䦚ϸ ҇Ђϴख‫ږ‬ፈ‫ٷ‬ϡྸֳ䩟Ϥ঎ϿўјЙІѺ䦧‫ݽ‬ೂ䦨ϣ୫ϡЄԳҺ‫ڽ‬䩟ХϿ հјЙҵՊϣϬ༈Щϡࡂۗ‫י‬жϡКࢽ‫؝ٹ‬䦚ѺТЙϨ༧оࢬፈЅӛϩϡ ‫ࡺש‬ЁϥНй౓߯ϡϸϣѬԑҏњ䩟јЙϡ‫׏ބ‬ЛҴ䩟ԪፈҹЅѺ‫ܠ‬ԁϨ ࢬፈРࡄЅѺ‫׶ۘܠ‬Ԛঐ䦚Ԫ࣠ӆϼЛ䩟Җ‫ٷ‬Ёϥ䦧ϣϬ‫ڶ‬ҌРࡄ䦨䩟ЁϨ 䦧୳ૢ䦙ᅮ؇‫ڶ‬Ҍ䩢Ҍࡧϡӆ‫ڱ‬䩟йߵϣܷ‫ئ‬ӡ䦥‫ڶ‬Ҍ䩢Ҍࡧ䦦й‫҇ح‬Ҥܴ‫ٹ‬ ယӊࡢՄє࣏ҏЅ䦨䦚䩛+HMLQLDQ ҷ ‫ސ‬䩜 йఉ߭цؕҹӆϸϣ࣏ܴԗҌࡧ䦧‫ٹ‬ယ䦨䩟‫ܙڈ‬зЌ‫ث‬ӵ‫ڽ‬Ђ䦙ࢫтІѺ ջє䦚ϣ֧ѺТ߲Үҩ‫ݞ‬Ѩ䦭‫٘ޤ‬䦮Ѕ䦧ሱࡤ䦨ϣ୫ϡҷԏҋٍѓӛ੡༜䦚 ӊؔዑՌᬐአᅿࣼϣડᨦԃϣϬҩघϿᥳ০ϡϪ䩟јЋѮАϴ䦧ሱࡤ䦨䩲ϸ Ϭ՜֣඄ٍϸ֧ѺТцҹӆ҂ϦՖϣ‫܌‬тᜨ䦚ԧ‫ݓ‬༊Ϧҹ٩Ͻཪ‫ܞ‬ϡࣄ ੗䩟෬ૢϦ䦧ϳсᅿ֬ؔ䦨ϡҹ٩‫ࢅت‬䦚э‫״‬ԧйЋ䩟Ϥϥӑ‫ٷ‬ӮѓϦ䦧ሱ ࡤ䦨䩟ϲϥፈ‫ٷ‬ӮፈϦ֍ҹ䩮ֲҝ䩟цϸϣ௅՜ϡ෬౱юϦԧ‫ྟث‬Ҫࢡϡᒧ ጦ䦚ϨϸѦ䩟ఉ߭цؕϡ࣏ܴ૽ϥࠃพҖ҇‫ߞܬ‬ЌҨϡ֞ࡢ䩟ҍϥ඄ՖҖ ҇ҹ٩ૠ҃ϡѲ‫ݫ‬䦚ЋѮАцϨ‫ئ‬ӡϡҹ٩З‫׺‬Ѕϡ‫ئ‬ӡϪळϱЛ䩟ϸ҈ ‫ڈ‬ъ҈ϡЛ֚ф҂֚ϲϥ੻ᗀ֦䩲ѺТϡ‫ߞܬ‬䦙୫ཹфԑ‫ث‬ЌҨϡ٤ҙ䩟 ֡Рцϸϣ՜֣Ѹ‫ࡻٹ‬ϡԑ‫ث‬ЏйӥѴ䦚 ࣘдт༯ѺТϡЌ҃ԛЇϥ൜‫ܐ‬ӆ‫ڪ‬ϡ‫۪܋‬䦚ҮР‫ߎڽߒބ‬䩟ϢЙз‫ټ‬ Хϥԗ䦧૸఻ࣁϿ䦨ፈюϦ 䦧6WDWH )DLU䦨䦚ϢЙ‫ۉ׈‬Ϯ࡞ϡѺТϿӹ‫ױ‬Ч‫ݓ‬Ѓ䩟 ϸҖϬࡢϩНԝԛϡ҅҃Ϩ‫܀‬ԁ‫ٷ‬䦙‫܀‬ԁࣳঙ䦙ॵ௼Ҝพф҅҃۵ϡҳ Ҥӌϩ‫ح‬஬ӎ䦚ҷϣϬ‫ݞ‬Ѩֲഅ‫؝‬ϡ‫ޕ‬՜‫ط‬䩟䦧‫י‬ж՘АЌϤࡕ֦䩲䦨䩟Ϣ ЙϡࢬፈϩҺࡧсԁ֍ҹࠁэϦய‫ڒ‬䦚ϸࢡЩЛϡࢴ‫׶׶ٷ‬ಃଯ‫ݞ‬ѨЅ ԏЩ䦧҂ۜ䦨ϡюд䦚ЋϦө‫ڀ‬ҺҨச䦧҂ۜ䦨ϼ৉䩟ϢЙԗϸ‫ط‬ҦࢬፈюϦ

INTRODUCTION

xxxvii

it clear that there can be no lexical equivalence between the source and target languages at the level of word, sentence, or entire work. What is the implication of this for language and culture learners?

