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Journal articles on the topic 'Xingjian'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Wang, Mingxing. "Entretien avec Noel Dutrait, traducteur de La Montagne de l’âme de Gao Xingjian." ALTERNATIVE FRANCOPHONE 2, no. 1 (2017): 121–29. http://dx.doi.org/10.29173/af29333.

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2

Sasipanudej, Nipon. "Gao Xingjian’s Bus Stop: Dystopia in Contemporary China." MANUSYA 19, no. 2 (2016): 49–70. http://dx.doi.org/10.1163/26659077-01902003.

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This article aims to discuss how Gao Xingjian recontextualizes European dystopianism into China under Mao Zedong’s ideological manipulation of “utopia,” which the latter adopted from Karl Marx. The theme of absurd eternal waiting for a bus in Bus Stop is technically employed to criticize the Chinese dream of utopia and the idea of utopia itself as a whole. When the theme of waiting in Waiting for Godot is relocated into a Chinese context, it diverts from Western drama by means of Gao Xingjian's dramaturgical innovation as a blend of the East and the West. The absurdity in Bus Stop makes Chines

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3

Wang, Mingxing. "La traduction comme création: Entretien avec Gao Xingjian." ALTERNATIVE FRANCOPHONE 2, no. 1 (2017): 118–20. http://dx.doi.org/10.29173/af29334.

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Récipiendaire du prix Nobel de littérature, Gao Xingjian est notamment l’auteur de La Montagne de l’âme et de plusieurs pièces de théâtre. Cela dit, on ignore souvent qu’il a également signé plusieurs traductions. Cet entretien réalisé avec Gao Xingjian le 10 septembre 2015 à l’occasion du 5e Congrès des études asiatiques et pacifiques qui s’est tenu à L’Institut National des Langues et Civilisations Orientales (INALCO) à Paris, est l’occasion d’apporter un éclairage sur son travail de traducteur. L’entretien a été réalisé en chinois, puis traduit en anglais et en français.

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4

Wang, Mingxing. "Translation as Creation: Interview with Gao Xingjian." TranscUlturAl: A Journal of Translation and Cultural Studies 12, no. 2 (2020): 50–52. http://dx.doi.org/10.21992/tc29505.

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5

Zhang, Yinde. "Gao Xingjian : fiction et mémoire interdite." Perspectives chinoises 111, no. 2 (2010): 26–34. http://dx.doi.org/10.3406/perch.2010.3845.

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6

Weinstein, John B., and Gilbert C. F. Fong. "The Other Shore: Plays by Gao Xingjian." Chinese Literature: Essays, Articles, Reviews (CLEAR) 23 (December 2001): 176. http://dx.doi.org/10.2307/495512.

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7

Huang, Alexander C. Y. "Gao Xingjian and Transcultural Chinese Theater (review)." Asian Theatre Journal 23, no. 1 (2006): 213–14. http://dx.doi.org/10.1353/atj.2006.0008.

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8

Conceison, Claire. "Gao Xingjian and Transcultural Chinese Theatre (review)." Theatre Journal 57, no. 3 (2005): 534–35. http://dx.doi.org/10.1353/tj.2005.0094.

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9

Cheuk, Michael Ka-chi. "Literary celebrities as counterpublics: A comparative study of Gao Xingjian and Toni Morrison." Journal of Applied Journalism & Media Studies 10, no. 2 (2021): 153–67. http://dx.doi.org/10.1386/ajms_00054_1.

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Despite its universal importance, the Nobel Prize in literature, which is based in Sweden and administered by the Swedish Academy, is a central European literary prize. And the prestige which the Nobel Prize bestows upon its winners is fuelled by a central-European type of fetishization of intellectual achievement, in which Nobel laureates are more known than they are read. Rather than being publicly recognized for their literary achievements, Nobel Prize-winning authors become literary celebrities who represent various kinds of Nobel-related capitals, including political capital, cultural cap

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10

Lin, Sylvia Li-chun, and Kwok-kan Tam. "Soul of Chaos: Critical Perspectives on Gao Xingjian." World Literature Today 76, no. 2 (2002): 135. http://dx.doi.org/10.2307/40157309.

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11

Gallo, Simona. "Gao Xingjian – Entre le chinois et le français." Genesis, no. 46 (June 4, 2018): 115–20. http://dx.doi.org/10.4000/genesis.3018.

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12

Fong, Gilbert. "Gao Xingjian and Transcultural Chinese Theater. Sy Ren Quah." China Journal 54 (July 2005): 177–79. http://dx.doi.org/10.2307/20066098.

