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Relevant bibliographies by topics / Martials arts fiction

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Academic literature on the topic 'Martials arts fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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Journal articles on the topic "Martials arts fiction"

1

Mok, Olivia. "Translational migration of martial arts fiction East and West." Target. International Journal of Translation Studies 13, no. 1 (November 8, 2001): 81–102. http://dx.doi.org/10.1075/target.13.1.06mok.

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This paper explores the translational phenomenon of why so little of martial arts fiction has been translated into Western languages, compared to the copious amount into other Asian languages. Investigation into the translational migration of martial arts fiction demonstrates that the “normal” position assumed by translated literature tends to be a peripheral one. However, different patterns of behaviour can be observed, depending on the hegemonic relations between source and target cultures. In the West, martial arts fiction in English translation is being relegated to an extremely peripheral position. But martial arts fiction is able to make inroads into Asian countries, to the extent of stimulating a new literary form or (re)writing martial arts fiction in some indigenous languages.

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Mok, Olivia. "Translating appellations in martial‐arts fiction." Perspectives 10, no. 4 (January 2002): 273–81. http://dx.doi.org/10.1080/0907676x.2002.9961451.

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Mok, Olivia. "Strategies of Translating Martial Arts Fiction." Babel. Revue internationale de la traduction / International Journal of Translation 47, no. 1 (December 31, 2001): 1–9. http://dx.doi.org/10.1075/babel.47.1.02mok.

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The strategies of translating Fox Volant of the Snowy Mountain, a martial arts novel by Jin Yong, into English are determined mainly by the skopos of bringing Jin Yong’s work to life for a Western audience, shaped also by the translator’s ideology and the poetics dominant in the receiving culture. It follows that the functions associated with translating this literary text, a major genre in contemporary Chinese literature, would include introducing martial arts fiction as a literary genre; introducing Jin Yong as a master storyteller; and presenting genre-specific devices employed in penning a classic work. An overriding strategy adopted by the translator proved to be extensive rewriting into the target language as the translated work only materialized after serious efforts at recreative translating. The fluent translation strategy, when aptly used, is the one that effects transparency, thereby evoking authorial presence in a literary translation.

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Roman, Luke. "The Representation of Literary Materiality in Martial's Epigrams." Journal of Roman Studies 91 (November 2001): 113–45. http://dx.doi.org/10.2307/3184773.

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Around the world, covers have become advertisements for their books. The dignity that characterizes something self-contained, lasting, hermetic — something that absorbs the reader and closes the lid over him, as it were, the way the cover of the book closes on the text — has been set aside as inappropriate to the times. The book sidles up to the reader; it no longer presents itself as existing in itself, but rather as existing for something other, and for this very reason the reader feels cheated of what is best in it. Theodor AdornoIn his last book, at the end of a successful, literary career, Martial asks in regard to his own genre of epigram: ‘quid minus esse potest?’ (‘What can be humbler?’, 12.95). Such self-disparagement is not necessarily surprising, since there is no reason to imagine that Martial's success as an epigrammatist would alter his genre's place in the traditional hierarchy of literary seriousness. Martial's denigration of his own oeuvre, however, goes beyond consciousness of epigram's status as a low genre. The epigrammatist not only registers his genre's formal rank, he develops fully articulated fictional scenarios depicting the nature of his writing and its role in society. According to the most salient and pervasive fiction characterizing Martial's work, epigram is an ephemeral form of literature embedded in specific, social contexts, and dedicated to immediate uses.

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Deng, Gaosheng. "Rendering ECR in Subtitles: A Case Study of the Traditional Chinese Martial Arts Films." Asian Culture and History 11, no. 1 (December 31, 2018): 31. http://dx.doi.org/10.5539/ach.v11n1p31.

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The traditional Chinese martial arts film is a special type of mass media which reflects the Chinese culture, and it comes into vogue due to the popularity of martial arts fiction. For foreign audiences, watching the traditional Chinese martial arts film, they rely heavily on subtitles to understand the plot and the specific Chinese culture. However, it is not easy to produce readable subtitles. Jan Pedersen, defines the specific cultural terms as “Extralinguistic Cultural References (ECR)”, and puts forward a systematic theory. In this paper, the theory of Pedersen is been used to render ECRs in subtitles of the traditional Chinese martial arts films. The purpose of this paper is to attract people’s attention to the studies of translation of ECRs of subtitles, and to contribute a small effort to the “going out” initiative of Chinese culture.

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Delabastita, Dirk. "From Aesop to Zweig and from Martial to Martial Arts Fiction." Target. International Journal of Translation Studies 14, no. 1 (December 31, 2002): 149–71. http://dx.doi.org/10.1075/target.14.1.11del.

