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(1995)Journal ArticleBy examining fundamental Confucian concepts -- zhengming, ren, li, xiao, shu and dao -- the essay demonstrates that Confucian ways of thinking do not always fit neatly into categories such as 'moral' or rights'. The author provides a positive interpretation of certain Confucian ideas including: the concept of a person as a self- in- relation; the notion of responsibility as particularistic and dependent upon the kinds of relationships one has and the social positions one occupies; and the view of the moral community as comprised by selves- in- relation who are reciprocally connected and who share similar ideals and forms of life.
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(1998)Journal ArticleIn the spirit of the post-structuralist announcement of “the death of the author”, this article discusses the rhetorical “death” of the translator and birth of the interpreter from three angles. I shall start with a discussion of the fluidity of meaning which results from the “death” of the author. I will then argue that the translator, as author of the translation, will also “die” and have no control over the production of meaning from the translated text. There will also be a brief discussion of translation failure, to support the notion that, technically, translation in the sense of precise reproduction of meaning is impossible. The last section of the article will announce the “birth” of the interpreter and discuss what inspiration his/her birth will provide to the profession. I am concerned with translation as a process of precise reproduction of meaning from one language to another and with interpretation as a process of presenting one’s own understanding of the meaning by such means as active reading, construing, paraphrasing and explaining.
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(1999)Journal ArticleSince the 1970s numerous scholars have focused on the role of the Museum of Modern Art in the international promotion of American art during the cold war. Many of these studies share the view that MoMA sought to elevate the American cultural reputation in Europe by sending abroad regular exhibitions of modern art; to advance the position of the United States relative to the Soviets; and to convince the Europeans of the legitimacy of the United States as the new leader of Western civilization in the postwar era. To date, however, there has been far less analysis of the stance of the French to the launching of American art in Europe. One prominent view holds that the Parisian art world war weakened and divided culturally prompted only a response of passive, disdainful resistance. By contrast, this paper reexamines the dynamic of cultural exchange between Paris and New York during the early 1950s. It focuses on the central role played by the Musée National d'Art Moderne in launching American art, and, in particular, the museum’s director, Jean Cassou, who initiated the relationship with MoMA, and figured prominently in MoMA’s presentation of modern American art to French audiences. I argue that a window of opportunity opened for the Americans to exhibit in Paris as a result of the French director’s complementary aesthetic, political, and institutional agendas, which were driven by Cassou’s belief in the benefits of cultural hybridity. Using as a case study 12 Modern American Painters and Sculptors, the first of a series of exhibitions that would change the way in which Europeans viewed American art, this essay addresses Cassou’s motives for pursuing the relationship with MoMA, and the ramifications of this association for the emerging American cultural image in Paris.
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(1998)Journal ArticleThis article is based on a research project on the communication model adopted by Chinese television talk shows which, together with other new genres, allegedly reflect progress towards liberalization and diversification of Chinese television in the post-Mao, post-Deng eras. Through an ethnographic observation and textual examination of a range of selected television shows, the author found that although it is making certain changes in the course of the national reform towards a market economy, Chinese television has retained a communication model characterized by the formal qualities inherited from its past and which discourage interaction with the common people and reject their participation. This aritcle contextualizes the author's examinations of the typical communication model by describing a range of general characteristics of Chinese television, especially the contradictions that it has been subjected to during the current socio-economic reforms.