Journal articles on the topic 'Hong Kong comics'

Comic books are becoming increasingly popular in the field of education. In the past, comic books were excluded from school libraries and classrooms. However, with the resurgence in the popularity of comic books and students’ increased demands for them, they are now considered as recreational reading with educational value. In response to this, school libraries have begun collecting comic books and including them as part of their regular collections. This research paper reflects on the current situation of comic books in primary and middle school library collections and examines school librarians’ perceptions towards educational values of comics. The investigation was launched in Hong Kong, Taiwan, New Zealand, Australia and Japan – making comparisons amongst different levels (primary school and secondary school), and different types (public school and private school) of schools in five different countries. Questionnaire surveys were sent to selected school librarians and were the main method of data collection. A total number of 683 responses were collected for this study. Research results include librarians’ attitudes towards comic books in school libraries, adolescent readers’ use of school libraries, their reading and borrowing practices, as well as other problems encountered with the on-going maintenance of comic books as part of the school libraries’ regular collections.

In this article, I investigate the evolution of the core values of the Hong Kong people through the term Sai-lou 細路, by means of storytelling in a transmedia context and with a focus on different historical stages, from approximately the end of the Second World War to the 2014 Umbrella Movement. Using the late 1930s four-panel comic strip, Sai-lou Cheung 細路祥 (Kiddy Cheung) created by Yuan Bou-wan 袁步雲 (1922–95) as the origin work for the term, this study examines the core values reflected in the 1950s film Sai-lou Cheung細路祥 (The Kid or My Son A-Chang) starring 9-year-old Bruce Lee, the 1999 film Sai-lou Cheung 細路祥 (Little Cheung) directed by Fruit Chan as well as news reports of the 2014 sit-in street protests whose student leaders the public regarded as Sai-lou 細路 (‘kids’).

The discourse and cultural identity of Hong Kong media have long been of academic concern. Hong Kong media and the consumption of cultural products often reveal the process of local cultural identification formation and discourse practices. Based on the textual analysis of a local comic, Teddy Boy, this article attempts to explore and examine the discursive culture and nature of Hong Kong identity. Based on du Gay et al.’s concept of the circuit of culture, this article explores how the local discourse is formed and legitimized in the process of textual production and consumption by the representation of an idealized cultural hero. In the conclusion, we argue for a connection between local and global identity formations.

This edition is the first issue of Dewa Ruci’s Journal, in which all articles are in English. We deliberately changed the language of publication to English to facilitate information delivery to a wider audience. We realize that English is the official language for many countries rather than other languages in this world. The number of people who have literacy awareness and need scientific information about visual and performing arts regarding the archipelago’s cultural arts is also quite large.The decision to change the language of publication to English does not mean that we do not have nationalism or are not in love with the Indonesian language. This change is necessary to foster the intensity of scientific interaction among writers who are not limited to Indonesia’s territory alone. We desire that the scientific ideas outlined in Dewa Ruci’s Journal are read by intellectual circles of the arts internationally. We also want to express our scientific greetings to art experts from countries in New Zealand, the USA, Australia, Europe, especially Britain, and other English-speaking countries such as the Philippines, India, Pakistan, Zimbabwe, the Caribbean, Hong Kong, South Africa, and Canada. Of course, a change in English will also benefit intellectuals from countries that have acquired English as a second language, such as Malaysia, Brunei, Israel, Malaysia, and Sri Lanka. In essence, Dewa Ruci’s Journal editor wants to invite writers to greet the scientific community at large.We are grateful that six writers can greet the international community through their articles. The first is Tunjung Atmadi and Ika Yuni Purnama, who wrote an article entitled “Material Ergonomics on Application of Wooden Floors in the Interior of the Workspace Office.” This article discusses office interiors that are devoted to workspaces. The purpose of this study is to share knowledge about how to take advantage of space-forming elements in the interior design of a workspace by utilizing wooden floors like parquet. The focus is on choosing the use of wood by paying attention to the elements in its application. This research result has a significant meaning in the aesthetics, comfort, and safety of wooden floors in the workspace’s interior and its advantages and disadvantages.The second writer who had the opportunity to greet the Dewa Ruci Journal audience was intellectuals with diverse expertise, namely Taufiq Akbar, Dendi Pratama, Sarwanto, and Sunardi. Together they wrote an article entitled “Visual Adaptation: From Comics to Superhero Creation of Wayang.” This article discusses the fusion and mixing of wayang as a traditional culture with comics and films as contemporary culture products. This melting and mixing have given birth to new wayang creations with sources adapted from the superhero character “Avenger,” which they now call the Avenger Wayang Kreasi. According to them, Wayang Kreasi Avenger’s making maintains technical knowledge of the art of wayang kulit. It introduces young people who are not familiar with wayang kulit about the technique of carving sungging by displaying the attributes in the purwa skin for Wayang Kreasi Avenger. This creativity is an attempt to stimulate and show people’s love for the potential influence of traditional cultural heritage and its interaction with the potential of contemporary culture.The next authors are Sriyadi and RM Pramutomo, with an article entitled “Presentation Style of Bedhaya Bedhah Madiun Dance in Pura Mangkunegaran.” This article reveals a repertoire of Yogyakarta-style dance in Mangkunegaran, Surakarta, namely the Bedhaya Bedhah Madiun. The presence of this dance in Mangkunegaran occurred during the reign of Mangkunegara VII. However, the basic character of the Mangkunegaran style dance has a significant difference from the Yogyakarta style. This paper aims to examine the Bedhaya Bedhah Madiun dance’s presentation style in Mangkunegaran to determine the formation of its presentation technique. The shape of the Bedhaya Bedhah Madiun dance style in Mangkunegaran did not occur in an event but was a process. The presentation style’s formation is due to a problem in the inheritance system that has undergone significant changes. These problems arise from social, political, cultural, and economic conditions. The responses to these problems have shaped the Bedhaya Bedhah Madiun dance's distinctive features in Mangkunegaran, although not all of them have been positive.Hasbi wrote an article entitled “Sappo: Sulapa Eppa Walasuji as the Ideas of Creation Three Dimensional Painting.” This article reveals Hasbi’s creative process design in creating three-dimensional works of art, named Sappo. He got his inspiration from the ancient manuscripts written in Lontara, namely the manuscripts written in the traditional script of the Bugis-Makassar people on palm leaves, which they still keep until now. Sappo for the Bugis community is a fence that limits (surrounds, isolates) the land and houses. Sappo’s function is to protect herself, her family, and her people. Sulapa Eppa means four sides, is a mystical manifestation, the classical belief of the Bugis-Makassar people, which symbolizes the composition of the universe, wind-fire-water-earth. Walasuji is a kind of bamboo fence in rhombus rituals. Eppa Walasuji’s Sulapa is Hasbi’s concept in creating Sappo in the form of three-dimensional paintings. The idea is a symbolic expression borrowing the Lontara tradition's idiom to create a symbolic effect called Sappo.Mahdi Bahar and his friends wrote an article entitled “Transformation of Krinok to Bungo Krinok Music: The Innovation Certainty and Digital-Virtual Contribution for Cultural Advancement.” Together, they have made innovations to preserve Krinok music, one of Jambi’s traditional music themes, into new music that they call Bungo Krinok. He said that innovation is a necessity for the development of folk music. In innovating, they take advantage of digital technology. They realize this music’s existence as a cultural wealth that has great potential for developing and advancing art. The musical system, melodic contours, musical grammar, and distinctive interval patterns have formed krinok music’s character. This innovation has given birth to new music as a transformation from Jambi folk music called “Bungo Krinok” music.Finally, Luqman Wahyudi and Sri Hesti Heriwati. They both wrote an article entitled “Social Criticism About the 2019 Election Campaign on the Comic Strip Gump n Hell.” They explained that in 2019 there was an interesting phenomenon regarding the use of comic strips as a means of social criticism, especially in the Indonesian Presidential Election Campaign. The title of the comic is Gump n Hell by Errik Irwan Wibowo. The comic strip was published and viral on social media, describing the political events that took place. In this study, they took three samples of the comic strip Gump n Hell related to the moment of the 2019 election to analyze their meaning. From the results of this study, there is an implicit meaning in the comic strip of pop culture icons' use to represent political figures in the form of parodies.That is the essence of the issue of Volume 16 Number 1 (April Edition), 2021. Hopefully, the knowledge that has been present in this publication can spur the growth of visual and performing art science in international networks, both in the science of art creation and in scientific research of art in general. We hope that the development of visual and performing art science can reveal the various meanings behind various facts and phenomena of art life. Therefore, the growth of international networks is an indispensable need.Thank you.

