本篇英国essay代写-the influence of globalization on Chinese writers研究了全球化对中国作家的影响。全球化导致世界各国和地区之间的政治，经济和文化联系日益密切。其中最明显的结果是文化多样性的不断恶化，各种文化的融合与娱乐。作为文化先驱者和人口最多的国家的代表，中国作家不可避免地参与其中。本篇essay代写由51due代写平台整理，供大家参考阅读。
This essay is to study the influence of globalization on Chinese writers. Globalization causes increasingly closer political, economic and cultural ties between nations and areas in the world. Two of the most striking results are deteriorating cultural diversity and integration and recreation among various cultures. As the cultural pioneers and representatives of the most populated nation, Chinese writers have been inevitably involved.
Considerable changes, both negative and positive, pertaining to Chinese writhers can be seen during the past two decades as China plunges itself into international community.
First, linguistic globalization tends to be a common characteristic among them. Authors who rose to fame in 1980th and 2000th are quite different from each other in the words, phases and sentences they apply in works. For instance, in Yu Jioalong, a bestseller in 1980s with the topic of romantic life of swordsmen and swordswomen which was filmed by Chinese director Ang Lee in 2000 as Crouching Tiger, Hidden Dragon and became a smash hit in the United States, we can find easily typical Chinese idioms and phases, such as “morning greetings” (an old type of Chinese courtesy which requires children to greet their parents early every morning to show their respect and reverence)and “three obedience and four merits”(a set of Chinese old doctrines which demands that women should be obedient in three ways, namely, to their parents when unmarried, to their husbands in married life and to their sons after the death of their husbands, and develop four kinds of merits, namely, good manners of talking and behaviors, beautiful appearance and adequate needlework skills)1. In addition, the tender and reminiscent style of the book is also similar to that of Chinese traditional works, including poetry in Tang Dynasty and Lyrics in Song Dynasty. On the contrary, such compositional fragments with rich Chinese color are rarely Magic Chef of Ice and Fire, an online novel of oriental fantasy and a constant bestseller during the late 2000s. Surprisingly, westernized expressions prevail in the book. Figures say English idioms such as “Punctuality is King’s virtue” and “the apple in his eye”, and they are also named with a mixture of oriental and western styles. The linguistic evolution actually shows the education gaps among authors in different generations. Young authors are familiar with western culture because of their superior education and contact with foreign nation through Internet, imported TV serials and films and other resources.
Second, Chinese writers frequently select materials of their books based on western culture. In this aspect, fantasy novels are most typical examples. In recent years, those books dominate Chinese literary websites and attract tens of millions of readers. In these novels, there are numerous elements from the west. For example, there are dragons in both oriental and western myths. However, nowadays fantasy novelists tends to prefer snout western dragons, which have two winds and can spit fire, to slim and wingless Chinese traditional dragons. Moreover, others western legendary creatures, including demons, pixies, vampires, gnomes and goblins, also make frequent presence in these novels. On the contrary, those previously popular elements of Chinese fantasy novels, such as Jade Emperor of the Heaven and Chang Er (moon goddess),can hardly be seen in newly-written fantasies. Chinese writers have changed their criteria for material selection for the following reasons: on one hand, foreign culture influx has provided writers with unprecedentedly many new materials, which to some degree relieve them from dilemma of drained inspiration; on the other hand, readers, especially teenagers and youngsters, can also be easily attracted by exotic stories and elements, which appear more vivid and rebellious compared with those in Chinese traditional literature. As a result of interaction between globalized writers and readers, Chinese writers’ trendy choices don’t come as a surprise.
Third, more and more Chinese authors initiate to seek for presence in international literary circles. The gap between remuneration at home and abroad is large. And a few Chinese authors who have gained prestige in west markets have made quite handsome profits. Mo Yan, the winner of 2012 Nobel Literature Prize, has set a brilliant example for such successes. In addition to international reputation and a large sum of remuneration, he also thus began to take a lead in the trend of westernization in Chinese literary circle. His works boasts western modernist methods, from internal monologue, psychological analysis, illusions, visions of consciousness flow novels, to metaphor, symbol and prediction of magic realist novels, which are then imitated by a number of authors who aim at copying the success of Mo Yan. In a sense, globalization is now quite a desirable goal for many Chinese writers. They want to be not only learners of western literature, but also participants in international cultural stage.
