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R. So (2013)
Literary Information Warfare: Eileen Chang, the US State Department, and Cold War Media AestheticsAmerican Literature, 85
C. Anibal, Ernest Hemingway (1933)
Death in the AfternoonHispania, 16
张 爱玲, Andrew Jones (2005)
Written on water
F. Jameson (1972)
Marxism and Form: 20th-Century Dialectical Theories of Literature
R. So (2016)
Transpacific Community: America, China, and the Rise and Fall of a Cultural Network
Ernest Hemingway, William Kozlenko (1942)
Men at war
S. Lucas (1996)
Campaigns of Truth: The Psychological Strategy Board and American Ideology, 1951–1953International History Review, 18
(2014)
Buzaichang de yizhe: lun lengzhan qijian yingmei wenxue fanyi de niming chuban ji daoyin wenti (1949–1990)
(2013)
Guodu yu biange: yijiuwuling niandai zhangailing dengren zai xianggang de fanyi shijian
(2014)
Lengzhan shidai de taiwan wenxue waiyi—meiguo xinwenchu yishu jihua de yunzuo
Greg Barnhisel (2015)
Cold War Modernists: Art, Literature, and American Cultural Diplomacy
Stuart Casey-Maslen (2013)
The war report
Summary of Activities in Hong Kong, D.C.C.
J. Cleary (2012)
Realism after Modernism and the Literary World-SystemModern Language Quarterly, 73
(2012)
Xinmeichu (USIS) yu taiwan wenxueshi chongxie: yi meiyuan wenyi tizhi xia de tai, gangzazhi chuban wei kaocha zhongxin
Israel Gerver, F. Jameson (1973)
Marxism and Form: Twentieth Century Dialectical Theories of Literature.Contemporary Sociology, 2
C. Goodrich, C. Hsia (1961)
A history of modern Chinese fiction
Eileen Chang (1955)
The Rice Sprout Song
This article examines Eileen Chang’s 1953 translation of Ernest Hemingway’s The Old Man and the Sea into Chinese as Cold War propaganda for the United States Information Service (USIS). It argues that this translation, meant to show the truth of democracy through its high modernist form, directly influenced the writing and translating of The Rice-Sprout Song (1955), the novel Chang wrote next for the USIS to expose the truth of famine in Communist China. I show that Chang’s translation practices connect US and Chinese literary modernisms in a showdown of literary forms and their disparate claims to the truth. Chang navigates political ideologies by eschewing linguistic equivalence to favor equivocation instead, ultimately transforming Hemingway’s modernist form via her own. It thus adds to transpacific studies and Cold War historiography by revealing the intimate relationship between political ideology and literary form, and their cross-fertilization in the process of translation.
Comparative Literature – Duke University Press
Published: Sep 1, 2019
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