Background: This study aims to investigate the effect of two interventions (verbal advice and comic books) on health literacy and medication compliance among older adults living in 15 public estates in Hong Kong. Methods: This is a two-phase multi-site quasi-experimental study with a pre-and-post design with four measurement points (T1–T4). In both phases, the two interventions were conducted by trained medical/nursing/pharmacy students. Two home visits were carried out in each phase. After the baseline measurement at Time 1 (T1), students verbally advised the older adult participants on how to read, understand, and interpret information on drug labels and how to store drugs properly. A post-assessment was conducted at T2. One year later, another pre-assessment was conducted at T3, and then students used a comic book to educate the older adults. A post-assessment was carried out at T4 after the use of the comic book. Health literacy was measured using the 24-item Chinese Health Literacy Scale for Chronic Care and medication compliance was measured using the Medication Compliance, Knowledge and Storage scale. Generalised Linear Mixed Models were used. Results: A total of 165 subjects were included. The majority (60.6%) were female, aged from 67 to 96. About half (47.3%) had received no formal education. Controlling for age and cognition, there was a significant increase in health literacy after the use of the comic book (coefficient = 2.742, p = 0.001). There was also a significant improvement in medication compliance (total score) (coefficient = −1.018, p < 0.001), reduced knowledge deficiency (coefficient = −0.236, p < 0.05), and reduced storage problems (coefficient = −0.293, p = 0.001) after using comic books. Conclusion: Comic books are a good strategy to improve the health literacy level and medication compliance of community-dwelling older adults.

The understanding of elder abuse and neglect, also called elder mistreatment, is at an interesting juncture, both empirically and conceptually. Since 2000 there has been a significant growth in prevalence studies, including major studies from the United Kingdom, Spain, Germany, Ireland, Israel, Finland, Canada, and the United States, with further studies planned in India and Hong Kong (see, for instance, Pillemer and Finkelhor, 1988; McDonald et al., 1991; Comijs et al., 1995; Penhale, 2008; Biggs et al., 2009; Goergen et al., 2009; Lowenstein et al., 2009; Naughton et al. 2010). And while development is still uneven, there is now a World Elder Abuse Awareness Day, held in June every year, with a network of grassroots support in a wide number of countries. At the International Congress of Gerontology and Geriatrics in Bologna, Italy (held on 14–17 April 2011, see http://iaggbologna2011.com), there were, for the first time, six symposia devoted to the topic, and in the Netherlands, a country with some of the first internationally recognized studies, the Leyden Academy in 2011 called the inaugural meeting of an international working group to critically consider interdisciplinary responses to this area of increasing professional concern.

NOTICIAS / NEWS (“Transfer”, 2016) 1) CONGRESOS / CONFERENCES: 1. Languages & the Media – Agile Mediascapes: Personalising the Future, Hotel Radisson Blu, Berlín, 2-4 Nov. 2016 www.languages-media.com 2. Third Chinese Drama Translation Colloquium Newcastle University, UK, 28-19 Junio 2016. www.ncl.ac.uk/sml/about/events/item/drama-translation-colloquium 3. 16th Annual Portsmouth Translation Conference – Translation & Interpreting: Learning beyond the Comfort Zone, University of Portsmouth, UK, 5 Nov. 2016. www.port.ac.uk/translation/events/conference 4. 3rd International Conference on Non-Professional Interpreting & Translation (NPIT3) Zurich University of Applied Sciences, Suiza 5-7 Mayo 2016. www.zhaw.ch/linguistics/npit3 5. 3rd Postgraduate Symposium – Cultural Translation: In Theory and as Practice. University of Nottingham, UK, 18 Mayo 2016. Contact: uontranslation2016@gmail.com 6. 3rd Taboo Conference – Taboo Humo(u)r: Language, Culture, Society, and the Media, Universitat Pompeu Fabra (Barcelona) 20-21 Sep. 2016. https://portal.upf.edu/web/taco 7. Postgraduate Conference on Translation and Multilingualism Lancaster University, UK, 22 Abril 2016. Contacto: c.baker@lancaster.ac.uk 8. Translation and Minority University of Ottawa (Canadá), 11-12 Nov. 2016. Contacto: rtana014@uottawa.ca 9. Translation as Communication, (Re-)narration and (Trans-)creation Università di Palermo (Italia), 10 Mayo 2016 www.unipa.it/dipartimenti/dipartimentoscienzeumanistiche/convegni/translation 10. From Legal Translation to Jurilinguistics: Interdisciplinary Approaches to the Study of Language and Law, Universidad Pablo de Olavide, Sevilla, 27-28 Oct. 2016. www.tinyurl.com/jurilinguistics 11. Third International Conference on Research into the Didactics of Translation. Universitat Autònoma de Barcelona, 7-8 Julio 2016 http://grupsderecerca.uab.cat/pacte/en/content/second-circular-1 12. EST Congress – Expanding the Boundaries or Strengthening the Bases: Should Translation Studies Explore Visual Representation? Aarhus University (Dinamarca), 15-17 Sep. 2016 http://bcom.au.dk/research/conferencesandlectures/est-congress-2016/panels/18-expanding-the-boundaries-or-strengthening-the-bases-should-translation-studies-explore-visual-representation/ 13. Tourism across Cultures: Accessibility in Tourist Communication Università di Salento, Lecce (Italia). 25-27 Feb. 2016 http://unisalento.wix.com/tourism 14. Translation and Interpreting Studies at the Crossroad: A Dialogue between Process-oriented and Sociological Approaches – The Fourth Durham Postgraduate Colloquium on Translation Studies Durham University, UK. 30 Abril – 1 Mayo 2016. www.dur.ac.uk/cim 15. Translation and Interpreting: Convergence, Contact, Interaction Università di Trieste (Italia), 26-28 Mayo 2016 http://transint2016.weebly.com 16. 7th International Symposium for Young Researchers in Translation, Interpreting, Intercultural Studies and East Asian Studies. Universitat Autònoma de Barcelona, 1 Julio 2016. http://pagines.uab.cat/simposi/en 17. Translation Education in a New Age The Chinese University of Hong Kong, Shenzhen, China 15-16 Abril 2016. Contact: Claire Zhou (clairezhou@cuhk.edu.cn) 18. Audiovisual Translation: Dubbing and Subtitling in the Central European Context, Constantine the Philosopher University, Nitra (Eslovaquia). 15-17 Junio 2016. https://avtnitraconference.wordpress.com 19. Cervantes, Shakespeare, and the Golden Age of Drama Madrid, 17-21 Oct. 2016 http://aedean.org/wp-content/uploads/Call-for-papers.pdf 20. 3rd International Conference Languaging Diversity – Language/s and Power. Università di Macerata (Italia), 3-5 Marzo 2016 http://studiumanistici.unimc.it/en/research/conferences/languaging-diversity 21. Congreso Internacional de Traducción Especializada (EnTRetextos) Universidad de Valencia, 27-29 Abril 2016 http://congresos.adeituv.es/entretextos 22. Translation & Quality 2016: Corpora & Quality Université Charles de Gaulle Lille 3 (Francia), 5 Feb. 2016 http://traduction2016.sciencesconf.org/?lang=en 23. New forms of feedback and assessment in translation and interpreting training and industry. 8th EST Congress – Translation Studies: Moving Boundaries, Aarhus University (Dinamarca), 15-17 Sep. 2016. www.bcom.au.dk/est2016 24. Intermedia 2016 – Conference on Audiovisual Translation University of Lodz (Polonia), 14-16 Abril 2016 http://intermedia.uni.lodz.pl 25. New Technologies and Translation Université d’Algiers (Argelia). 23-24 Feb. 2016 Contacto: newtech.trans.algiers@gmail.com 26. Circulation of Academic Thought - Rethinking Methods in the Study of Scientific Translation. 11 - 12 Dec. 2015, University of Graz (Austria).https://translationswissenschaft.uni-graz.at/de/itat/veranstaltungen/circulation-of-academic-thought 27. The 7th Asian Translation Traditions Conference Monash University, Malaysia Campus, 26-30 Sep. 2016. http://future.arts.monash.edu/asiantranslation7 28. “Translation policy: connecting concepts and writing history” 8th EST Congress – Translation Studies: Moving Boundaries Aarhus University (Dinamarca), 15-17 Sep. 2016 http://bcom.au.dk/research/conferencesandlectures/est-congress-2016/panels/13-translation-policy-connecting-concepts-and-writing-history 29. International Conference – Sound / Writing: On Homophonic Translation. Université de Paris (Francia), 17-19 Nov. 2016 www.fabula.org/actualites/sound-writing-on-homophonic-translationinternational-conference-paris-november-17-19-2016_71295.php 30. Third Hermeneutics and Translation Studies Symposium – Translational Hermeneutics as a Research Paradigm Technische Hochschule, Colonia (Alemania), 30 Junio-1 Julio 2016 www.phenhermcommresearch.de/index.php/conferences 31. II International Conference on Economic Financial and Institutional Translation. Université du Québec à Trois-Rivières (Canadá), 17-18 Agosto 2016. www.uqtr.ca/ICEBFIT 32. International Congress - liLETRAd 2016-Cátedra LILETRAD. Literature Languages Translation, Universidad de Sevilla, 6-8 Julio 2016. https://congresoliletrad.wordpress.com 33. Transmediations! Communication across Media Borders Linnæus University, Växjö (Suecia), 13–15 Oct. 2016 http://lnu.se/lnuc/linnaeus-university-centre-for-intermedial-and-multimodal-studies-/events/conferences/transmediations?l=en 34. Translation Education in a New Age, 15-16 Abril 2016. School of Humanities and Social Science, The Chinese University of Hong Kong, Shenzhen. Contacto: chansinwai@cuhk.edu.cn 