Undoubtedly Chinese writers are increasingly integrating into global culture. As UNESCO has pointed out, languages are powerful tools to preserve and develop human’s tangible and intangible heritages. Various language-promoting activities can not only enhance linguistic diversity, but also improve understandings of linguistic and cultural traditions and contribute to harmony among people in the world based on understandings, tolerance and dialogues3. However, Chances are that Chinese language, which has been passed down during the long history, will be led to embarrassing future. With the skyrocketing number of foreign language professionals and plummeting number of learners and researchers in Chinese traditional literature, essence of Chinese languages, such as classic poetry, idioms, proverbs and allusions, might well be further put up into ivory tower. Shrinking of mother tongue is also obvious among children, who, from their very early ages, must thrive to get good grades for English in order to have an upper hand over others in the entrance exams to colleges. As élites of Chinese cultural circle, most writers’ attitude toward their mother tongue is neither reverent nor serious. Many of them focus on popularity and book sales rather than exploration the traditional language and culture. And they are an image of the society.
Globalization is actually the global expansion of capitalism, which also features cultural hegemony 4. Therefore, globalization sometimes acts as an invader into cultures which, although inferior to west ones, have distinctively precious value. In this sense, globalization has a negative influence on Chinese writers.
On the other hand, globalization also provided Chinese writers with numerous opportunities of asserting their talents. With assistance of competent translators, Chinese writers have begun to promote their works in international market and succeed in ways which are previously incredible. For example, Liu Cixin, a science fiction writer, became well-known in the United States after his Three Bodies was translated and published there. Honestly speaking, Liu was not among the most prestigious writers in China before. It was his overseas prestige that gave rise to his reputation at home. His success even triggered a trend of science fictions, which were not read by a lot of people before. Having seemingly experienced some twists and turns, Liu actually benefits from globalization. Besides book publishing, Chinese writers are also enticed by other methods to promote their works. For instance, some books can be adapted as scripts and filmed by foreign filmmakers if lucky enough. With the expanded market, Chinese writers are more eager to explore for better and more creative ways, so as to attract foreign investors and compete in global cultural market. And favorable conditions of globalization can also encourage outsiders and amateurs to devote themselves into literature and further furnish the field.
Whether globalization is beneficial or destructive for native culture depends on the strategies adopt to deal with the rising problems. The key to avoid loss of culture uniqueness is preserving native culture in proper ways. In fact, Chinese government has adopted various methods to enhance people’s awareness of traditional culture. A Character Writing Contest, for example, was hosted by Chinese Central TV Station in 2015 in a bid to remind people of Chinese characters, both commonly and rarely used ones, and resist the impact of Internet and Computer, which glue people to keyboard typing. As far as Chinese culture is concerned, the prospect is not always gloomy, since China is a nation of long history. Having deeply rooted for thousands of years, the culture has its own vitality. Even the personalities of Chinese people have been partly formed by its culture. Compared to the cultures of smaller nations, it will never lack people keen on and dedicated to it. What is crucial is to further popularize tradition so that it could remain a mainstream in society. In fact, seen from the underpinning values of oriental and western cultures, they are both oppositional and complementary to each other. Oriental culture can be even boosted in globalization if it is to integrate western concepts, values and advantages in an inclusive and appropriate way.
