Category Archives: literature

Spring Festival Couplets

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Writing Spring Festival Couplets (春联 chūnlián) and characters such as Fu (福 fú, fortune) and the character of the due zodiac sign, is one of the most common and important customs when celebrating Chinese New Year among Chinese households both home and abroad.

We are grateful to our guest calligrapher, Mr Xiaodong Huang, Director of Tian Yingzhang Calligaphy Academy (Shenzhen), to demonstrate his calligraphy with the greeting message through Spring Festival Couplets and hope you enjoy it.

For audience from mainland China, you can click this link to watch the video.

[Script] A Spring Festival greeting from Shenzhen, China.
[Sound] On the arrival of the New Year, I wish you all a year of power and forth, and that all your hopes become true.

0:17 [script] The arrival of the New Year brings the fortune to us. The character Fu means fortune and it’s coming.

0:37 [script] There are many ways of writing the character Fu (福 fú, fortune).

1:08 [script] The regular script of writing the character of Hu (虎 hǔ, tiger).

1:48 [script] The semi-cursive script of writing the character of Hu (虎 hǔ, tiger)

2:14 [script] The cursive script of writing the character of Hu (虎 hǔ, tiger)

2:27 [script] There is no Spring Festival without spring couplet. The first half reads ‘The golden tiger brings its power to powder the spring’ in meaning.

4:32 [script] The second half reads ‘The great fortune blesses peace at the transition between the old and new years’.

5:30 [sound] A Chinese folk song starts

6:30 [script] The title of spring couplet reads ‘Awe-inspiring grandeur remains forever’.

CCF11 July Talk

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CCF11 – Whose Play Is It? Translating and Performing Chinese Drama for the Global Stage

Speaker:
Dr Yangyang LONG 龙杨杨, Xi’an Jiaotong-Liverpool University

Dr Yangyang LONG is Assistant Professor in Translation and Interpreting. She was awarded PhD by Queen’s University Belfast in 2019. Her works have been published on journals such as The Translator, Asia Pacific Translation and Intercultural Studies, Atlantic Studies: Global Currents and Coup De Théâtre. She is currently working with Routledge on a monograph entitled “The Works of Lin Yutang: Translation and Recognition”, which will be published with the series “Routledge Studies in Chinese Translation”.

Outline:
Who owns a translated foreign-language play? The translator? The author? The playwright? The director? The dramaturg? The actors/actresses? The audiences? The critics? The theatre company? The (mass) media? What makes a Chinese play – in this case a classic of its national literature – worth translating and performing in a new environment, that is, the here and now of the 21st-century English-speaking world? This talk aims to explore the translation and performance of 2017 “Snow in Midsummer” (窦娥冤, The Injustice to Dou E That Moved Heaven and Earth by Guan Hanqing), a new stage production by the Royal Shakespeare Company for its “Chinese Classics Translation Project” (2013-2023).

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