35. Translation and Time: Exploring the Temporal Dimension of Cross-cultural Transfer, 8-10 Diciembre 2016. Departamento de Traducción, The Chinese University of Hong Kong. Contacto: translation-and-time@cuhk.edu.hk. 36. Du jeu dans la langue. Traduire les jeux de mots / Loose in Translation. Translating Wordplay, 23-24 Marzo 2017, Université de Lille (France) https://www.univ-lille3.fr/recherche/actualites/agenda-de-la-recherche/?type=1&id=1271. Contacto: traduirejdm@univ-lille3.fr, julie.charles@univ-lille3.fr 37. Translation and Translanguaging across Disciplines. EST Congress 2016 “Translation Studies: Moving Boundaries”, European Society for Translation Studies, Aarhus (Dinamarca), 15-17 Sep. 2016 http://bcom.au.dk/research/conferencesandlectures/est-congress-2016/panels/12-translation-and-translanguaging-across-disciplines/ Contacto: nune.ayvazyan@urv.cat; mariagd@blanquerna.url.edu; sara.laviosa@uniba.it http://bcom.au.dk/research/conferencesandlectures/est-congress-2016/submission/ 38. Beyond linguistic plurality: The trajectories of multilingualism in Translation. An international conference organized jointly by Bogaziçi University, Department of Translation and Interpreting Studies, and Research Group on Translation and Transcultural Contact, York University, Bogaziçi University, 1-12 Mayo 2016. Contacto: sehnaz.tahir@boun.edu.tr, MGuzman@glendon.yorku.ca 39. "Professional and Academic Discourse: an interdisciplinary perspective". XXXIV IConferencia Internacional de la Sociedad Española de Lingüística Aplicada (AESLA), 14-16 Abril 2016. Interuniversity Institute for Applied Modern Languages (IULMA) / Universidad de Alicante. http://web.ua.es/aesla2016. Contacto: antonia.montes@ua.es. 2) CURSOS, SEMINARIOS, POSGRADOS / COURSES, SEMINARS, MASTERS: 1. Seminario: Breaking News for French>English and English>French Translators King's College Cambridge, UK, 8-10 Agosto 2016 Contacto: translateincambridge@iti.org.uk 2. Curso on-line: Setting Up as a Freelance Translator Enero – Marzo 2016. Institute of Translation & Interpreting, UK https://gallery.mailchimp.com/58e5d23248ce9f10c161ba86d/files/Application_Form_SUFT_2016.pdf?utm_source=SUFT+December+Emailer&utm_campaign=11fdfe0453-Setting_Up_as_a_Freelance_Translator12_7_2015&utm_medium=email&utm_term=0_6ef4829e50-11fdfe0453-25128325 3. Curso: Using Interpreters for Intercultural Communication and Other Purposes (COM397CE) http://darkallyredesign.com/what-we-do/using-interpreters-for-intercultural-communication 4. Workshop: How to Write and Publish Your Scholarly Paper In cooperation with the European Association of Science Editors (EASE) New Bulgarian University, Sofia (Bulgaria), 21-23 Marzo 2016 www.facebook.com/events/1511610889167645 http://esnbu.org/data/files/resources/ease-nbu-seminar-march-2016-fees.pdf 5. Posgrado: II Postgraduate Course on Spanish Law Taught in English "Global study". Universidad Internacional de Andalucía / Colegio de Abogados de Málaga. www.unia.es/cursos/guias/4431_english.pdf 3) CURSOS DE VERANO / SUMMER COURSES: 1. STRIDON – Translation Studies Doctoral and Teacher Training Summer School, Piran (Eslovenia), 27 Junio – 8 Julio 2016 www.prevajalstvo.net/doctoral-summer-school 2. Training in Translation Pedagogy Program School of Translation and Interpretation, University of Ottawa (Canadá), 4-29 Julio 2016. https://arts.uottawa.ca/translation/summer-programs 3. 2016 Nida School of Translation Studies. Translation, Ecology and Entanglement, San Pellegrino University Foundation, Misano Adriatico, Rimini (Italia), 30 Mayo – 10 Junio 2016. http://nsts.fusp.it/Nida-Schools/NSTS-2016 4. TTPP - Intensive Summer Program in Translation Pedagogy University of Ottawa (Canadá), 4-29 Julio 2016. http://arts.uottawa.ca/translation/summer-programs-2016/ttpp 5. CETRA Summer School 2016. 28th Research Summer School University of Leuven, campus Antwerp (Bélgica), 22 Agosto – 2 Sep. 2016. Contacto: cetra@kuleuven.be. http://www.arts.kuleuven.be/cetra 4) LIBROS / BOOKS: 1. Varela Salinas, María-José & Bernd Meyer (eds.) 2016. Translating and Interpreting Healthcare Discourses / Traducir e interpretar en el ámbito sanitario. Berlín : Frank & Timme. www.frank-timme.de/verlag/verlagsprogramm/buch/verlagsprogramm/bd-79-maria-jose-varela-salinasbernd-meyer-eds-translating-and-interpreting-healthcare-disc/backPID/transued-arbeiten-zur-theorie-und-praxis-des-uebersetzens-und-dolmetschens-1.html 2. Ordóñez López, Pilar and José Antonio Sabio Pinilla (ed.) 2015. Historiografía de la traducción en el espacio ibérico. Textos contemporáneos. Madrid: Ediciones de Castilla-La Mancha. www.unebook.es/libro/historiografia-de-latraduccion-en-el-espacio-iberico_50162 3. Bartoll, Eduard. 2015. Introducción a la traducción audiovisual. Barcelona: Editorial UOC. www.editorialuoc.cat/introduccion-a-la-traduccion-audiovisual 4. Rica Peromingo, Juan Pedro & Jorge Braga Riera. 2015. Herramientas y técnicas para la traducción inglés-español. Madrid: Babélica. www.escolarymayo.com/libro.php?libro=7004107&menu=7001002&submenu=7002029 5. Le Disez, Jean-Yves. 2015. F.A.C.T. Une méthode pour traduire de l’anglais au français. París: Ellipses. www.editions-ellipses.fr/product_info.php?cPath=386&products_id=10601 6. Baker, Mona (ed.) 2015. Translating Dissent: Voices from and with the Egyptian Revolution. Londres: Routledge. www.tandf.net/books/details/9781138929876 7. Gallego Hernández, Daniel (ed.) 2015. Current Approaches to Business and Institutional Translation / Enfoques actuales en traducción económica e institucional. Berna: Peter Lang. www.peterlang.com/download/datasheet/86140/datasheet_431656.pdf 8. Vasilakakos, Mary. 2015. A Training Handbook for Health and Medical Interpreters in Australia. www.interpreterrevalidationtraining.com/books-and-resources.html 9. Jankowska, Anna & Agnieszka Szarkowska (eds) 2015. New Points of View on Audiovisual Translation and Media Accessibility. Oxford: Peter Lang. www.peterlang.com/index.cfm?event=cmp.ccc.seitenstruktur.detailseiten&seitentyp=produkt&pk=83114 10. Baer, Brian James (2015). Translation and the Making of Modern Russian Literature, Londres: Bloomsbury. Translation and the Making of Modern Russian Literature is the inaugural book in a new Translation Studies series: Bloomsbury’s “Literatures, Cultures, Translation.” 11. Camps, Assumpta. 2016. La traducción en la creación del canon poético (Recepción de la poesía italiana en el ámbito hispánico en la primera mitad del siglo XX). Berna: Peter Lang. 5) REVISTAS / JOURNALS: 1. JoSTrans, The Journal of Specialised Translation, nº especial sobre Translation & the Profession, Vol. 25, Enero 2016. www.jostrans.org 2. Translation and Interpreting – Nº especial sobre Community Interpreting: Mapping the Present for the Future www.trans-int.org/index.php/transint. 3. inTRAlinea – Nº especial sobre New Insights into Specialised Translation. www.intralinea.org/specials/new_insights 4. Linguistica Antverpiensia NS-Themes in Translation Studies, 2015 issue, Towards a Genetics of Translation. https://lans-tts.uantwerpen.be/index.php/LANS-TTS/issue/view/16 5. Quaderns de Filologia, Nº especial sobre Traducción y Censura: Nuevas Perspectivas, Vol. 20, 2015. https://ojs.uv.es/index.php/qdfed/issue/view/577 6. The Translator – Nº especial sobre Food and Translation, Translation and Food, 2015, 21(3). www.tandfonline.com/eprint/ryqJewJUDKZ6m2YM4IaR/full 7. Current Trends in Translation Teaching and Learning E, 2015, 2 www.cttl.org/cttl-e-2015.html 8. Dragoman Journal of Translation Studies. www.dragoman-journal.org 9. Current Trends in Translation Teaching and Learning E. Edición especial sobre Translation Studies Curricula Across Countries and Cultures. www.cttl.org 10. International Journal of the Sociology of Language, Nº especial sobre Translation Policies and Minority Languages: Theory, Methods and Case Studies http://fouces.webs.uvigo.es/CallForPapersIJSLTranslationPolicies.pdf 11. Nº especial de The Interpreter and Translator Trainer 11(2) – Employability and the Translation Curriculum www.tandfonline.com/doi/full/10.1080/1750399X.2015.1103092 12. InTRAlinea. Nº especial sobre Building Bridges between Film Studies and Translation Studies www.intralinea.org/news/item/cfp_building_bridges_between_film_studies_and_translation_studies 13. Nº especial de TranscUlturAl: Comics, BD & Manga in translation/en traduction https://ejournals.library.ualberta.ca/index.php/TC/announcement/view/290 14. The Journal of Translation Studies 2015, 16(4) Nº especial sobre Translator and Interpreter Training in East Asia Contacto: Won Jun Nam: wjnam@hufs.ac.kr, wonjun_nam@daum.net 15. TRANS Revista de Traductología, 19(2), 2015. www.trans.uma.es/trans_19.2.html 16. Between, 9, 2015 – Censura e auto-censura http://ojs.unica.it/index.php/between/index 17. Translation Studies, Nº especial sobre Translingualism & Transculturality in Russian Contexts of Translation http://explore.tandfonline.com/cfp/ah/rtrs-cfp3 18. Translation & Interpreting, 7:3, 2016 www.trans-int.org/index.php/transint/issue/view/38 19. "The translation profession: Centres and peripheries" The Journal of Specialised Translation (Jostrans), Nº. 25, Enero 2016. The Journal of Translation Studies is a joint publication of the Department of Translation of The Chinese University of Hong Kong and the Chinese University Press. Contact: jts.tra@cuhk.edu.hk, james@arts.cuhk.edu.hk 19. Nuevo artículo: "The Invisibility of the African Interpreter" por Jeanne Garane, Translation: a transdisciplinary journal http://translation.fusp.it/. Contact: siri.nergaard@gmail.com.