1 Yu Jiaolong, Nie Yunlan, 1985, Chinese Literature Association Press.
2 Magic Chef of Ice and Fire, Third Son of Tang Family, Aug.2012, Shang Dong Pictorial Press.
3 Proposal for Linguistic and Cultural Diversity, UNESCO, on its 30th conference in Nov.1999.
4 Levels of cultural problems in globalization, Yang Shengping.
要想成绩好，英国论文得写好，51due代写平台为你提供英国留学资讯，专业辅导，还为你提供专业英国essay代写，paper代写，report代写，需要找论文代写的话快来联系我们51due吧。—Ace
This essay is to study the influence of globalization on Chinese writers. Globalization causes increasingly closer political, economic and cultural ties between nations and areas in the world. Two of the most striking results are deteriorating cultural diversity and integration and recreation among various cultures. As the cultural pioneers and representatives of the most populated nation, Chinese writers have been inevitably involved.
Considerable changes, both negative and positive, pertaining to Chinese writhers can be seen during the past two decades as China plunges itself into international community.
First, linguistic globalization tends to be a common characteristic among them. Authors who rose to fame in 1980th and 2000th are quite different from each other in the words, phases and sentences they apply in works. For instance, in Yu Jioalong, a bestseller in 1980s with the topic of romantic life of swordsmen and swordswomen which was filmed by Chinese director Ang Lee in 2000 as Crouching Tiger, Hidden Dragon and became a smash hit in the United States, we can find easily typical Chinese idioms and phases, such as “morning greetings” (an old type of Chinese courtesy which requires children to greet their parents early every morning to show their respect and reverence)and “three obedience and four merits”(a set of Chinese old doctrines which demands that women should be obedient in three ways, namely, to their parents when unmarried, to their husbands in married life and to their sons after the death of their husbands, and develop four kinds of merits, namely, good manners of talking and behaviors, beautiful appearance and adequate needlework skills)1. In addition, the tender and reminiscent style of the book is also similar to that of Chinese traditional works, including poetry in Tang Dynasty and Lyrics in Song Dynasty. On the contrary, such compositional fragments with rich Chinese color are rarely Magic Chef of Ice and Fire, an online novel of oriental fantasy and a constant bestseller during the late 2000s. Surprisingly, westernized expressions prevail in the book. Figures say English idioms such as “Punctuality is King’s virtue” and “the apple in his eye”, and they are also named with a mixture of oriental and western styles. The linguistic evolution actually shows the education gaps among authors in different generations. Young authors are familiar with western culture because of their superior education and contact with foreign nation through Internet, imported TV serials and films and other resources.
Second, Chinese writers frequently select materials of their books based on western culture. In this aspect, fantasy novels are most typical examples. In recent years, those books dominate Chinese literary websites and attract tens of millions of readers. In these novels, there are numerous elements from the west. For example, there are dragons in both oriental and western myths. However, nowadays fantasy novelists tends to prefer snout western dragons, which have two winds and can spit fire, to slim and wingless Chinese traditional dragons. Moreover, others western legendary creatures, including demons, pixies, vampires, gnomes and goblins, also make frequent presence in these novels. On the contrary, those previously popular elements of Chinese fantasy novels, such as Jade Emperor of the Heaven and Chang Er (moon goddess),can hardly be seen in newly-written fantasies. Chinese writers have changed their criteria for material selection for the following reasons: on one hand, foreign culture influx has provided writers with unprecedentedly many new materials, which to some degree relieve them from dilemma of drained inspiration; on the other hand, readers, especially teenagers and youngsters, can also be easily attracted by exotic stories and elements, which appear more vivid and rebellious compared with those in Chinese traditional literature. As a result of interaction between globalized writers and readers, Chinese writers’ trendy choices don’t come as a surprise.
Third, more and more Chinese authors initiate to seek for presence in international literary circles. The gap between remuneration at home and abroad is large. And a few Chinese authors who have gained prestige in west markets have made quite handsome profits. Mo Yan, the winner of 2012 Nobel Literature Prize, has set a brilliant example for such successes. In addition to international reputation and a large sum of remuneration, he also thus began to take a lead in the trend of westernization in Chinese literary circle. His works boasts western modernist methods, from internal monologue, psychological analysis, illusions, visions of consciousness flow novels, to metaphor, symbol and prediction of magic realist novels, which are then imitated by a number of authors who aim at copying the success of Mo Yan. In a sense, globalization is now quite a desirable goal for many Chinese writers. They want to be not only learners of western literature, but also participants in international cultural stage.
