Still Trying To Figure Out Why I Like This Look So Much…

You have questions! We might have answers.

What is this collection?

As Maria puts it: this collection is a critical look at some of the things that we, the editors, think have made CQL such a hit around the world. Of course, part of that success comes from the webnovel MDZS and the show CQL themselves—we love the characters, the mystery, and the drama, who doesn’t?! However, the authors in our book also look at topics like translating danmei (both officially and unofficially), adapting danmei for new audiences, and interacting with fandoms and fanworks. The larger argument of the book is that all of these things played a huge role in CQL’s visibility and success, and we wanted to start making those moving pieces visible, especially for audiences who mainly watched CQL in translation.

You keep using the word “academic”—what does that mean, exactly? 

Maria: Ok, not to get pedantic here, but this actually touches on some things that I’m really excited about for the book. Traditionally, academic work is written by people who have a deep expertise in the subject (signified by having a PhD and doing specific kinds of research), and then the work itself is peer-reviewed (i.e., sent to other experts in the field for them to evaluate whether it’s sound, original, and interesting enough to publish, without knowing who wrote it). And both of these things are true about our book—our authors have deep knowledge and the book was peer reviewed—but also. We specifically asked for chapters from younger scholars and from fans who also have deep knowledge about topics that academia doesn’t always know or value enough, and we include an interview from the fan-translator K. who did the Exiled Rebels translation. So the hope is that: this book is academic, and also—more!

Who are you? 

Yue studies adaptation, fantasy, and popular culture texts using a feminist lens. She wrote an early, influential article about danmei adaptations and also has a book about feminist adaptations of Chinese fantasy.

Maria studies fanworks, contemporary fantasy, and genre literature. She’s scrambling to finish her dissertation right now.

How were the chapter spotlights chosen?

Voluntarily! The concept of a small social media promo was kicked around by some of the contributors and those interested in the idea filled out a short interview with what they wanted to share. We'll be posting about 2 introductions and 2 spotlights a day for the next week or so!

Are you making any money off of royalties from this book? 

LOL not even remotely

Where can I find this book? 

You can find our listing on Peter Lang’s website here. As for other retailers, a quick search should turn us up!  

How can I access this book if I cannot buy it from Peter Lang / [book retailer of choice]?

As collection editors and contributors who signed a legal agreement with Peter Lang, we have granted Peter Lang exclusive right and license to edit, adapt, publish, reproduce, distribute, display, and store our contributions, and we must cooperate fully with the Publisher if the Publisher believes a third party is infringing or is likely to infringe copyright in the contribution. 

That being said, these are academic papers, which means that contributors may make copies of the contribution for classroom teaching use! (These copies may not be included in course pack material for onward sale by libraries and institutions). Of course, any linking, collection or aggregation of chapters from the same volume is strictly prohibited.

(FAQ may be updated periodically!) (all posts on Catching Chen Qing Ling)

People on this website will really see others enjoy the complexity of an epic novel full of political intrigue longer than the entire LOTR trilogy featuring a canon gay couple who literally defy death to end up together and they’ll say “these fetishistic sickos only like the novel over the idol drama censored adaptation because of the existence of those, like four sex scenes and one dub-con kiss”. 

I just finished 魔道祖师 Mo Dao Zu Shi Read #2. I kinda keep expecting fanfare— trumpets or fireworks or at least a dramatic swell of music filling the house! But, alas, it’s just me. Everyone around me assumes it’s just a normal night in.

I read Reader Comments this time (in the kunnu.com version), and I must admit, I really enjoyed them. The last chapters (113, the Official Last Chapter, and 126, the Last Chapter Published) are full of comments commemorating First Read Complete! Second Read Complete! Fifth Read! Nth Read!

So many “Nth Read!” comments. I can’t think of any book I’ve read more than three times, much less so many times that one would lose count. It’s not like putting on your favorite movie while you do your chores - you have to Concentrate and Focus to read!

It’s nice to know that there are people out there who also can’t find their way out of the MDZS rabbit hole, who also love WangXian so much that they re-read and re-read and re-read, who know exactly what’s going to happen but still want to experience it again and again and again.

And there Will be fireworks this weekend, to commemorate “my Second Read-Through 😘”.

(What book have you read more than once? Do you know why you go back to it over and over?)

how to flirt with your crush 101: a guide by wei wuxian for anon 

So, in Chinese, idioms are often allusions to historical events or short metaphors to vividly describe a situation. They pack a ton of meaning and imagery into 4 little words. They’re awesome. They add color and depth to the language, and show that the speaker/writer is highly educated.

So, in Chinese, using idioms makes you sound very smart.