Жанровая природа «Фрегата “Паллада”» И. А. Гончарова сложна и эклектична. Несмотря на ее мозаичность, структура текста отличается четкостью, она выверена и хорошо продумана. В этом произведении повествуется о разных странах, континентах, а также населяющих их народах и этносах. В статье рассматривается одна из глав книги с точки зрения художественно-этнологического дискурса: автор-повествователь описывает нравы, род занятий, этнические особенности китайского народа, но делает это весьма живо, занимательно, эмоционально, т. е. на художественном уровне. Основным композиционным принципом произведения «Фрегат “Паллада”» становится сопоставление: выявляются сходные и отличительные признаки китайского и других этносов (американцев, англичан, русских). Кроме того, показаны и этнические особенности разных групп китайцев (китайцы Шанхая, Гонконга, Сингапура). В результате сопоставительного анализа автор приходит к выводу, что глава «Шанхай» написана большим писателем-беллетристом, не документалистом: Гончаров использует художественные приемы, определившие своеобразие его художественного мира, в том числе и романного (разнообразные ритмообразующие факторы; изящные и тонкие проявления комического начала; «архитектурную» структурированность; четкую и аргументированную авторскую позицию; гуманизм). The genre nature of The Frigate "Pallada" by Ivan Goncharov is complex and eclectic. Despite its mosaic character, the structure of the text looks precise and elaborate. The novel tells about foreign countries, continents, and nations living there. The paper focuses on one chapter of the novel; its artistic ethnology is regarded. The author-narrator depicts customs, occupations, and ethnic peculiarities of the Chinese people in a vivid, amusing, emotional way thus providing an artistic level of the description. The main principle of plot structure is the one of comparison: similar and peculiar features of the Chinese and other nations (Americans, Englishmen, Russians) are defined. Moreover, ethnic peculiarities of various groups among the Chinese are displayed (people of Shanghai, Hong Kong, and Singapore). Summing up the comparative analysis, the author concludes that the chapter entitled Shanghai seems to be written by a belletrist rather than by a documentary writer. Ivan Goncharov resorts to artistic devices typical of his fiction and novels (a variety of rhythm making factors; graceful and subtle manifestations of the comic; architectural structure; author’s viewpoint, well-grounded and precise; humanism)

Abstract The collaboration between the visual and textual narrative in comics, richly loaded with cultural codes and background, leads to challenges in translation. Cultural transference in comics is inevitably obstructed and distorted. Even readers who understand both the source and target language may need help comprehending the entire narrative, not to mention monolingual readers. In an international city like Hong Kong, where cultures coexist independently yet interrelatedly, the incomprehensiveness of the translated version of Old Master Q Chinese Idioms LOL (2012) is instantly recognized by bilingual Chinese-English readers. A problematic transposition of semiotic and cultural knowledge and a disrupted interplay between the textual and visual narratives causes incomprehension. The translation of this comic series becomes even more challenging to achieve the clear intent of edutainment. This article will argue that translated comics will appear deficient to monolingual and bilingual readers even if they are equipped with the semiotic knowledge of the source and target language. The translation of multimodal texts is considerably constrained by a chain effect triggered by posting changes to any element in comics – a syncretic semiotic environment.

Abstract This study delves into the stylization of a unique and dynamic Hong Kong identity through examining a series of Cantonese standup comedies performed by the Hong Kong comedian, Wong Tze-wah, from 1993 to 2003. It explains the ways that Wong’s standup comedies become the stylistic and semiotic resources which not merely iconically and symbolically represent the reality of Hong Kong society; rather, they index many modalities of Hong Kongers’ questioning of authenticity and the relationship between China and Hong Kong. It suggests that the comic performance, as a meaning-making process, helps to shape and reproduce the local ideologies of identity, and to challenge the power underlying the discourse of China-Hong Kong relations.

This article argues that the cult success of Big Trouble in Little China is a product of the successful synthesis of Carpenter’s fantastic sensibility and the filmmaking philosophies of Howard Hawks. Operating not only as a parody of Hawks’s western films and Hong Kong martial arts cinema, BTiLC uses the pre-existing structure present in Hawk’s comedies to produce a film that is able to convincingly portray Jack Burton (Kurt Russell) as both the hero of the film and the incompetent comic relief; thus positioning its Asian American characters as its functional heroes, without this inversion ever seeming condescending or mean-spirited. This framing of the film consequently highlights the differences between BTiLC’s use of genre and Reagan era masculine heroism and the more reactionary elements of their contemporaries.

Books reviewed: China Richard Madsen, China's Catholics: tragedy and Hope in an Emerging Civil SocietyWang Zheng, Women in the Chinese Enlightenment: oral and Textual HistoriesYuezhi Zhaom, Media, Market, and Democracy in China: between the Party Line and the Bottom LineAlan Knight and Yoshiko Nakano (eds), Reporting Hong Kong: foreign Media and the Handover Japan, Korea Joel R. Cohn, Studies in the Comic Spirit in Modern Japanese FictionJeong‐Hyun Shin, The Trap of History: understanding Korean Short StoriesSidney Hayden Lesbirel, NIMBY Politics in Japan: energy Siting and the Management of Environmental ConflictG. Cameron Hurst III. Armed Martial Arts of Japan: swordsmanship and Archery South Asia G. V. Tagare, Śaivism. Some GlimpsesLata Mani, Contentious Traditions: the Debate on Sati in Colonial IndiaVincanne Adams, Doctors for Democracy: health Professionals in the Nepal RevolutionT. Scarlett Epstein, A. P. Suryanarayana and T. Thimmegowda, Village Voices. Forty Years of Rural Transformation in South India Southeast Asia M. Ngaosyvathn and P. Ngaosyvathn, Paths to Conflagration: fifty Years of Diplomacy and Warfare in Laos, Thailand, and Vietnam, 1778‐1828.Patrick Vinton Kirch, The Lapita Peoples: ancestors of the Oceanic WorldHelen Creese (ed and trans), Pãrthãyana, The Journeying of Pãrtha: an Eighteenth‐century Balinese Kakawin General Asia Frank B. Tipton, The Rise of Asia: economics, Society and Politics in Contemporary Asia

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Introduction Despite the expansive and multimodal realm of Chinese Boys’ Love (BL) culture (also known as danmei in Chinese), audio works have been notably absent from scholarly discussions, with the focus predominantly being on novels (e.g. Bai; Zhang). This article aims to fill this gap by delving into the transformative impact of sound on narrative engagement within the Chinese BL culture. Focussing on the audio drama adaptations of Grandmaster of Demonic Cultivation (modao zushi, hereafter Grandmaster), originally a serialised Chinese BL novel, this analysis aims to unravel the meticulously crafted BL fantasy in these auditory renditions. The audio drama format delivers an intimate storytelling experience directly to the listener’s ears. Unlike textual media, audio dramas allow listeners to immerse themselves in narratives during various daily activities, deepening their connection with the content. The audio drama Grandmaster, produced by the renowned Chinese platform MissEvan, has garnered a vast fan base and over 640 million plays across three seasons (the episodes and numbers of plays can be found on MissEvan: Season 1, Season 2, and Season 3). Unlike the serialised Web-drama adaption diluted by censorship regulations, the audio drama retains the utmost BL fidelity to the original novel, highlighting the significant potential of this medium in the Chinese BL culture. BL culture has surged in popularity within China, partly due to the export of Japanese culture and the burgeoning Chinese Internet accessibility (Feng). The BL genre encompasses diverse media forms such as novels, fanfiction, comics, animation, and audio/Web dramas, rooted in shared fantasies of romantic love between men. The growing interest in BL culture reflects a response to societal structures like Confucianism and the oppressive education system, which, due to their restrictedness, inadvertently foster the exploration of alternative narratives and identities within the genre (Kwon). While initially inspired by Japanese subculture, Chinese BL has evolved under diverse global influences, including American and other Asian subcultures (Lavin et al.). Chinese BL narratives delve into themes of identity, sexuality, power dynamics, and societal norms, reflecting a rich blend of modern and traditional Chinese culture (Madill and Zhao). Moreover, the rise of BL fandom has empowered female readers to engage in questions about gendered politics, questions that enable them to turn a voyeuristic gaze upon men (Zhang). The versatility of Chinese BL media reflects not only the evolving nature of the genre but also its enduring appeal and cultural significance within contemporary Chinese society. This article initiates a concise review of audio drama in China and the transformative impact of earphone technology, shifting listening experiences from public to intimate settings. It subsequently explores the intricate interplay between Chinese BL novels and audio dramas, elucidating the unique dynamics involved. The analysis then examines specific scenes from Grandmaster, providing insights into its role in facilitating a mesmerising BL audio fantasy. Grandmaster, originating as an Internet novel, has gained a dedicated following. MissEvan, recognising its potential, secured copyrights and commissioned Triones Penguin Studio for a radio drama adaptation in Mandarin. This full-cast dramatisation involves skilled editors, playwrights, and composers, thereby enriching character portrayals and interactions. The professional teamwork and meticulous oversight at each production stage guaranteed regular updates and high audio quality (Shao). Despite the collaborative nature of teamwork, I argue that the power of sound technology personalises the auditory journey as it creates an immersive experience for individual listeners. My analyses mainly rely on research involving actual listeners, along with examinations of specific content within Grandmaster with an idealised listener in consideration, to elucidate the factors contributing to its auditory allure. This examination contributes to a nuanced understanding of