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1

How China and Chinese people are visually represented: The case of a series of Liberal Studies textbooks in Hong Kong

100%

Wu Y., Li Y.

Journal of Education Culture and Society

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2022

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vol. 13

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issue 1

403-417

EN

Aim. The aim of the research is to examine how Mainland China and Chinese people are represented in the visual materials of four sets of Liberal Studies (LS) textbooks in Hong Kong. Methods. Fairclough’s Critical Discourse Analysis, viewing language as a social practice and van Dijk’s ideological coding categories are integrated to analyze discursive representations (e.g., the embedded hidden power) in the Hong Kong Today volumes published by four influential commercial publishers: Modern, Ming Pao, Marshall, and Aristo. Results. The analysis reveals that China and mainland Chinese are negatively portrayed in visual images in four commercial LS textbooks, in which, the representations concerning mainland China and mainlanders are all found ideologically biased to highlight their negative characteristics and alienness. Conclusions. Via an overview of Hong Kong’s history, economy, educational policies, and controversial political events, the reasons why China and its people are represented negatively in LS textbooks is explained.

2

Phototextuality as a Phenomenon of Present-Day British Prose

72%

Sudliankova V.

CLEaR

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2016

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vol. 3

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issue 2

9-15

EN

Like many other world literatures, the English literature of the last few decades has been marked by an intensive search for new narrative techniques, for innovative ways and means of arranging a plot and portraying characters. The search has resulted, among other things, into merging literature with visual arts like painting, film and photography. This phenomenon got the name of ekphrasis and has become a popular field of literary research lately. Suffice it to cast a glance at several of the novels published around the year 2000 to see that incorporation of photographic images into fiction allows writers to use new means of organizing literary texts, to employ non-conventional devices of structuring a plot and delineating personages as well as to pose various problems of aesthetic, ethical, ideological nature. We suggest to look briefly at seven novels published in the last three decades to see the various roles assigned to photography by their authors: Out of this World (1988) by Graham Swift, Ulverton (1992) by Adam Thorpe, Master Georgie (1998) by Beryl Bainbridge, The Dark Room (2001) by Rachel Seiffert, The Photograph (2003) by Penelope Lively, Double Vision (2003) by Pat Barker and The Rain Before It Falls (2007) by Jonathan Coe. The scenes of the novels are set widely apart and have time spans of various duration. Ulverton and Master Georgie have a mid-19th century setting, The Dark Room is centered round WWII, Out of this World and The Rain before It Falls contain their heroes’ long life stories, while The Photograph and Double Vision are set at the end of the last century and their characters are our contemporaries. The novels also differ by the particular place photographs occur in the novels, by the roles they play there, as well as by the issues associated with them.

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Візуальні образи: від роману Івана Багряного Тигролови до однойменної екранізації Ростислава Синька

58%

Makaradze C.

Studia Ukrainica Posnaniensia

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2022

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vol. 10

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issue 1

167-178

EN

The film adaptation of the novel is considered to be a part of the literary discourse, hence its analysis is relevant as one of the disclosure methods of the author’s intentions embedded in the work. The article attempts to decode which visual images unite Ivan Bahrianyi’s novel Tiger Trappers and Rostyslav Synko’s film of the same name. The aim of the article is to compare the visual images of both works, taking into account the specificities of literature and cinema as arts and to determine the causes and role of the changes introduced by the director. Among all the visual images, we focused our attention on the echelon’s image, the characters’ features, the interior and exterior of the Sirko family house, and the landscapes. As a result of the analysis, The following conclusions were reached: the film adaptation of the novel Tiger Trappers almost exactly reproduces the verbal-visual images, but intensifies their ideology due to the Ukrainian features being emphasized. The director tries to circumvent the technical inability to convey the picturesque landscapes of the Far East and resorts to stylization, bringing to the forefront a patriotic motif and an adventure plot.

PL

Ekranizacja powieści wpisuje się w dyskurs literacki, jej analiza jest jednym ze sposobów ujawnienia osadzonych w dziele intencji autora. W artykule podjęto próbę zbadania, jakie obrazy wizualne łączą powieść Iwana Bahrianego Łowcy tygrysów i film Rostysława Syńki o tym samym tytule. Celem artykułu jest porównanie wizualnych obrazów obu dzieł z uwzględnieniem specyfiki literatury i kina jako rodzajów sztuki oraz określenie przyczyn i roli zmian wprowadzonych przez reżysera. Spośród obrazów wizualnych zwróciłam uwagę na wizerunek pociągu, cechy portretowe postaci, wnętrze i zewnętrze domu Sirków oraz krajobrazy. W wyniku analizy wyciągnęłam następujące wnioski: ekranizacja powieści Łowcy tygrysów niemal dokładnie odtwarza werbalne obrazy wizualne, ale wzmacnia ich ideologię poprzez podkreślenie cech ukraińskich. Reżyser stara się obejść techniczną niemożność oddania malowniczych pejzaży Dalekiego Wschodu i posługuje się stylizacją, wysuwając na pierwszy plan motyw patriotyczny i wątek przygodowy.

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1 CLEaR

1 Journal of Education Culture and Society

1 Studia Ukrainica Posnaniensia

1 Li Y.

1 Makaradze C.

1 Sudliankova V.

1 Wu Y.

2 2022

1 2016

How China and Chinese people are visually represented: The case of a series of Liberal Studies textbooks in Hong Kong

Phototextuality as a Phenomenon of Present-Day British Prose

Візуальні образи: від роману Івана Багряного Тигролови до однойменної екранізації Ростислава Синька