Undoubtedly Chinese writers are increasingly integrating into global culture. As UNESCO has pointed out, languages are powerful tools to preserve and develop human’s tangible and intangible heritages. Various language-promoting activities can not only enhance linguistic diversity, but also improve understandings of linguistic and cultural traditions and contribute to harmony among people in the world based on understandings, tolerance and dialogues3. However, Chances are that Chinese language, which has been passed down during the long history, will be led to embarrassing future. With the skyrocketing number of foreign language professionals and plummeting number of learners and researchers in Chinese traditional literature, essence of Chinese languages, such as classic poetry, idioms, proverbs and allusions, might well be further put up into ivory tower. Shrinking of mother tongue is also obvious among children, who, from their very early ages, must thrive to get good grades for English in order to have an upper hand over others in the entrance exams to colleges. As élites of Chinese cultural circle, most writers’ attitude toward their mother tongue is neither reverent nor serious. Many of them focus on popularity and book sales rather than exploration the traditional language and culture. And they are an image of the society.
Globalization is actually the global expansion of capitalism, which also features cultural hegemony 4. Therefore, globalization sometimes acts as an invader into cultures which, although inferior to west ones, have distinctively precious value. In this sense, globalization has a negative influence on Chinese writers.
On the other hand, globalization also provided Chinese writers with numerous opportunities of asserting their talents. With assistance of competent translators, Chinese writers have begun to promote their works in international market and succeed in ways which are previously incredible. For example, Liu Cixin, a science fiction writer, became well-known in the United States after his Three Bodies was translated and published there. Honestly speaking, Liu was not among the most prestigious writers in China before. It was his overseas prestige that gave rise to his reputation at home. His success even triggered a trend of science fictions, which were not read by a lot of people before. Having seemingly experienced some twists and turns, Liu actually benefits from globalization. Besides book publishing, Chinese writers are also enticed by other methods to promote their works. For instance, some books can be adapted as scripts and filmed by foreign filmmakers if lucky enough. With the expanded market, Chinese writers are more eager to explore for better and more creative ways, so as to attract foreign investors and compete in global cultural market. And favorable conditions of globalization can also encourage outsiders and amateurs to devote themselves into literature and further furnish the field.
Whether globalization is beneficial or destructive for native culture depends on the strategies adopt to deal with the rising problems. The key to avoid loss of culture uniqueness is preserving native culture in proper ways. In fact, Chinese government has adopted various methods to enhance people’s awareness of traditional culture. A Character Writing Contest, for example, was hosted by Chinese Central TV Station in 2015 in a bid to remind people of Chinese characters, both commonly and rarely used ones, and resist the impact of Internet and Computer, which glue people to keyboard typing. As far as Chinese culture is concerned, the prospect is not always gloomy, since China is a nation of long history. Having deeply rooted for thousands of years, the culture has its own vitality. Even the personalities of Chinese people have been partly formed by its culture. Compared to the cultures of smaller nations, it will never lack people keen on and dedicated to it. What is crucial is to further popularize tradition so that it could remain a mainstream in society. In fact, seen from the underpinning values of oriental and western cultures, they are both oppositional and complementary to each other. Oriental culture can be even boosted in globalization if it is to integrate western concepts, values and advantages in an inclusive and appropriate way.
1 Yu Jiaolong, Nie Yunlan, 1985, Chinese Literature Association Press.
2 Magic Chef of Ice and Fire, Third Son of Tang Family, Aug.2012, Shang Dong Pictorial Press.
3 Proposal for Linguistic and Cultural Diversity, UNESCO, on its 30th conference in Nov.1999.
4 Levels of cultural problems in globalization, Yang Shengping.
要想成绩好，英国论文得写好，51due代写平台为你提供英国留学资讯，专业辅导，还为你提供专业英国essay代写，paper代写，report代写，需要找论文代写的话快来联系我们51due吧。—Ace
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