Chinese BL culture and its constitutive relationship to audio. From Public Broadcasting to Intimate Voicing: Audio Drama in China Radio broadcasting in China, with roots dating back to the early twentieth century, initially served as a propaganda instrument for mass mobilisation and communication. Chinese storytelling, rooted in acoustics, emphasises the sensory appeal of sound (Chan). It intertwines oral and written traditions in classical literature, particularly fiction and drama (Børdahl). Local vernaculars commonly feature in oral storytelling traditions, whereas Chinese radio programs adopt Mandarin to foster a cohesive national identity via linguistic uniformity. The Communist Party tactically expanded its audience through a radio reception network, establishing a wired broadcasting infrastructure with over 100 million loudspeakers by the 1970s. This revolutionised politics, everyday life, and perceptions of time and space (Li). The interplay between radio and social change reflected China’s pursuit of modernity, as the Communist Party utilised radio to institute a national communication system and monopolise news production. Radio thus served as a crucial tool for constructing and sustaining revolutionary fervor (Lei; He). Radio dramas, often cross-media adaptations from edited films in the 1970s, contributed to everyday sensory pleasure amidst a totalising revolutionary soundscape (Huang). The growth of radio and loudspeaker infrastructure played diverse roles in the revolution, fostering political communication, labour mobilisation, propaganda, surveillance, and even nurturing the Mao cult, turning radio drama into a potent tool for mass mobilisation and communication (Li). As a result, before the widespread availability of televisions in the 1990s, radio structured Chinese people’s daily activities and served as the primary information medium. Technological advancements in earphones, transitioning from larger wired headphones to smaller wireless earbuds like AirPods, have shifted auditory experiences in China from a collective identity tool used in political propaganda to a medium for individualistic entertainment. This change is marked by the personal nature of headphone usage, which can extend social interactions in and beyond physical dimensions (Grusin). The transition from wired headphones to wireless earbuds implements the interiorisation of one person’s body/voice within another, initiating a profound connection that transcends physical limitations (Stankievech). Since 2018, wireless earbuds have exceeded wired headphones in output value in China (Insight and Info), with the online audio market surging to 22 billion yuan in 2021, a 67.9% increase year-on-year. Audiobooks and audio dramas are the most popular genres, with a predominantly female audience under forty who prefer listening at night after work (iimedia). Among audio dramas, BL works generate the most traffic and revenue in China (Y. Wang). Along with such content, putting wireless earbuds inside the ear intensifies the intimacy of listening, transmitting voices directly into the listener’s head and sitting alongside their thoughts (Weldon). This physical closeness underscores the exclusive bond between the listener and the audio content, redefining oral narratives and transforming public and political audio content into a more personal and intimate medium. The use of wireless earbuds even extends listening beyond mere auditory experience, empowering haptic sensations that create an intimate bond. The acousmatic voice envelops the listener’s ears, establishing a connection even before the message’s content is considered (Madsen and Potts). The ear’s sensitivity prompts consciousness and memory, unlocking the imaginative world (C. Wang 91-94). This sensory engagement surpasses traditional auditory limits, resembling a physical encounter where listeners feel like their body has joined with the body of sound. Dermot Rattigan, discussing radio drama, notes how listeners fill the void with mental visualisations and imagination, entering a state of individual ‘virtual reality’ through aural stimulation (Rattigan 118). Drawing from visual psychology, Shaffer likens the soundscape to a dynamic landscape painting, emphasising the fluidity of auditory experiences (Schafer). Listening becomes a multi-dimensional journey involving the entire body and mind, a compelling tool for reception and connection that transcends reality’s boundaries. The advent of MP3 technologies and the podcasting boom also extends the former spatial and temporal limitations of listening. In contrast to traditional real-time broadcasting, MP3 technologies enable voices to persist indefinitely into the future (Madsen and Potts). This temporal flexibility further builds a private sound sphere for listeners (Euritt). Listeners no longer need to share time and space with others around loudspeakers or radios, so they can freely indulge in their subcultural preferences, such as BL stories, without concern for societal judgment. Many listeners strategically incorporate audio dramas into their daily schedule, choosing moments of solitude such as before sleep or upon waking, where they can detach from the expectations of their physical space and identity roles. This is particularly evident among devoted fans of Chinese BL audio dramas, who carve out personal time for these works and seek a quiet space for focussed engagement (Wang 55). This intentional, focussed engagement differs from the typical mode of everyday radio listening as it serves an expanded, widespread dissemination environment that is also highly intimate (Madsen and Potts). Thus, the convergence of temporal flexibility and immersive technology shapes listener engagement and interaction dynamics. The fusion of intimacy, physical closeness, and temporal flexibility heightens the allure of the voice in programs with erotic undertones, such as BL audio dramas. Euritt introduces the concept of ‘breathing out into you’ to explain queer eroticism in podcasts, emphasising shared breaths and potential haptic exchanges that enhance the sensual dimensions of sound (Euritt 27-53). This wireless, intimately riveting auditory experience transforms the soundscape and reshapes contemporary social interactions. This shift is particularly noteworthy for popular Chinese radio and audio content as they began as a public, propaganda-oriented tool and transitioned into forms as novel as the intimate domain of BL audio dramas. This change underscores the transformative power of sound in shaping interactions, surpassing conventional storytelling boundaries, and ushering in a new era of engaging narratives. The 2.5-Dimensional: Auralising Chinese Boys’ Love Fiction The BL genre emerges as a cultural and social force that can potentially challenge traditional Chinese values. Its focus on male-male love inherently questions societal expectations around gender and sexuality in ways that disrupt Confucian ideology’s emphasis on heterosexual marriage and lineage (Welker). Furthermore, the genre’s similarity to the melodramatic ‘soap opera’ storytelling style resonates with Western ideals of individualism and aligns more with a feminist viewpoint that contrasts with the male-dominant heterosexism often found in traditional Chinese narratives (Mumford). This emphasis on individual desires also implicitly disputes the collectivist and socialist values, as well as the importance of the extended family, traditionally embraced in Chinese cultures. In short, the love, sex, and romance depicted in BL represent a departure from traditional Chinese values, positioning the BL genre as a vehicle for cultural exchange and societal transformation in terms of gender norms. The surge of Internet radio and social media in the 2010s has substantially contributed to the professionalisation and commercialisation of Chinese BL audio dramas. MissEvan, a prominent barrage-audio and live-broadcasting Website, has been crucial to this proliferation (Hu et al.). Before the advent of commercial dubbing, enthusiasts of BL novels voluntarily recorded non-profit Chinese audio dramas and disseminated them online. The popularity of BL novels subsequently prompted their adaptation into animation and television dramas, creating a demand for dubbing services. This demand inaugurated a niche for professional voice actors to hone and showcase their skills. The integration of technology and capital by commercial production teams has markedly elevated the quality of Chinese BL audio dramas. Amidst tightening censorship in 2021, Chinese BL online novels and their television/Web-drama adaptations faced restrictions. Audio drama emerged as a less restrictive medium, which can relatively directly present explicit gay relationships (Hu et al.). Listeners of Chinese BL audio dramas typically read the online novel beforehand, engaging in dual consumption for pleasure in both reading and listening (Wang 58). Their engagement transcends plot comprehension, focussing instead on appreciating sophisticated voice performances. Exploring how audio dramas derived from novels can transcend textual narratives and captivate audiences has become a central focus in the production process, highlighting the flourishing landscape of audio drama. The listening process provides informed listeners with a re-experience, offering multiple sensory and emotional pleasures by translating words into voice and sounds. Unlike film and television dubbing, which requires synchronisation with actors’ lip movements and speech rhythms, dubbing for animation, audio dramas, and games gives greater creative autonomy to voice actors. The thriving market for audio dramas has shaped the Chinese dubbing industry, cultivating a devoted fan base for previously overlooked voice actors. The character voices (CVs, also known as voice actors, or VAs) have emerged as central figures, attracting fans and driving media traffic. In the late 2010s, collaborations between MissEvan and renowned CVs resulted in the adaptation of popular online fiction into paid audio dramas, exemplified by Grandmaster, which aired in 2017 and 2018 (Hu et al.). Fans’ motivation for engaging with BL audio dramas extends beyond intertextual and trans-media entertainment but incorporates an appreciation for their beloved CVs, thereby fostering a culture of support within the burgeoning Chinese BL audio drama market. In the storytelling of aural media, CVs are crucial in bridging the auditor’s BL imagination between the text and the characters as their performances breathe life into characters. CVs fill a gap between two-dimensional works (fiction, comic, and animation) and the three-dimensional real world, forging ‘2.5-dimensional’ content. This term originated in the 1970s-80s to describe anime voice actors, who imbue two-dimensional characters with a sense of existence and generate interrelations between the real, fictional, and cyber worlds (Sugawa-Shimada and Annett). In BL