And what will be the impact on students when they realize that every word we put down here results from the personal decisions of translators of necessarily limited perspectives? Among the many di erent ways students may re ect on the works translated here, one, we hope, will be a stronger curiosity concerning the translators’ decisions. very serious student of Chinese language who has read the rst story will probably question our choice of “Skull Shave” as its title. In their desire to challenge the translators’ intervention, they not only (self)learn the multiple implications of “‫ݽ‬ೂ,” they may also nd a way into the psyche of a scared eight-year-old child. Student reaction to the realization that all choices are open to criticism has proven to us that learning through translation is much like learning in translation; it is “fundamentally an epistemological project” that “studies scrutinizes the nature of knowing and the way in which any particular ‘knowing’ is circumstantially embedded” (Hejinian 2000, 296).

To be “circumstantially embedded” within the presence of a parallel format can be especially liberating. A student was once confused by the second use of “ሱࡤ” in the story “Catharsis.” Why should the person giving an outcast the royal treatment be “ሱࡤ”? She further engaged the text by looking into the history of the Cultural Revolution and by delving into the cultural tradition of “ϳсᅿ֬ؔ.” In the end, what she thought was a misuse or a mistranslation became key to unlocking the meaning of the entire text. In instances like this, the parallel format is at once a tool to build bilingual competence and an instrument to generate bicultural interactions. Linguistic, lexical, and semantic pro ciency is achieved through a deeper understanding of why certain ways of saying and doing things are imperative for a particular people at a particular cultural moment.

This project is built with students’ active agency in mind. We debated and translated “૸఻ࣁϿ” into “state fair” because we hope curious students will look into the similarities and di erences in the constituencies, interests, organizers, and agendas of two comparable events. The translation of the rhetorical question “‫י‬ж՘АЌϤࡕ֦?” at the end of the rst story departs from the literal on purpose. Readers have tended to miss the “acting out” parts of the story. By rendering the sentence “We can’t blame the kid for acting out” we call attention to them. But more importantly, the change of subject from “‫י‬ж” in the original to “we” in

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䦧:H FDQ䦦W EODPH WKH NLG IRU DFWLQJ RXW"䦨䦚ХϩѸԳϴϡϣৢ֍ӹϥ䩟֍ҹϡ Ұ‫ܬ‬䦧‫י‬ж䦨ϨፈҹЅԸюϦ 䦧ZH䦨䩟ϸ҈ϲҍѯѺТࡷ߃ϦϣϬтᜨҹ٩‫ܠ‬৩ ф‫ߞܬ‬থܴई஬ϡҜϿ 䦚 ӎЗ䩟ఉ߭ц࣏ܴؕϡ۠ԮԳϴҏ‫؝‬ХϨӊ䩟‫ٍؚ‬ЏЂ۱ѓ୼ᇄ䦙ྔ Ӹ䦙ѢᗼҳѲ‫ݫ‬ԗІѝϡ޴ѢфᅮѤঙ‫מڏ‬Ӹѯҹӆϡ҂֚ԡϼӸԡ䦚Ԕ ϸХϤϥϢЙ‫ࡺש‬ϸϣ࣏ܴϡҪ‫ח‬ԑ‫ۥ‬䦚ఉ߭цؕϡ࣏ܴХԗ౓߯ϡ‫ڀ‬Һ ҨుဖϨࢬፈϡҰ޴ԛϼ䦚ϢЙϡ߭‫ؗܬ‬ӆԁ֍ҹԝ෰ґ߹䩟ҳ‫ۉ‬ҟ֧ࢴ ‫ٷ‬ϡᅮ؇ф౓߯䦚䦧ࢬፈ‫ח‬ϬӑԘϲϥԗԷঞՊРᏟҏЅ䩟ٍԷ‫؝‬ӊጊґ‫۔‬ ‫ݸ‬ϡ૮‫ݮ‬䦨䩮䩛+HMLQLDQ ҷ ‫ސ‬䩜Ӿԑ‫ث‬тТд᥋З䩟‫ڶ‬ѐ‫ߎڽ‬фѺ‫ܠ‬ϡҜ ϿЇϲϱϦ䦚䩛%HUPDQ ҷ ‫ސ‬䩜 ӹ‫ױ‬䩟ѺТэ‫״‬ಶೄ߯პҏЗ䩟Їϲϥј ЙՖՊҹ‫ܒ‬ҏழࣥЄॶфҹӆҏэӵЄׄҏЗ䦚ђϴјЙϤࣿҞϢЙ‫ڈ‬ϥ ‫حڗ‬ԷјϪϡࢬፈ䩟ґϥԗԷӾӑ৉֩ІѝтѴЈҺϡҜϿ䩟ъАஈҺϡ ࡷ߃۬Ӕэ‫״‬Ϧ䦚