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13

Lee, Kyoung. "Soul of Chaos: Critical Perspectives on Gao Xingjian (review)." Criticism 44, no. 4 (2002): 445–49. http://dx.doi.org/10.1353/crt.2003.0020.

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14

Lee, Gregory B. "Soul of Chaos: Critical Perspectives on Gao Xingjian. Edited by Kwok-KanTam. [Hong Kong: Chinese University Press, 2001. 345 pp. $38.00. ISBN 962-201-993-5.]." China Quarterly 170 (June 2002): 477–502. http://dx.doi.org/10.1017/s0009443902380288.

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Without doubt numerous essays and articles and books about the work of the first literary Nobel prize winner to emanate from China are currently going to press. This is due not only to an acknowledgement of a literary event the Chinese-reading public awaited for a century, but also to the paucity of work so far done on Gao Xingjian in academic circles, especially on Gao the novelist.

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15

Dutrait, Noël. "Gao Xingjian : une œuvre riche et foisonnante [Bibliographie d'un Nobel]." Perspectives chinoises 63, no. 1 (2001): 66–70. http://dx.doi.org/10.3406/perch.2001.2590.

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16

Berne, Marie. "Beckett en Chine à Paris: Résonance beckettienne chez Gao Xingjian." Samuel Beckett Today / Aujourd'hui 23, no. 1 (2012): 127–41. http://dx.doi.org/10.1163/18757405-023001010.

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How to visit China with Beckett ? A contemporary artist may be our guide for this discovery and create a bridge between different realities, cultures and perspectives that are not so easy to compare. Gao Xingjian is, like Beckett, a Nobel Prize winner, in exile in Paris, a novelist, theater writer, film director and inventor of languages. The influence of Beckett with Gao has been evident when his piece Chezhan was performed in 1983 in Beijing. It seems that beckettian resonances have become even more apperent after Gao's departure from China. The Beckettian 'filiation' so throws its light on

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17

Kamaliyah, Yuninda Asyroful, Ario Imandiri, and Myrna Adianti. "THERAPY FOR HYPERTENSION WITH ACUPUNTURE AND HERBAL CUCUMBER (Cucumis sativus (L.))." Journal of Vocational Health Studies 4, no. 1 (2020): 41. http://dx.doi.org/10.20473/jvhs.v4.i1.2020.41-49.

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Background : Hypertension or high blood pressure is an increase in systolic blood presure ≥ 140 mmHg and diastolic blood pressure ≥ 90 mmHg in a person's body, when two measurements are taken with an interval of five minutes so that the body is resting or quite calm. In TCM, hypertension is categorized into two, is called Xuan Yun (vertigo) and Tou Feng (headache). Cases of hypertension experienced by patients is the patient's blood pressure has increased 188/100 mmHg because stopped taking medicine for 2 years. The patient is classified as hypertensive with differentiated liver fire hyperacti

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18

Gallo, Simona. "Una lettura ‘bachtiniana’ dell’opera critica di Gao Xingjian 高行健". Lingue Culture Mediazioni - Languages Cultures Mediation (LCM Journal), № 3 (2016) 1 (липень 2016): 65–78. http://dx.doi.org/10.7358/lcm-2016-001-gall.

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19

Williams, Philip F., and Henry Y. H. Zhao. "Towards a Modern Zen Theatre: Gao Xingjian and Chinese Theatre Experimentalism." World Literature Today 76, no. 1 (2002): 132. http://dx.doi.org/10.2307/40157061.

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20

Song, Binghui. "The experimental drama of Gao Xingjian inspired by avant-garde theatre." Neohelicon 46, no. 1 (2019): 69–79. http://dx.doi.org/10.1007/s11059-019-00485-2.

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21

Łabędzka, Izabella. "Gao Xingjian’s Dialogue with Literary and Visual Traditions." Porównania 26 (June 15, 2020): 331–43. http://dx.doi.org/10.14746/por.2020.1.19.

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The paper is devoted to the contemporary Chinese prose and drama writer, painter,stage director and author of experimental art films, Gao Xingjian. My aim is topresent his innovative solutions in the field of different arts and media. I try toanalyze his works in a broad context of Eastern and Western culture and to showthe flexibility with which he crosses the narrow borders of arts, makes use of therich heritage of his native traditional culture, Chinese Taoist philosophy with itsprocessual understanding of reality. I also point at his interest in the aesthetics ofemptiness and artistic mini

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22

Thomas Y. T. Luk. "From Brecht, Artaud, and the Absurd to Sha Yexin and Gao Xingjian:." Comparative Literature Studies 48, no. 1 (2011): 64. http://dx.doi.org/10.5325/complitstudies.48.1.0064.