audio dramas, CVs commonly stimulate listeners’ sensations through male moans that facilitate an erotic flow between sound and body, arousing desire through the auditory channel. The incorporation of scenes with sexual innuendo between the male protagonists creates a space for listeners to indulge in these moments with earphones on, enveloped in their own private, eroticised sphere of engagement between fiction and reality. The deliberate pauses, gasps, and panting become the silent dialogue that intertwines inner voices with external narratives, enhancing comprehensive sensory engagement for listeners. Audio Fantasy in Grandmaster of Demonic Cultivation Grandmaster is a seminal Chinese BL novel that blends martial arts, supernatural fantasies, and emotional depth. Set in a richly imagined world where immortal cultivation techniques bestow individuals with extraordinary powers, the story follows protagonists Wei Wuxian’s and Lan Wangji’s intertwined fates. Its captivating narrative and nuanced characters have garnered a global fanbase, solidifying its place as a cornerstone of Chinese BL literature and media. The audio drama Grandmaster faithfully mirrors the novel’s narrative structure, unfolding from the protagonist Wei’s perspective after his reincarnation, weaving memories of his past and present life, including his romantic involvement with Lan. Wei’s establishment of the forbidden Demonic Path leads to his death, but he is reincarnated thirteen years later and reunites with Lan. After his reincarnation, Wei gradually realises Lan’s concealed profound affection and scarification for him. Diverging from the television/Web-drama adaptation, which replaces the romance with platonic ‘bromance’ due to censorship (Lei), the audio drama accentuates the impassioned soundscapes of their relationship. The three-season series, comprising episodes of 30-40 minutes, offers the first three episodes for free, with subsequent content requiring payment (approximately four to six dollars per season). Impressively, the series has driven earnings exceeding $1.5 million (Asia Business Leaders). This success highlights the captivating and profitable potential of audio dramas as a BL storytelling medium. Unlike the original novel, which uses an omniscient narrator, the audio drama advances the plot solely through character dialogue. Consequently, listeners navigate the storyline guided by the rhythm of the CVs’ delivery and the accompanying music. Different from Japanese BL audio dramas that feature as ‘voice porn’ for women (Ishida), Grandmaster subtly implies the romance between Lan and Wei, with the most intimate interactions limited to kisses. Rather than sexually explicit content, the drama focusses on the characters’ affective fulfillment after a prolonged thirteen-year anticipation. For instance, in Season 1, Episode 4, Wei attempts to hide his identity and flee from Lan. When Wei creeps back towards Lan’s bed to steal the pass for exiting Lan’s residence, Lan catches him. Rather than simply saying ‘Get off’ as in the novel, Lan instructs Wei in the audio drama to ‘Get off from my body,’ offering listeners additional physical contact cues (the quotes from the novel and audio drama in this article are translations from Chinese to English). Following Wei’s intentional refusal, the CV Wei Chao, portraying Lan, strategically breathes before his next line, ‘then stay like this for the whole night’. The breath conveys Lan’s deep, restrained affection and evokes the listener’s nuanced emotional resonance. To represent Lan’s affection within his minimal and often monosyllabic lines requires the CV to convey emotions through breaths and intonations, which commonly elicit an autonomous sensory meridian response (ASMR) in listeners. ASMR is a tingling sensation often triggered by soft low-tone spoken or whispered voices (Barratt and Davis). Wei Chao intentionally lowers his voice to interpret how Lan’s sighs encapsulate unspoken sentiments (Wei). In contrast, the CV Lu Zhixing employs a playful and sweet tone in his portrayal of Wei Wuxian. When Lu delivers flirtatious lines, online real-time comments frequently express listeners’ admiration, suggesting that his voice is even more captivating than women’s. The contrasting restraint and playfulness intensify the listener’s empathy for Lan’s unspeakable passion. Thus, Lan’s subtle expressions of his restrained love become the primary attraction for listeners (KikuHonda). The high-quality sound further amplifies the breath sounds, making each of Lan’s ‘hmm’ responses—indifferent, melancholy, or indulgent—a nuanced emotional trigger. Listeners, through their wireless earbuds, engage in the meticulously crafted expressions of Lan within a profoundly personal soundscape. This listening mode is a crucial component of the overall enthralling auditory voyage, augmenting the appreciation of the characters’ subdued emotions. The layered integration of music and sound in Grandmaster constructs a three-dimensional sonic storytelling landscape. Effective soundscapes for storytelling are crafted by multiple dimensions: sound source, temporal progression, simultaneous layers, and spatialisation. Sound editing allows for source selection, with listeners experiencing these dimensions as integrated, not separate or sequential (Stedman et al.). The audio drama Grandmaster distinguishes itself from the novel by using voice flashbacks for narrative enhancement. In Season Three, Episode 12, when Lan’s brother recounts Lan’s sacrifice for Wei, particularly the moment when Lan endured severe punishment to save Wei thirteen years ago, the soundscape instantly transports listeners to that intense scene. Listeners vividly hear the swishing force of the whip and its impact, immersing them in the sounds of Lan’s anguish and unwavering love. This direct auditory impact allows listeners to feel as if they are experiencing the events firsthand, physically sensing the hardships encountered by the protagonists in understanding each other’s affection, intensifying their hard-won love. The musical orchestration and vocal interplay are also pivotal to conveying the story. In the storyline, Wei and Lan showcase proficiency in their respective instruments: Wei with the flute and Lan with the guqin (a seven-string Chinese zither). The tonal features of these instruments—the flute’s melodious brightness and the guqin’s deep lingering resonance—symbolise the protagonists’ distinct personalities, adding ingenious layers to their relationship. In the Guanyin Temple scene (Season Three, Episode 13), as Wei confesses to Lan, the initial background music features the flute, guqin, and rain sounds, foreshadowing the confessional moment with Wei’s worries that Lan will not believe his words. As Wei promises to remember Lan’s every word from now on, the music incorporates the guzheng, a Chinese string instrument with a brighter timbre than guqin. The tremolo technique of guzheng is reminiscent of the characters’ heartstring vibrations. Through auditory cues, the narrative climaxes with Wei’s heartfelt confession of love for Lan. When Wei straightforwardly confesses, ‘I fancy you, I love you, I want you, I cannot leave you. … I do not want anyone but you—it cannot be anyone but you’ (Season Three, Episode 13), his heartfelt words are accompanied by layered sounds, including the duet of the flute and guqin, and the sound of thunder and rain, accelerating the affective climax. Lan echoes Wei’s words, underscored by erhu, thereby showing how this string instrument resembles humans’ sobbing voices through its sliding technique, rendering the touching melody. The heartbeat and rain sound with Lan’s panting highlight the painful loneliness of Lan’s thirteen-year wait. The intricate fusion of musical and vocal elements enables listeners to not only hear but also to feel the mutual affection between the characters, culminating in a sense of delight upon the disclosure of their reciprocal love following numerous adventures. Using earbuds amplifies listeners’ capacity to fully receive auditory details and stereo effects, thereby contributing to the popularity of BL audio dramas that skillfully convey unspoken love through detailed soundscapes. Epilogue The Grandmaster audio dramas provide crafted episodes that fulfill fans’ passionate needs that exceed the novel’s scope. In addition to adapting the novel, the team has conceived original mini-dramas that enrich the character images. Listeners can access additional content such as iconic quotes, ringtones, and ‘lullaby’ episodes recorded by the leading CVs, maximising the captivating power of sound and justifying listeners’ investment. The multi-layered use of sounds and instrumental arrangements effectively constructs a three-dimensional soundscape, reinforcing the audience’s understanding of the story and characters. Unlike television/Web-drama adaptations, the audio drama fully amplifies the tragic elements of the novel, pushing the immersed listener’s imagination past textual limitations. While casting choices and modelling in visual adaptions may disappoint viewers’ expectations at times, the audio drama leverages the power of sound to stimulate listeners’ imaginations, encouraging them to visualise their own specific character images. Skillful orchestration, along with sound effects, breaths, and dialogues in Grandmaster intensifies emotional expression, forming a rich and dimensional soundscape and unlocking new possibilities for audio drama artistic expression for Chinese BL fantasy. 