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정진위. "Cave Imagery in Jin Yong's Martial Arts Fiction." Journal of Chinese Language and Literature ll, no. 55 (June 2010): 497–519. http://dx.doi.org/10.15792/clsyn..55.201006.497.

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Ni, Zhange. "Xiuzhen (Immortality Cultivation) Fantasy: Science, Religion, and the Novels of Magic/Superstition in Contemporary China." Religions 11, no. 1 (January 2, 2020): 25. http://dx.doi.org/10.3390/rel11010025.

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In early twenty-first-century China, online fantasy is one of the most popular literary genres. This article studies a subgenre of Chinese fantasy named xiuzhen 修真 (immortality cultivation), which draws on Daoist alchemy in particular and Chinese religion and culture in general, especially that which was negatively labelled “superstitious” in the twentieth century, to tell exciting adventure stories. Xiuzhen fantasy is indebted to wuxia xiaoshuo 武俠小說 (martial arts novels), the first emergence of Chinese fantasy in the early twentieth century after the translation of the modern Western discourses of science, religion, and superstition. Although martial arts fiction was suppressed by the modernizing nation-state because it contained the unwanted elements of magic and supernaturalism, its reemergence in the late twentieth century paved the way for the rise of its successor, xiuzhen fantasy. As a type of magical arts fiction, xiuzhen reinvents Daoist alchemy and other “superstitious” practices to build a cultivation world which does not escape but engages with the dazzling reality of digital technology, neoliberal governance, and global capitalism. In this fantastic world, the divide of magic and science breaks down; religion, defined not by faith but embodied practice, serves as the organizing center of society, economy, and politics. Moreover, the subject of martial arts fiction that challenged the sovereignty of the nation-state has evolved into the neoliberal homo economicus and its non-/anti-capitalist alternatives. Reading four exemplary xiuzhen novels, Journeys into the Ephemeral (Piaomiao zhilv 飄渺之旅), The Buddha Belongs to the Dao (Foben shidao 佛本是道), Spirit Roaming (Shenyou 神遊), and Immortality Cultivation 40K (Xiuzhen siwannian 修真四萬年), this article argues that xiuzhen fantasy provides a platform on which the postsocialist generation seek to orient themselves in the labyrinth of contemporary capitalism by rethinking the modernist triad of religion, science, and superstition.

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Whissel, Kristen. "Tales of Upward Mobility." Film Quarterly 59, no. 4 (2006): 23–34. http://dx.doi.org/10.1525/fq.2006.59.4.23.

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ABSTRACT This article investigates a new cinematic spatial dialectics enabled by digital special effects. Focusing on blockbuster films from a range of genres (martial arts, disaster, comic-book, and science-fiction films), it approaches digitally enhanced ““verticality”” as a mode of cinematic representation designed to exploit the visual pleasures of power and powerlessness.

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Heward, Lehyla G. "The Unworthy Scholar from Pingjiang: Republican-Era Martial Arts Fiction by John Christopher Hamm." Twentieth-Century China 46, no. 3 (2021): E—26—E—27. http://dx.doi.org/10.1353/tcc.2021.0030.

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Dissertations / Theses on the topic "Martials arts fiction"

1

Mok, Olivia Wai Han. "Martial arts fiction translational migrations east and west /." Thesis, Online version, 1998. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.287060.

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Jongjairuksa, Kulyanee. "A sociological approach to the translation of Chinese martial arts fiction into Thai." Thesis, SOAS, University of London, 2018. http://eprints.soas.ac.uk/26168/.

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Despite the fact that only a handful of Chinese martial arts novels have been translated into English, this genre of fiction has been extremely popular among Thai readers since 1957. Such novels occupy a space in the Thai literary field as a genre in its own right and continue to be popular at the present time. One aspect of this genre which makes it interesting to study is the unique hybrid style of the language that is used in the translations, and its pervasiveness in everyday Thai life. The martial arts language style is archaic with the hint of Chinese-ness, making it different from translations of other genres. Yet, despite the idiosyncratic nature of the language style, the genre has been well received in Thai society. The language style has also been adopted for use in other contexts, such as in political newspaper columns. Furthermore, it also has some influence on the language style of local literature written by Thai authors. In this study, I examine from a sociological perspective what lies behind the exceptional success of this translated literature in the target Thai society. Translation practice is looked at as a socially related activity and Bourdieu's sociology of cultural production serves as the key analytical device. The longstanding relations that pertain between China and Siam/Thailand, and the extensive immigration and assimilation of the Chinese into Siamese/Thai society that led to cultural hybridity between the two cultures, are the main factors that contribute to the acceptability of the language style and the success of such a culturally rich genre in a foreign country.

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Feng, Xiaoran. "Jin Yong wu xia xiao shuo zhong "wu" yu "xia" de cheng ji yu chuang xin = The inheritance and innovation of "wu" and "xia" in Jin Yong's novels /." click here to view the abstract and table of contents, 2000. http://net3.hkbu.edu.hk/~libres/cgi-bin/thesisab.pl?pdf=b15722648a.pdf.