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23

Fan, Weili. "Gao Xingjian: Soul Mountain and One Man's Bible, translated by Mabel Lee." Translation and Literature 12, no. 2 (2003): 307–12. http://dx.doi.org/10.3366/tal.2003.12.2.307.

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24

Huang, Alexander C. Y. "The Theatricality of Religious Rhetoric: Gao Xingjian and the Meaning of Exile." Theatre Journal 63, no. 3 (2011): 365–79. http://dx.doi.org/10.1353/tj.2011.0077.

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25

Emerson, Whit. "City of the Dead and Song of the Night by Gao Xingjian." Asian Theatre Journal 33, no. 1 (2016): 223–25. http://dx.doi.org/10.1353/atj.2016.0020.

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26

Dutrait, Noël, and Gao Xingjian. "La voix puissante d'un écrivain en exil [Entretien avec l'écrivain Gao Xingjian]." Perspectives chinoises 49, no. 1 (1998): 60–63. http://dx.doi.org/10.3406/perch.1998.2341.

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27

Li, Xiaofan Amy. "East Asian Francophone Writers and Racialized Aesthetics? Gao Xingjian and Aki Shimazaki." L'Esprit Créateur 59, no. 2 (2019): 134–49. http://dx.doi.org/10.1353/esp.2019.0021.

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28

Kong, Shuyu. "Ma Jian and Gao Xingjian: Intellectual Nomadism and Exilic Consciousness in Sinophone Literature." Canadian Review of Comparative Literature / Revue Canadienne de Littérature Comparée 41, no. 2 (2014): 126–46. http://dx.doi.org/10.1353/crc.2014.0010.

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29

Coulter, Todd. "The New Intellectual: Celebration of the Individual in the Plays of Gao Xingjian." International Journal of the Humanities: Annual Review 5, no. 5 (2007): 83–90. http://dx.doi.org/10.18848/1447-9508/cgp/v05i05/42106.

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30

Dutrait, Noël. "La naissance d'un opéra d'expression chinoise [La Neige en août de Gao Xingjian]." Perspectives chinoises 75, no. 1 (2003): 71–73. http://dx.doi.org/10.3406/perch.2003.2926.

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31

Luo, Shao-Pin. "Magic Mountain and Sacred Script: A Bakhtinian Reading of the Novels of Gao Xingjian." Critique: Studies in Contemporary Fiction 46, no. 3 (2005): 283–300. http://dx.doi.org/10.3200/crit.46.3.283-300.

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32

Dollar, J. Gerard. "In wildness is the preservation of China: Henry Thoreau, Gao Xingjian, and Jiang Rong." Neohelicon 36, no. 2 (2009): 411–19. http://dx.doi.org/10.1007/s11059-009-0010-8.

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33

Ren, Quah Sy. "Réalité historique, récit fictionnel : la Chine dans le cadre du théâtre de Gao Xingjian." Perspectives chinoises 111, no. 2 (2010): 15–25. http://dx.doi.org/10.3406/perch.2010.3844.

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34

Veg, Sebastian. "Sur les marges de la modernité : une étude comparée de Gao Xingjian et Ōe Kenzaburō." Perspectives chinoises 111, no. 2 (2010): 36–50. http://dx.doi.org/10.3406/perch.2010.3846.

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35

Jin, Liu, and Guo Feng. "Treatment of 57 headache cases by needling point Xingjian (LR 2) through Taichong (LR 3)." Journal of Acupuncture and Tuina Science 1, no. 1 (2003): 36–37. http://dx.doi.org/10.1007/bf02845319.

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36

Knight, Deirdre Sabina. "The Other Shore: Plays by Gao Xingjian. By Xingjian Gao. Translated by Gilbert C. F. Fong. Hong Kong: The Chinese University Press, 1999, distributed by University of Michigan Press, xlii, 312 pp. $18.00 (paper)." Journal of Asian Studies 61, no. 1 (2002): 216–18. http://dx.doi.org/10.2307/2700217.

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37

Louie, Kam. "In Search of the Chinese Soul in the Mountains of the SouthSoul Mountain. Gao Xingjian , Mabel Lee." China Journal 45 (January 2001): 145–49. http://dx.doi.org/10.2307/3182376.

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38

Chan, Tim W. "Literary Criticism and the Ethics of Poetry: The “Four Elites of the Early Tang” and Pei Xingjian." Tang Studies 1997, no. 15-16 (1997): 157–82. http://dx.doi.org/10.1179/073750397787772704.

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39

Laffitte, Béatrice Bouvier. "Francophonie chinoise: Langues et identités en tension dans les œuvres de Dai Sijie, Gao Xingjian et Ying Chen." International Journal of Francophone Studies 16, no. 3 (2013): 263–80. http://dx.doi.org/10.1386/ijfs.16.3.263_1.