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The use of the family home as a setting for television sitcoms (situation comedies) has long been recognised for its ability to provide audiences with an identifiable site of ontological security (much discussed by Giddens, Scannell, Saunders and others). From the beginnings of American sitcoms with such programs as Leave it to Beaver, and through the trail of The Brady Bunch, The Cosby Show, Roseanne, The Fresh Prince of Bel Air, and on to Home Improvement, That 70s Show and How I Met Your Mother, the US has led the way with screenwriters and producers capitalising on the value of using the suburban family dwelling as a fixed setting. The most obvious advantage is the use of an easily constructed and inexpensive set, most often on a TV studio soundstage requiring only a few rooms (living room, kitchen and bedroom are usually enough to set the scene), and a studio audience. In Singapore, sitcoms have had similar successes; portraying the lives of ‘ordinary people’ in their home settings. Some programs have achieved phenomenal success, including an unprecedented ten year run for Phua Chu Kang Pte Ltd from 1996-2007, closely followed by Under One Roof (1994-2000 and an encore season in 2002), and Living with Lydia (2001-2005). This article furthers Blunt and Dowling’s exploration of the “critical geography” of home, by providing a focused analysis of home-based sitcoms in the nation-state of Singapore. The use of the home tells us a lot. Roseanne’s cluttered family home represents a lived reality for working-class families throughout the Western world. In Friends, the seemingly wealthy ‘young’ people live in a fashionable apartment building, while Seinfeld’s apartment block is much less salubrious, indicating (in line with the character) the struggle of the humble comedian. Each of these examples tells us something about not just the characters, but quite often about class, race, and contemporary societies. In the Singaporean programs, the home in Under One Roof (hereafter UOR) represents the major form of housing in Singapore, and the program as a whole demonstrates the workability of Singaporean multiculturalism in a large apartment block. Phua Chu Kang Pte Ltd (PCK) demonstrates the entrepreneurial abilities of even under-educated Singaporeans, with its lead character, a building contractor, living in a large freestanding dwelling – generally reserved for the well-heeled of Singaporean society. And in Living with Lydia (LWL) (a program which demonstrates Singapore’s capacity for global integration), Hong Kong émigré Lydia is forced to share a house (less ostentatious than PCK’s) with the family of the hapless Billy B. Ong. There is perhaps no more telling cultural event than the sitcom. In the 1970s, The Brady Bunch told us more about American values and habits than any number of news reports or cop shows. A nation’s identity is uncovered; it bares its soul to us through the daily tribulations of its TV households. In Singapore, home-based sitcoms have been one of the major success stories in local television production with each of these three programs collecting multiple prizes at the region-wide Asian Television Awards. These sitcoms have been able to reflect the ideals and values of the Singaporean nation to audiences both at ‘home’ and abroad. This article explores the worlds of UOR, PCK, and LWL, and the ways in which each of the fictional homes represents key features of the multi-ethnic, multi-cultural Singapore. Through ownership and regulation, Singaporean TV programs operate as a firm link between the state and its citizens. These sitcoms follow regular patterns where the ‘man of the house’ is more buffoon than breadwinner – in a country defined by its neo-Confucian morality, sitcoms allow a temporary subversion of patriarchal structures. In this article I argue that the central theme in Singaporean sitcoms is that while home is a personal space, it is also a valuable site for national identities to be played out. These identities are visible in the physical indicators of the exterior and interior living spaces, and the social indicators representing a benign patriarchy and a dominant English language. Structure One of the key features of sitcoms is the structure: cold open – titles – establishing shot – opening scene. Generally the cold opening (aka “the teaser”) takes place inside the home to quickly (re)establish audience familiarity with the location and the characters. The title sequence then features, in the case of LWL and PCK, the characters outside the house (in LWL this is in cartoon format), and in UOR (see Figure 1) it is the communal space of the barbeque area fronting the multi-story HDB (Housing Development Board) apartment blocks. Figure 1: Under One Roof The establishing shot at the end of each title sequence, and when returning from ad breaks, is an external view of the characters’ respective dwellings. In Seinfeld this establishing shot is the New York apartment block, in Roseanne it is the suburban house, and the Singaporean sitcoms follow the same format (see Figure 2). Figure 2: Phua Chu Kang External Visions of the Home This emphasis on exterior buildings reminds the viewer that Singaporean housing is, in many ways, unique. As a city-state (and a young one at that) its spatial constraints are particularly limiting: there simply isn’t room for suburban housing on quarter acre blocks. It rapidly transformed from an “empty rock” to a scattered Malay settlement of bay and riverside kampongs (villages) recognisable by its stilt houses. Then in the shadow of colonialism and the rise of modernity, the kampongs were replaced in many cases by European-inspired terrace houses. Finally, in the post-colonial era high-rise housing began to swell through the territory, creating what came to be known as the “HDB new town”, with some 90% of the population now said to reside in HDB units, and many others living in private high-rises (Chang 102, 104). Exterior shots used in UOR (see Figure 3) consistently emphasise the distinctive HDB blocks. As with the kampong housing, high-rise apartments continue notions of communal living in that “Living below, above and side by side other people requires tolerance of neighbours and a respect towards the environment of the housing estate for the good of all” (104). The provision of readily accessible public housing was part of the “covenant between the newly enfranchised electorate and the elected government” (Chua 47). Figure 3: Establishing shot from UOR In UOR, we see the constant interruption of the lives of the Tan family by their multi-ethnic neighbours. This occurs to such an extent as to be a part of the normal daily flow of life in Singaporean society. Chang argues that despite the normally interventionist activities of the state, it is the “self-enforcing norms” of behaviour that have worked in maintaining a “peaceable society in high-rise housing” (104). This communitarian attitude even extends to the large gated residence of PCK, home to an almost endless stream of relatives and friends. The gate itself seems to perform no restrictive function. But such a “peaceable society” can also be said to be a result of state planning which extends to the “racial majoritarianism” imposed on HDB units in the form of quotas determining “the actual number of households of each of the three major races [Chinese, Malay and Indian] … to be accommodated in a block of flats” (Chua 55). Issues of race are important in Singapore where “the inscription of media imagery bears the cultural discourse and materiality of the social milieu” (Wong 120) perhaps nowhere more graphically illustrated than in the segregation of TV channels along linguistic / cultural lines. These 3 programs all featured on MediaCorp TV’s predominantly English-language Channel 5 and are, in the words of Roland Barthes, “anchored” by dint of their use of English. Home Will Eat Itself The consumption of home-based sitcoms by audiences in their own living-rooms creates a somewhat self-parodying environment. As John Ellis once noted, it is difficult to escape from the notion that “TV is a profoundly domestic phenomenon” (113) in that it constantly attempts to “include the audiences own conception of themselves into the texture of its programmes” (115). In each of the three Singaporean programs living-rooms are designed to seat characters in front of a centrally located TV set – at most all the audience sees is the back of the TV, and generally only when the TV is incorporated into a storyline, as in the case of PCK in Figure 4 (note the TV set in the foreground). Figure 4: PCK Even in this episode of PCK when the lead characters stumble across a pornographic video starring one of the other lead characters, the viewer only hears the program. Perhaps the most realistic (and acerbic) view of how TV reorganises our lives – both spatially in the physical layout of our homes, and temporally in the way we construct our viewing habits (eating dinner or doing the housework while watching the screen) – is the British “black comedy”, The Royle Family. David Morley (443) notes that “TV and other media have adapted themselves to the circumstances of domestic consumption while the domestic arena itself has been simultaneously redefined to accommodate their requirements”. Morley refers to The Royle Family’s narrative that rests on the idea that “for many people, family life and watching TV have become indistinguishable to the extent that, in this fictional household, it is almost entirely conducted from the sitting positions of the viewers clustered around the set” (436). While TV is a central fixture in most sitcoms, its use is mostly as a peripheral thematic device with characters having their viewing interrupted by the arrival of another character, or by a major (within the realms of the plot) event. There is little to suggest that “television schedules have instigated a significant restructuring of family routines” as shown in Livingstone’s audience-based study of UK viewers (104). In the world of the sitcom, the temporalities of characters’ lives do not need to accurately reflect that of “real life” – or if they do, things quickly descend to the bleakness exemplified by the sedentary Royles. As Scannell notes, “broadcast output, like daily life, is largely uneventful, and both are punctuated (predictably and unpredictably) by eventful occasions” (4). To show sitcom characters in this static, passive environment would be anathema to the “real” viewer, who would quickly lose interest. This is not to suggest that sitcoms are totally benign though as with all genres they are “the outcome of social practices, received procedures that become objectified in the narratives of television, then modified in the interpretive act of viewing” (Taylor 14). In other words, they feature a contextualisation that is readily identifiable to members of an established society. However, within episodes themselves, it as though time stands still – character development is almost non-existent, or extremely slow at best and we see each episode has “flattened past and future into an eternal present in which parents love and respect one another, and their children forever” (Taylor 16). It takes some six seasons before the character of PCK becomes a father, although in previous seasons he acts as a mentor to his nephew, Aloysius. Contained in each episode, in true sitcom style, are particular “narrative lines” in which “one-liners and little comic situations [are] strung on a minimal plot line” containing a minor problem “the solution to which will take 22 minutes and pull us gently through the sequence of events toward a conclusion” (Budd et al. 111). It is important to note that the sitcom genre does not work in every culture, as each locale renders the sitcom with “different cultural meanings” (Nielsen 95). Writing of the failure of the Danish series Three Whores and a Pickpocket (with a premise like that, how could it fail?), Nielsen (112) attributes its failure to the mixing of “kitchen sink realism” with “moments of absurdity” and “psychological drama with expressionistic camera work”, moving it well beyond the strict mode of address required by the genre. In Australia, soap operas Home and Away and Neighbours have been infinitely more popular than our attempts at sitcoms – which had a brief heyday in the 1980s with Hey