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Ma, Guoming, and 馬國明. "Hong Kong martial art novels: the case of Louis Cha." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31212566.

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Yu, King-hei, and 余境熹. "Study of the places in "A dealy secret"." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B46089044.

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Kozar, Seana. "Deliberations between the covers : an audience-centred ethnography of Chinese popular fiction readers /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ34716.pdf.

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劉天枝. "論金庸武俠小說的絕境書寫 :以"射鵰"三部曲為例 = Research on the desperation narrative of Jin Yong's Martial Arts novels : taking the Condor Trilogy for instance." Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3954251.

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Forkapa, Dan. "The Other Side of Fun." Cleveland State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=csu1513106622529833.

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Ng, Hoi-shan Crystal. "Rewriting Louis Cha's classical characters in filmic representation in response to the political and cultural mutation of Hong Kong 90S - Wong Kar Wai and Tsui Hark." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20272662.

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馮筱然. "金庸武俠小說中《武》與《俠》的承繼與創新 = The inheritance and innovation of "wu" and "xia" in Jin Yong's novels." HKBU Institutional Repository, 2000. http://repository.hkbu.edu.hk/etd_ra/205.

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Books on the topic "Martials arts fiction"

1

Gu, Long. Song hiệp sát ma. Thanh Hóa: Nhà xuất bản Thanh Hóa, 2008.

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2

Whitman, John. Ghostwarrior and other martial arts stories. Los Angeles: Roxbury Park/Lowell House Juvenile, 2000.

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3

Peterson, Susan Lynn. Legends of the martial arts masters. Boston: Tuttle Pub., 2003.

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Tournament of fear and other martial arts stories. Los Angeles, Calif: Lowell House, 1999.

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5

Dukkha unloaded: A Sam Reeves martial arts thriller. Wolfeboro, NH: YMAA Publication Center, 2014.

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6

Stateless subjects: Chinese martial arts literature and postcolonial history. Ithaca, N.Y: Cornell East Asia Program, 2011.

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7

Yong, Jin. The deer and the cauldron: A martial arts novel. Oxford: Oxford University Press, 1999.

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8

John, Minford, and May Rachel, eds. The deer and the cauldron: A martial arts novel. New York: Oxford University Press, 1997.

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9

Om-Ra-Zeti, Khafra K. Capoeira: The novel : a tale of martial arts mastery, mysticism and love. San Francisco: KMT Publications, 2002.

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10

Choke hold: A novel. Winnipeg, Man: Turnstone Press, 2000.

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Book chapters on the topic "Martials arts fiction"

1

Huang, Yonglin. "Martial Arts Fiction and Chivalric Literature." In Narrative of Chinese and Western Popular Fiction, 141–61. Berlin, Heidelberg: Springer Berlin Heidelberg, 2018. http://dx.doi.org/10.1007/978-3-662-57575-8_6.

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Ma, Iris. "The making of Taiwanese martial arts fiction." In Positioning Taiwan in a Global Context, 61–76. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: Routledge research on Taiwan series ; 28: Routledge, 2019. http://dx.doi.org/10.4324/9780429022227-5.

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"Chapter 8. Beyond Martial Arts Fiction." In Paper Swordsmen, 198–226. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824863869-010.

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"35. Martial Arts Fiction and Jin Yong." In The Columbia Companion to Modern Chinese Literature, 274–79. Columbia University Press, 2016. http://dx.doi.org/10.7312/dent17008-036.

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"CHAPTER THREE. Thematic Subgenre Martial Arts Fiction." In The Unworthy Scholar from Pingjiang, 66–95. New York Chichester, West Sussex: Columbia University Press, 2019. http://dx.doi.org/10.7312/hamm19056-006.

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"Printing the Sound of Cosmopolitan Beijing: Dialect Accents in Nineteenth-Century Martial Arts Fiction." In From Woodblocks to the Internet, 159–84. BRILL, 2010. http://dx.doi.org/10.1163/9789004216648_007.

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Eller, Jonathan R. "Visions of Mars." In Bradbury Beyond Apollo, 294–98. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043413.003.0044.

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The digitized copy of The Martian Chronicles, along with many other stories, novels, and science fiction art inspired by the Red Planet, finally reached Mars aboard the Phoenix lander in 2008. Chapter 43 describes Bradbury’s final trip to the Jet Propulsion Laboratory the following year, the publication of his last story collection, We’ll Always Have Paris (2008), and the passing of Don Congdon, his agent for more than sixty years. Bradbury had come to measure each story he finished as one more victory over death, but the stories were coming more slowly now. Bradbury’s reflections on mortality during the final decades of his life, and his unfinished plans for a final story collection, close out chapter 43.

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