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40

ferrari, rossella. "sy ren quah: gao xingjian and transcultural chinese theater. xi, 225 pp. honolulu: university of hawai'i press, 2004. $48." Bulletin of the School of Oriental and African Studies 68, no. 2 (2005): 333–35. http://dx.doi.org/10.1017/s0041977x05320155.

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41

Luk, Thomas Y. T. "From Brecht, Artaud, and the Absurd to Sha Yexin and Gao Xingjian: Two Cases of Rapport de Fait." Comparative Literature Studies 48, no. 1 (2011): 64–81. http://dx.doi.org/10.1353/cls.2011.0015.

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42

Dutrait, Noël. "Kwok-Kan Tarn éd., Soul of Chaos, Critical Perspectives on Gao Xingjian, Hong Kong, The Chinese University Press, 2001, 346 p." Perspectives chinoises 71, no. 1 (2002): 93–95. http://dx.doi.org/10.3406/perch.2002.2761.

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43

이영구 and 배도임. "Double Notes by ‘I’ and ‘Another I’: Focusing on Into the Unfamiliar Time by Yi Inseong and Soul Mountain by Gao Xingjian." Journal of Chinese Cultural Studies ll, no. 32 (2016): 1–26. http://dx.doi.org/10.18212/cccs.2016..32.001.

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44

Xiao, Zhenlong, and Xingjian Jing. "Corrigendum to “Estimation of parametric convergence bounds for Volterra series expansion of nonlinear systems” by Zhenlong Xiao, Xingjian Jing, Li Cheng [Mech. Syst. Signal Process. 45 (1) (2014) 28–48]." Mechanical Systems and Signal Processing 50-51 (January 2015): 784–85. http://dx.doi.org/10.1016/j.ymssp.2014.06.008.

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45

Zhu, Xingjun, Chau Vo, Madelynn Taylor, and Bryan Ronain Smith. "Correction: Non-spherical micro- and nanoparticles in nanomedicine." Materials Horizons 7, no. 5 (2020): 1436. http://dx.doi.org/10.1039/d0mh90013c.

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46

Wang, Chun Yao, Yong Xie, Xue Nong Wang, Fa Cheng, Yue Liu, and Yuan Kong Chun. "Analytical Research on FEM and Dynamic Stress Test of Residue Plastic Film Suspension Recycling Machine." Advanced Materials Research 33-37 (March 2008): 1389–92. http://dx.doi.org/10.4028/www.scientific.net/amr.33-37.1389.

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This paper carried on mechanics analysis and the research to the Curved Rake Tine Frame and Headstock of film recycling machine which could cut cotton stalk and recycle the used film simultaneously. This machine was developed by the Institute of Agriculture Machine Xingjiang Academy of Agricultural Sciences. This paper used servile methods to identify the structural deficiencies such as Visualization Virtual Design, Finite Element Method and Testing Method. These data provided a theoretical basis for the design of the Curved Rake Tine Frame and Headstock.

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47

Lei, Zheng Bao, Zhu Chen, Mu Xi Lei, and Run Al. "Research on Safety Technology for Initiative Anti-Collision of Bridge." Applied Mechanics and Materials 204-208 (October 2012): 2196–99. http://dx.doi.org/10.4028/www.scientific.net/amm.204-208.2196.

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Existing initiative anti-collision of bridge system was so complex and high costs, so we analysis of various factors of the collision of the bridge, putting forward the key factors of the initiative anti-collision and simplifying the bridge initiative anti-collision model. Furthermore, in the light of the key factors to designed a set of initiative anti-collision safety system for Xingjiang large bridge as an example. Based on the limit of thoughts and ideas, raise the concept of the voyage level of security, and design the work of software process.

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48

Lee, Mabel. "Gao Xingjian's Idea of Theatre. Izabella Łabędzka." China Journal 62 (July 2009): 144–47. http://dx.doi.org/10.1086/tcj.62.20648125.

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49

왕진광. "A Buddhist Interpretation of Gao Xingjian’s ‘Garland’." Journal of Study on Language and Culture of Korea and China ll, no. 27 (2011): 315–41. http://dx.doi.org/10.16874/jslckc.2011..27.013.

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50

Liu, S., Q. P. Zhang, D. C. Liu, N. Liu, A. M. Zhang, and W. S. Liu. "Linkage disequilibrium in North China and Xingjiang apricot cultivars (Prunus armeniacaL.)." Acta Horticulturae, no. 1214 (September 2018): 269–84. http://dx.doi.org/10.17660/actahortic.2018.1214.47.

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