Dad..!, Kingswood Country and Mother and Son – although Kath and Kim (not studio-based) could almost be counted. Lichter et al. (11) state that “television entertainment can be ‘political’ even when it does not deal with the stuff of daily headlines or partisan controversy. Its latent politics lie in the unavoidable portrayal of individuals, groups, and institutions as a backdrop to any story that occupies the foreground”. They state that US television of the 1960s was dominated by the “idiot sitcom” and that “To appreciate these comedies you had to believe that social conventions were so ironclad they could not tolerate variations. The scripts assumed that any minute violation of social conventions would lead to a crisis that could be played for comic results” (15). Series like Happy Days “harked back to earlier days when problems were trivial and personal, isolated from the concerns of a larger world” (17). By the late 1980s, Roseanne and Married…With Children had “spawned an antifamily-sitcom format that used sarcasm, cynicism, and real life problems to create a type of in-your-face comedy heretofore unseen on prime time” (20). This is markedly different from the type of values presented in Singaporean sitcoms – where filial piety and an unrelenting faith in the family unit is sacrosanct. In this way, Singaporean sitcoms mirror the ideals of earlier US sitcoms which idealise the “egalitarian family in which parental wisdom lies in appeals to reason and fairness rather than demands for obedience” (Lichter et al. 406). Dahlgren notes that we are the products of “an ongoing process of the shaping and reshaping of identity, in response to the pluralised sets of social forces, cultural currents and personal contexts encountered by individuals” where we end up with “composite identities” (318). Such composite identities make the presentation (or re-presentation) of race problematic for producers of mainstream television. Wong argues that “Within the context of PAP hegemony, media presentation of racial differences are manufactured by invoking and resorting to traditional values, customs and practices serving as symbols and content” (118). All of this is bound within a classificatory system in which each citizen’s identity card is inscribed as Chinese, Malay, Indian or Other (often referred to as CMIO), and a broader social discourse in which “the Chinese are linked to familial values of filial piety and the practice of extended family, the Malays to Islam and rural agricultural activities, and the Indians to the caste system” (Wong 118). However, these sitcoms avoid directly addressing the issue of race, preferring to accentuate cultural differences instead. In UOR the tables are turned when a none-too-subtle dig at the crude nature of mainland Chinese (with gags about the state of public toilets), is soon turned into a more reverential view of Chinese culture and business acumen. Internal Visions of the Home This reverence for Chinese culture is also enacted visually. The loungeroom settings of these three sitcoms all provide examples of the fashioning of the nation through a “ubiquitous semi-visibility” (Noble 59). Not only are the central characters in each of these sitcoms constructed as ethnically Chinese, but the furnishings provide a visible nod to Chinese design in the lacquered screens, chairs and settees of LWL (see Figure 5.1), in the highly visible pair of black inlaid mother-of-pearl wall hangings of UOR (see Figure 5.2) and in the Chinese statuettes and wall-hangings found in the PCK home. Each of these items appears in the central view of the shows most used setting, the lounge/family room. There is often symmetry involved as well; the balanced pearl hangings of UOR are mirrored in a set of silk prints in LWL and the pair of ceramic Chinese lions in PCK. Figure 5.1: LWL Figure 5.2: UOR Thus, all three sitcoms feature design elements that reflect visible links to Chinese culture and sentiments, firmly locating the sitcoms “in Asia”, and providing a sense of the nation. The sets form an important role in constructing a realist environment, one in which “identification with realist narration involves a temporary merger of at least some of the viewer’s identity with the position offered by the text” (Budd et al. 110). These constant silent reminders of the Chinese-based hegemon – the cultural “majoritarianism” – anchors the sitcoms to a determined concept of the nation-state, and reinforces the “imaginative geographies of home” (Blunt and Dowling 247). The Foolish “Father” Figure in a Patriarchal Society But notions of a dominant Chinese culture are dealt with in a variety of ways in these sitcoms – not the least in a playful attitude toward patriarchal figures. In UOR, the Tan family “patriarch” is played by Moses Lim, in PCK, Gurmit Singh plays Phua and in LWL Samuel Chong plays Billy B. Ong (or, as Lydia mistakenly refers to him Billy Bong). Erica Sharrer makes the claim that class is a factor in presenting the father figure as buffoon, and that US sitcoms feature working class families in which “the father is made to look inept, silly, or incompetent have become more frequent” partly in response to changing societal structures where “women are shouldering increasing amounts of financial responsibility in the home” (27). Certainly in the three series looked at here, PCK (the tradesman) is presented as the most derided character in his role as head of the household. Moses Lim’s avuncular Tan Ah Teck is presented mostly as lovably foolish, even when reciting his long-winded moral tales at the conclusion of each episode, and Billy B. Ong, as a middle-class businessman, is presented more as a victim of circumstance than as a fool. Sharrer ponders whether “sharing the burden of bread-winning may be associated with fathers perceiving they are losing advantages to which they were traditionally entitled” (35). But is this really a case of males losing the upper hand? Hanke argues that men are commonly portrayed as the target of humour in sitcoms, but only when they “are represented as absurdly incongruous” to the point that “this discursive strategy recuperates patriarchal notions” (90). The other side of the coin is that while the “dominant discursive code of patriarchy might be undone” (but isn’t), “the sitcom’s strategy for containing women as ‘wives’ and ‘mothers’ is always contradictory and open to alternative readings” (Hanke 77). In Singapore’s case though, we often return to images of the women in the kitchen, folding the washing or agonising over the work/family dilemma, part of what Blunt and Dowling refer to as the “reproduction of patriarchal and heterosexist relations” often found in representations of “the ideal’ suburban home” (29). Eradicating Singlish One final aspect of these sitcoms is the use of language. PM Lee Hsien Loong once said that he had no interest in “micromanaging” the lives of Singaporeans (2004). Yet his two predecessors (PM Goh and PM Lee Senior) both reflected desires to do so by openly criticising the influence of Phua Chu Kang’s liberal use of colloquial phrases and phrasing. While the use of Singlish (or Singapore Colloquial English / SCE) in these sitcoms is partly a reflection of everyday life in Singapore, by taking steps to eradicate it through the Speak Good English movement, the government offers an intrusion into the private home-space of Singaporeans (Ho 17). Authorities fear that increased use of Singlish will damage the nation’s ability to communicate on a global basis, withdrawing to a locally circumscribed “pidgin English” (Rubdy 345). Indeed, the use of Singlish in UOR is deliberately underplayed in order to capitalise on overseas sales of the show (which aired, for example, on Australia’s SBS television) (Srilal). While many others have debated the Singlish issue, my concern is with its use in the home environment as representative of Singaporean lifestyles. As novelist Hwee Hwee Tan (2000) notes: Singlish is crude precisely because it’s rooted in Singapore’s unglamorous past. This is a nation built from the sweat of uncultured immigrants who arrived 100 years ago to bust their asses in the boisterous port. Our language grew out of the hardships of these ancestors. Singlish thus offers users the opportunity to “show solidarity, comradeship and intimacy (despite differences in background)” and against the state’s determined efforts to adopt the language of its colonizer (Ho 19-20). For this reason, PCK’s use of Singlish iterates a “common man” theme in much the same way as Paul Hogan’s “Ocker” image of previous decades was seen as a unifying feature of mainstream Australian values. That the fictional PCK character was eventually “forced” to take “English” lessons (a storyline rapidly written into the program after the direct criticisms from the various Prime Ministers), is a sign that the state has other ideas about the development of Singaporean society, and what is broadcast en masse into Singaporean homes. Conclusion So what do these home-based sitcoms tell us about Singaporean nationalism? Firstly, within the realms of a multiethnic society, mainstream representations reflect the hegemony present in the social and economic structures of Singapore. Chinese culture is dominant (albeit in an English-speaking environment) and Indian, Malay and Other cultures are secondary. Secondly, the home is a place of ontological security, and partial adornment with cultural ornaments signifying Chinese culture are ever-present as a reminder of the Asianness of the sitcom home, ostensibly reflecting the everyday home of the audience. The concept of home extends beyond the plywood-prop walls of the soundstage though. As Noble points out, “homes articulate domestic spaces to national experience” (54) through the banal nationalism exhibited in “the furniture of everyday life” (55). In a Singaporean context, Velayutham (extending the work of Morley) explores the comforting notion of Singapore as “home” to its citizens and concludes that the “experience of home and belonging amongst Singaporeans is largely framed in the materiality and social modernity of everyday life” (4). Through the use of sitcoms, the state is complicit in creating and recreating the family home as a site for national identities, adhering to dominant modes of culture and language. References Blunt, Alison, and Robyn Dowling. Home. London: Routledge, 2006. Budd, Mike, Steve Craig, and Clay Steinman. Consuming Environments: Television and Commercial Culture. New Jersey: Rutgers UP, 1999. 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"At Home in Singaporean Sitcoms: Under One Roof, Living with Lydia and Phua Chu Kang." M/C Journal 10.4 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0708/09-pugsley.php>. APA Style Pugsley, P. (Aug. 2007) "At Home in Singaporean Sitcoms: Under One Roof, Living with Lydia and Phua Chu Kang," M/C Journal, 10(4). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0708/09-pugsley.php>.