From counter-canon to hypercanon in a postcanonical age: Eileen chang as text and myth

2011 ◽  
Vol 5 (4) ◽  
pp. 610-632 ◽  
Author(s):  
Yingjin Zhang
Keyword(s):  
Eileen Chang

Chinese Translation: A Vehicle of Cultural Influence

PMLA ◽  
2015 ◽  
Vol 130 (2) ◽  
pp. 488-499
Author(s):  
Eileen Chang
Keyword(s):  
United States ◽  
Twentieth Century ◽  
Chinese Literature ◽  
Information Service ◽  
The United States ◽  
Cultural Influence ◽  
Chinese Translation ◽  
Eileen Chang ◽  
Zhang Ailing ◽  
Communist Revolution

Translation played a central role in the life of Eileen Chang (Zhang Ailing, 1920-95). One of the most iconic figures in twentieth-century Chinese literature, Chang also wrote extensively in English throughout her career, which began in the early 1940s in Japanese-occupied Shanghai. She achieved fame quickly but fell into obscurity after the war ended in 1945. Chang stayed in Shanghai through the 1949 Communist revolution and in 1952 moved to Hong Kong, where she worked as a freelance translator and writer for the United States Information Service and wrote two anti-Communist novels in English and Chinese, The Rice-Sprout Song (1955) and Naked Earth (1956).

Chang, Eileen (Zhang, Ailing) (1920–2005)

2018 ◽  
Author(s):  
Shuang Shen
Keyword(s):  
Short Stories ◽  
Family History ◽  
Chinese Diaspora ◽  
Military Leaders ◽  
Eileen Chang ◽  
Zhang Ailing ◽  
Vernacular Fiction ◽  
The Family ◽  
Imperial China

Eileen Chang was one of the most unique and distinguished voices in early twentieth century China. Focusing mostly on intricate family and romantic relations in the colonial and urban settings, her early works bridge the divide between tradition and modernity by infusing the Chinese vernacular fiction tradition with modern sensibilities. Her bilingual writings in English and Chinese present a fascinating case study for cross-cultural translation in the context of immigration and Chinese diaspora. Eileen Chang grew up in a distinguished family of prominent politicians and military leaders during the last dynasty of imperial China. Many myths and memories about her famous ancestors would find their way into Chang’s essays, short stories, and novels. But the part of the family history that most affected Chang was the discord between her parents due to the divergent paths they had chosen between tradition and modernity. Her mother, a prototypical New Woman, left China when Eileen was two years old, and sojourned in Europe for a number of years.

Eileen Chang, Woman's Film, and Domestic Shanghai in the 1940s

Asian Cinema ◽  
2000 ◽  
Vol 11 (1) ◽  
pp. 97-113
Author(s):  
Poshek Fu
Keyword(s):  
Eileen Chang ◽  
Woman's Film
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