Podcast appearances and mentions of michael gibbs hill

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Michael Gibbs Hill‘s new translation renders into English, for the first time, the introduction and overview to Wang Hui‘s 4-volume Rise of Modern Chinese Thought (Xiandai Zhongguo sixiangde xingqi, 2004). China from Empire to Nation-State (Harvard University Press, 2014) thus makes available to an English-reading audience a fascinating perspective on... Learn more about your ad choices. Visit megaphone.fm/adchoices

Michael Gibbs Hill‘s new translation renders into English, for the first time, the introduction and overview to Wang Hui‘s 4-volume Rise of Modern Chinese Thought (Xiandai Zhongguo sixiangde xingqi, 2004). China from Empire to Nation-State (Harvard University Press, 2014) thus makes available to an English-reading audience a fascinating perspective on the history and historiography of modern China in the context of a larger global frame. Hill’s translation offers a view of Chinese history that’s very different from some dominant contemporary approaches to the modern, early modern, colonial, and imperial histories of China. In doing so, it opens up a more richly textured way of thinking about modern China, and offers a tool for creating useful dialogue among local historiographies of empire, nation-state, modernity, and much more. In the course of our conversation Hill and I also discussed his craft as a translator, so this interview will be of particular interest to listeners engaged with practices and histories of translation. Enjoy! Learn more about your ad choices. Visit megaphone.fm/adchoices

Michael Gibbs Hill‘s new translation renders into English, for the first time, the introduction and overview to Wang Hui‘s 4-volume Rise of Modern Chinese Thought (Xiandai Zhongguo sixiangde xingqi, 2004). China from Empire to Nation-State (Harvard University Press, 2014) thus makes available to an English-reading audience a fascinating perspective on... Learn more about your ad choices. Visit megaphone.fm/adchoices

Michael Gibbs Hill‘s new translation renders into English, for the first time, the introduction and overview to Wang Hui‘s 4-volume Rise of Modern Chinese Thought (Xiandai Zhongguo sixiangde xingqi, 2004). China from Empire to Nation-State (Harvard University Press, 2014) thus makes available to an English-reading audience a fascinating perspective on the history and historiography of modern China in the context of a larger global frame. Hill’s translation offers a view of Chinese history that’s very different from some dominant contemporary approaches to the modern, early modern, colonial, and imperial histories of China. In doing so, it opens up a more richly textured way of thinking about modern China, and offers a tool for creating useful dialogue among local historiographies of empire, nation-state, modernity, and much more. In the course of our conversation Hill and I also discussed his craft as a translator, so this interview will be of particular interest to listeners engaged with practices and histories of translation. Enjoy! Learn more about your ad choices. Visit megaphone.fm/adchoices

Michael Gibbs Hill‘s new translation renders into English, for the first time, the introduction and overview to Wang Hui‘s 4-volume Rise of Modern Chinese Thought (Xiandai Zhongguo sixiangde xingqi, 2004). China from Empire to Nation-State (Harvard University Press, 2014) thus makes available to an English-reading audience a fascinating perspective on... Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/chinese-studies

What do “Rip van Winkle,” Oliver Twist, Uncle Tom’s Cabin, and Aesop’s Fables have in common? All of them were translated into Chinese by Lin Shu (Lin Qinnan, 1852-1924), a major force in the literary culture of late Qing and early Republican China. In Lin Shu, Inc.: Translation and the... Learn more about your ad choices. Visit megaphone.fm/adchoices

What do “Rip van Winkle,” Oliver Twist, Uncle Tom’s Cabin, and Aesop’s Fables have in common? All of them were translated into Chinese by Lin Shu (Lin Qinnan, 1852-1924), a major force in the literary culture of late Qing and early Republican China. In Lin Shu, Inc.: Translation and the Making of Modern Chinese Culture (Oxford University Press, 2013), Michael Gibbs Hill charts the rise and precipitous fall of Lin’s career in an exploration of the making of the modern intellectual in China. Completing over 180 translations of Western literary works into classical Chinese while not knowing a single foreign language, Lin built a “factory of writing” dependent on the mental labor of 20 assistants trained in a range of foreign languages. Hill examines the texture of some of the translations produced by this network, offering a model for the close reading of translations both as literary sources and as sources of conflict over competing visions of intellectual, political, and national authority. Lin was ultimately caught in the crosshairs of prominent scholars and activists arguing over the relative roles of classical and vernacular language within a national project, but not before using his writing as a space to work out ideas about the roles of race, slavery, filial piety, and ethics in the transforming society of modern China. It’s a fascinating story about what it has meant in the past, and what it might mean in the future, to render ideas across linguistic realms. Learn more about your ad choices. Visit megaphone.fm/adchoices

What do “Rip van Winkle,” Oliver Twist, Uncle Tom’s Cabin, and Aesop’s Fables have in common? All of them were translated into Chinese by Lin Shu (Lin Qinnan, 1852-1924), a major force in the literary culture of late Qing and early Republican China. In Lin Shu, Inc.: Translation and the Making of Modern Chinese Culture (Oxford University Press, 2013), Michael Gibbs Hill charts the rise and precipitous fall of Lin’s career in an exploration of the making of the modern intellectual in China. Completing over 180 translations of Western literary works into classical Chinese while not knowing a single foreign language, Lin built a “factory of writing” dependent on the mental labor of 20 assistants trained in a range of foreign languages. Hill examines the texture of some of the translations produced by this network, offering a model for the close reading of translations both as literary sources and as sources of conflict over competing visions of intellectual, political, and national authority. Lin was ultimately caught in the crosshairs of prominent scholars and activists arguing over the relative roles of classical and vernacular language within a national project, but not before using his writing as a space to work out ideas about the roles of race, slavery, filial piety, and ethics in the transforming society of modern China. It’s a fascinating story about what it has meant in the past, and what it might mean in the future, to render ideas across linguistic realms. Learn more about your ad choices. Visit megaphone.fm/adchoices

What do “Rip van Winkle,” Oliver Twist, Uncle Tom's Cabin, and Aesop's Fables have in common? All of them were translated into Chinese by Lin Shu (Lin Qinnan, 1852-1924), a major force in the literary culture of late Qing and early Republican China. In Lin Shu, Inc.: Translation and the Making of Modern Chinese Culture (Oxford University Press, 2013), Michael Gibbs Hill charts the rise and precipitous fall of Lin's career in an exploration of the making of the modern intellectual in China. Completing over 180 translations of Western literary works into classical Chinese while not knowing a single foreign language, Lin built a “factory of writing” dependent on the mental labor of 20 assistants trained in a range of foreign languages. Hill examines the texture of some of the translations produced by this network, offering a model for the close reading of translations both as literary sources and as sources of conflict over competing visions of intellectual, political, and national authority. Lin was ultimately caught in the crosshairs of prominent scholars and activists arguing over the relative roles of classical and vernacular language within a national project, but not before using his writing as a space to work out ideas about the roles of race, slavery, filial piety, and ethics in the transforming society of modern China. It's a fascinating story about what it has meant in the past, and what it might mean in the future, to render ideas across linguistic realms.