In English, using idioms does not make you sound very smart. It may make you sound cute and funny and colloquial, and in the right context it can work very well, but when you hear, say, “let the cat out of the bag,” you don’t think “Wow. That person is such an intellectual.”

Admittedly, some idioms are relatively culture-neutral, like “call it a day” or “read the room” or “see the light.” I’d say that those are fine to use in translations. They don’t evoke cowboys or baseball players or midwestern farmers or anything else unique to English-speaking culture like that.

However, I feel that culture-heavy English/American idioms should be avoided in translations, especially of Chinese wuxia/xianxia novels. No one in XianXia-land knows American boxing — why the heck would someone be “down for the count?” Sword Cultivators don’t hang out a lot with fowl farmers — where would they have picked up the usage of “gander” as slang for “to look?”

Idioms are hard. Be careful.

refseek.com

www.worldcat.org/

link.springer.com

http://bioline.org.br/

repec.org

science.gov

pdfdrive.com

Thank you, @anambermusicbox !

September 29 Day Countdown (6/29): 2019/02/19 Global Chinese Golden Chart 《流行音乐全金榜》 Live Broadcasted Radio Interview on Dragonfly FM

Highlights:

(14:15) Interviewer talks about how Zhou Shen’s activity on Weibo is completely unlike a celebrity; Zhou Shen mentions that Gao Xiaosong says he’s never acted like a celebrity and often tells him: “Zhou Shen, you’ve already debuted for so many years, how is it that you actually behave less and less like a celebrity?”

(21:40) “What are Shengmi to you?”:

Zhou Shen: They’re an inexplicable existence. Because, I’ve told them so many times, that I’ve always never understood what motivates them—not only my shengmi, but even just fans in general—what motivates them to support their favourite singer or idol. I feel like, personally, I can’t do much for them. All I can really do is sing some songs. […] I feel at a loss; I feel like I have no way to guarantee something good to repay them for their continuous support, for their love. Because I’m a really insecure person, and yet they’re able to give such an insecure person some sense of security… you can imagine how great their strength is.

(26:45) Interviewer asks if Zhou Shen has a 小名 (family nickname):

Zhou Shen: Because 深 and 星 are pronounced exactly the same in hunanese, my family has always called me Xingxing. When getting me registered, they asked the person doing the registration to register “our family’s Xingxing”, and the person said “okay, and your family name is Zhou,” so they literally registered me as “Zhou Xingxing” (周星星) (*Interviewer laughs*).

[I didn’t know this was my original legal name] until my high school entrance exam, when they called out “Zhou Xingxing” during rollcall, and no one responded. They thought it must’ve been a typo at first, because when they called the name out, the entire class was like “HAHAHAHAHA WHO THE HECK IS NAMED THAT”, and I was also there laughing like “HAHAHAHAHA WHO THE HECK IS NAMED THAT” (*laughs*) And then after everyone was called, they asked whether there was anyone who hadn’t been called. I said “I haven’t” and they said “Okay this must be you”, then everyone was like “HAHAHAHAHA YOU’RE ZHOU XINGXING” […] Afterwards, I went and legally changed my name back to Zhou Shen.

Keep reading

Wherein we have a meltdown over just how filthy of a mouth Zhao Yunlan has in the Guardian webnovel, so like, reader beware I guess.

Moggiesandtea: I’m gonna be curious to see what ZYL calls Shen Wei after they’ve hooked up, since he’s been calling him his wife and variants thereof for 70 some chapters

Keep reading

Here’s my response to @pussyibo, who tagged me on a post about Gg’s Li-Ning brand endorsement. 

Keep reading

Terry Pratchett's 2001 Carnegie Medal Winner Speech

I’m pretty sure that the publicists for this award would be quite happy if I said something controversial, but it seems to me that giving me the Carnegie medal is controversial enough. This was my third attempt. Well, I say my third attempt, but in fact I just sat there in ignorance and someone else attempted it on my behalf, somewhat to my initial dismay.

The Amazing Maurice is a fantasy book. Of course, everyone knows that fantasy is 'all about' wizards, but by now, I hope, everyone with any intelligence knows that, er, what everyone knows...is wrong.

Fantasy is more than wizards. For instance, this book is about rats that are intelligent. But it also about the even more fantastic idea that humans are capable of intelligence as well. Far more beguiling than the idea that evil can be destroyed by throwing a piece of expensive jewellery into a volcano is the possibility that evil can be defused by talking. The fantasy of justice is more interesting that the fantasy of fairies, and more truly fantastic. In the book the rats go to war, which is, I hope, gripping. But then they make peace, which is astonishing.

In any case, genre is just a flavouring. It's not the whole meal. Don't get confused by the scenery.

