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African American Writers and Classical Tradition

African American Writers and Classical Tradition BOOK REVIEWS / 231 and popular culture demonstrate the mutual translation between sound and image. This verbal-visual nexus, or what Claus Clüver calls “intersemiotic transposition,” is an exciting area of research (see Tan and Pan). The material in these chapters is fascinating, and Ding’s discussion is lively and appealing. The various sections of chapter 6 present popular cultural “symbols of luck,” “symbols of rank,” “symbols of longevity,” “symbols of (marital) happiness,” and “symbols of wealth,” most of which look like new-years’ posters. However, in discussing what is vaguely equivalent to “metaphor” in the West, Ding does not exactly spell out the Chinese approximations of the term, except for a passing reference to the idea of “biyu” in the Chinese tradition (84). Is “biyu” the Chinese equivalent to metaphor? What about other Chinese concepts? There is no mention of a long commentarial tradition about “bi” and “xing” that dates back to the “Great Preface” to Classics of Poetry (Shi jing). Instead, Ding relies heavily on the writings of the twentieth-century writer and scholar Qian Zhongshu in his analysis of metaphor in China. Chapter 7, “Myth Making and Its Socio-Economic Functions,” discusses the Chinese TV drama A Native of Beijing http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Comparative Literature Duke University Press

African American Writers and Classical Tradition

Rankine, Patrice D.
Comparative Literature , Volume 64 (2) – Mar 20, 2012
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Publisher
Duke University Press
Copyright
Copyright © Duke Univ Press
ISSN
0010-4124
eISSN
1945-8517
DOI
10.1215/00104124-1590214
Publisher site
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Abstract

BOOK REVIEWS / 231 and popular culture demonstrate the mutual translation between sound and image. This verbal-visual nexus, or what Claus Clüver calls “intersemiotic transposition,” is an exciting area of research (see Tan and Pan). The material in these chapters is fascinating, and Ding’s discussion is lively and appealing. The various sections of chapter 6 present popular cultural “symbols of luck,” “symbols of rank,” “symbols of longevity,” “symbols of (marital) happiness,” and “symbols of wealth,” most of which look like new-years’ posters. However, in discussing what is vaguely equivalent to “metaphor” in the West, Ding does not exactly spell out the Chinese approximations of the term, except for a passing reference to the idea of “biyu” in the Chinese tradition (84). Is “biyu” the Chinese equivalent to metaphor? What about other Chinese concepts? There is no mention of a long commentarial tradition about “bi” and “xing” that dates back to the “Great Preface” to Classics of Poetry (Shi jing). Instead, Ding relies heavily on the writings of the twentieth-century writer and scholar Qian Zhongshu in his analysis of metaphor in China. Chapter 7, “Myth Making and Its Socio-Economic Functions,” discusses the Chinese TV drama A Native of Beijing

Journal

Comparative Literature – Duke University Press

Published: Mar 20, 2012

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