Xue hai tang ji er ji : 22 juan /

On double leaves, oriental style, in case.

Xue hai tang ji san ji : 24 juan /

On double leaves, oriental style, in case.

Qing hui zeng yan : 10 juan, fu lu 1 juan /

An ci shu wei Hui xian sheng suo ji dang dai ju gong sheng liu suo wei shi ruo wen yi yi zhe ye.

Gu jing jing she wen xu ji : 8 juan /

On double leaves, oriental style, in 1 case.

Gu wen shang yin /

Title page: Changzhou Song Siren chong kan Hong xing zhai cang ban.

Guo da li yi gao : 6 juan /

Mu ke ben. Kuang: 18.5 cm x 13.3 cm. 10 hang 20 zi.

Jin zi jian : 4 juan /

Blockprint.

Yan jing shi shi lu : 5 juan /

On double leaves, oriental style, in case.

Er you dong /

Block print.

Cun cao yuan hui chao : ba juan /

Daoguang ba nian Wu Songliang xu shu ji bian shu shi.

Hua chuang meng ying tu : shi : si juan, ci : yi juan, he yun : yi juan /

Ci shu wei Cheng shi yu you peng chang chou zhi ji.

Guo chao ru lin zheng lun : si juan /

Daoguang er shi nian Wang Ruyu xu shu ji Wang shi bian shu shi.

Tang ren san jia ji /

Ying Song ben.

From Zheng Qiang to Jiang Shuiying: The feminization of a revolutionary hero in Maoist theatre's 'Song of the Dragon River'

Since the 1980s, analysis of the representation of women in Maoist theatre has argued that the heroines of the Cultural Revolution model works (yangbanxi) were 'gender-less revolutionaries erased of anything feminine. This article challenges such a view through a case study of Song of the Dragon River in which the male hero of the 1964 spoken drama version was changed to a female in the 1972 yangbanxi adaptation. Evidence is presented that the characterization of the heroine in the latter work conforms closely not only with traditional beliefs in innate female characteristics but also with current Chinese beliefs in the characteristics of successful women in leadership. Rosemary Roberts is a lecturer in Chinese at the University of Queensland, Australia. She completed postgraduate studies at Beijing University in the early 1980s and has a PhD in Chinese literature from the Australian National University. She has published numerous articles and translations in the field of Chinese literature and culture and is currently writing a book on gender in Maoist theatre of the Cultural Revolution.

La traducción de la literatura china en España

En general, España es un país que no tiene una tradición sólida en la sinología. La traducción de la literatura china en España todavía no llega a un nivel satisfactorio y muchas obras originales todavía siguen sumidas en el desconocimiento. En comparación con los flujos de traducción de las obras occidentales, sobre todo las obras literarias de Gran Bretaña, Francia y Estados Unidos, la traducción de aquellas todavía ocupa una cuota reducida. En la recepción de la narrativa china en España, la traducción indirecta ha desempeñado un papel de suma importancia, lo que se debe en gran medida a la dependencia del círculo editorial español de las culturas europeas de poder. Esta situación desequilibrada pone de manifiesto las relaciones asimétricas entre lenguas y culturas.