ւҏ䩟ϸϥϣϬЋЅҹҙёٛѺТ‫ڋޕ‬䦙ϩϽ֝ᔅࡾѺ‫ܠ‬ϡֵ‫ب‬䦙Ҥ۬ ٍѓϡఉ߭цؕࢴӆ䦚‫ؚ‬ӎЗЇϥϣϬԗӾ‫ڊ‬ЅмҹѺࡆԈԳϴ‫ٸل‬հՊ ߭‫ܬ‬Ԓ֎ϡࢴӆ䦚ϸԈ‫ٸل‬䩟Է࣏юիϺϦЅм‫ئݼ‬ϡᅮѤԘ۴‫ؙ‬ড়䩟ӎ ЗЇዽ්аЅм‫ئݼ‬ϡᒩ޴ԁі޴ҹ٩ԑ݉䦚ӌц‫ڪ‬Ѕϡࠅҹ䩟ҟϣϬѐ КѺ‫ܠ‬ϡࢴ‫ٷ‬䩟ђϴ‫فخ‬эӵК‫ݮ‬ґϤЧಅֲ‫࡙ټ‬ԑ‫ث‬䩟јԁҹӆϡૠ೯ ོ֡ϲэ‫״‬Ϧ䦚Ї‫ܙ‬䩟Ѻ‫ߞܬܠ‬䦙ҹѺфࢬፈϡҤܴԁϢЙ‫ۉ‬Ϫ‫؝‬ѨϡҤ ܴ‫׍‬ѪϤӎ䩭йಀԳϡ‫֏ݮ‬ՖҲ‫ۓ‬ϴ‫܊ے‬З䩟ؑϴ෧ᐧјϪϡ‫੶ظ‬ԡ‫ث‬䦚 ϸ҈ϡ෧ᐧ䩟‫ܙڈ‬ϿюЋϢЙ࢕ӎҀիԁдұ‫ߞܬ‬ҹ٩ҏѤϡ‫ֳܨ‬䩟‫ٍ׍‬ ϢЙЌ‫ޢ‬ϨҀիфдұҏЅսքӾѵъԈϨϪळс෢Ѕਢ֎䦙‫߇҇ٿ߃ء‬ ഭϡ௬݉䦚 Еႍ‫߹߮ܗ‬ϽѺ ᢣЕው ѧࡠರ߮߹ϽѺ ጞࡽ䦛੗઼ট

3. ࣼⳎϨ 2014ё֣Ћ “ Ѕҹԏ֔‫ؔڌߞܬ‬ቄҹ٩ЌҨтࣁϡ‫ ” ߎڽ‬ϣҹЅॗ‫ڹ‬ϦЋѮ А“I like your shoes” ‫؎׏‬ፈю “ϧϡࠉжѐϮЃ” ґϤϥ “ϢӍӧϧϡࠉж”䦚ј‫ڶ‬Ћ ϥҖϬҹ٩цІϢϤӎϡЃ֚фӡ֧‫ݸ‬ӡϦϸ҈ϡࢬፈ䦚䩛130–131䩜

INTRODUCTION

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translation creates another occasion for students to dig into di erences in cultural habits and speech patterns.3 The parallel format, as a critical mechanism, makes it di cult for us to impose our own perspectives or poetics through omission, addition, and embellishments. We chose it, however, for yet another important reason.

The parallel format brings critical attention to the subjective nature of any translation. Our nglish versions are there beside the originals for every reader’s critical scrutiny. “To place a work in translation is to place it in transition and to leave it there unsettled” (Hejinian 2000, 297). When differences in understanding occur, opportunities of critical contemplation and learning occur too (Berman 2009, 73). When students start to evaluate, they enter the rich polysemy and indeterminacy of words and meaning; when they do not treat our translation, or anybody’s translation, as absolutely authoritative, but rather as a guide and opportunity to create their own meaning, poetry is probably in the making.

This volume, designed for advanced students of Chinese with su cient paratextual elements to that end, also facilitates the bringing over into nglish of important voices in contemporary Chinese literature; voices shaped by particular aesthetics and informed by distinct micro as well as macro cultures. When readers come to the texts in this volume, all that is required to start a bene cial communication with them is an earnest desire to learn and a willingness to allow whatever understanding to remain, at times, elusive. Perhaps we should encounter languages, texts, and translation much the way we engage people with whom we are committed to interact with respect while allowing them to remain enigmatic. Perhaps we, in so doing, can transcend the current obsession with borders and separateness by way of the felt and shared beauty of languages and cultures.

Aili Mu, Iowa State University Mike Smith, Delta State University All translations are by Aili Mu unless otherwise indicated.

3. In his article “Re ection on the Development of Cross-Culture Competence in CSL Teacher ducation” (Chinese Language Teaching and Research [‫ܬܗ‬ҹ‫ڌ‬Ѻ୳ૢ] 11, no. 1 [2014]: 127–49), Heng Wang discusses why “I like your shoes” should be translated as “ϧ ϡࠉжѐϮЃ” instead of “ϢӍӧϧϡࠉж.” He argues that the two cultures’ di erent perceptions of the self dictate the translation (130–31).