A novel set in Tombstone, Arizona, on October 26, 1881 is what– a Western? The scenery says so, the clothes say so, but the story does not automatically become a Western. Why let a few cactuses tell you what to think? It might be a counterfactual, or a historical novel, or a searing literary indictment of something or other, or a horror novel, or even, perhaps, a romance – although the young lovers would have to speak up a bit and possibly even hide under the table, because the gunfight at the OK corral was going on at the time.

We categorize too much on the basis of unreliable assumption. A literary novel written by Brian Aldiss must be science fiction, because he is a known science fiction writer; a science fiction novel by Margaret Attwood is literature because she is a literary novelist. Recent Discworld books have spun on such concerns as the nature of belief, politics and even of journalistic freedom, but put in one lousy dragon and they call you a fantasy writer.

This is not, on the whole, a complaint. But as I have said, it seems to me that dragons are not really the pure quill of fantasy, when properly done. Real fantasy is that a man with a printing press might defy an entire government because of some half-formed belief that there may be such a thing as the truth. Anyway, fantasy needs no defence now. As a genre it has become quite respectable in recent years. At least, it can demonstrably make lots and lots and lots of money, which passes for respectable these days. When you can by a plastic Gandalf with kung-fu grip and rocket launcher, you know fantasy has broken through.

But I’m a humourous writer too, and humour is a real problem.

It was interesting to see how Maurice was reviewed here and in the US. Over there, where I've only recently made much of an impression, the reviews tended to be quite serious and detailed with, as Maurice himself would have put it, 'long words, like "corrugated iron."' Over here, while being very nice, they tended towards the 'another wacky, zany book by comic author Terry Pratchett'. In fact Maurice has no wack and very little zane. It's quite a serious book. Only the scenery is funny.

The problem is that we think the opposite of funny is serious. It is not. In fact, as G K Chesterton pointed out, the opposite of funny is not funny, and the opposite of serious is not serious. Benny Hill was funny and not serious; Rory Bremner is funny and serious; most politicians are serious but, unfortunately, not funny. Humour has its uses. Laughter can get through the keyhole while seriousness is still hammering on the door. New ideas can ride in on the back of a joke, old ideas can be given an added edge.

Which reminds me... Chesterton is not read much these days, and his style and approach belong to another time and, now, can irritate. You have to read in a slightly different language. And then, just when the 'ho, good landlord, a pint of your finest English ale!' style gets you down, you run across a gem, cogently expressed. He famously defended fairy stories against those who said they told children that there were monsters; children already know that there are monsters, he said, and fairy stories teach them that monsters can be killed. We now know that the monsters may not simply have scales and sleep under a mountain. They may be in our own heads.

In Maurice, the rats have to confront them all: real monsters, some of whom have many legs, some merely have two, but some, perhaps the worse, are the ones they invent. The rats are intelligent. They're the first rats in the world to be afraid of the dark, and they people the shadows with imaginary monsters. An act of extreme significance to them is the lighting of a flame.

People have already asked me if I had the current international situation in mind when I wrote the book. The answer is no. I wouldn't insult even rats by turning them into handy metaphors. It's just unfortunate that the current international situation is pretty much the same old dull, stupid international situation, in a world obsessed by the monsters it has made up, dragons that are hard to kill. We look around and see

foreign policies that are little more than the taking of revenge for the revenge that was taken in revenge for the revenge last time. It's a path that leads only downwards, and still the world flocks along it. It makes you want to spit. The dinosaurs were thick as concrete, but they survived for one hundred and fifty million years and it took a damn great asteroid to knock them out. I find myself wonder wondering now if intelligence comes with its own built-in asteroid.

Of course, as the aforesaid writer of humourous fantasy I'm obsessed by wacky, zany ideas. One is that rats might talk. But sometimes I'm even capable of weirder, more ridiculous ideas, such the possibility of a happy ending. Sometimes, when I'm really, really wacky and on a fresh dose of zany, I'm just capable of entertaining the fantastic idea that, in certain circumstances, Homo Sapiens might actually be capable of thinking. It must be worth a go, since we've tried everything else.

Writing for children is harder than writing for adults, if you're doing it right. What I thought was going to be a funny story about a cat organizing a swindle based on the Pied Piper legend turned out to be a major project, in which I was aided and encouraged and given hope by Philippa Dickinson and Sue Coates at Doubleday or whatever they're calling themselves this week, and Anne Hoppe of HarperCollins in New York, who waylaid me in an alley in Manhattan and insisted on publishing the book and even promised to protect me from that most feared of creatures, the American copy editor.

And I must thank you, the judges, in the hope that your sanity and critical faculties may speedily be returned to you. And finally, my thanks to the rest of you, the loose agglomeration of editors and teachers and librarians that I usually refer to, mostly with a smile, as the dirndl mafia. You keep the flame alive.