Zeng
Biographic Data
| ID | 25397 |
|---|---|
| NAME | Zeng |
| FAMILY NAME | Zeng |
| SIGNATURE | ZENG |
| AFFILIATIONS | University of Shanghai for Science and Technology |
| ORCID | 0000-0003-1950-5175 |
| VERIFIED | Yes |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 5 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2020 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 0 |
Extension and amputation of sense and sentiment: Food as medium in Celeste Ng’s Everything I Never Told You and Little Fires Everywhere
Drawing on McLuhan’s approach to medium as extension of man, this article explores food’s mediatory function to extend and amputate sense and sentiment in Celeste Ng’s Everything I Never Told You and Little Fires Everywhere. Given the overpowering influence of secrecy as a structuring principle in both texts, food becomes a meaningful channel for communicating emotions. By preparing and cooking food, the sentiment of love and affection is extende…
Diasporic Practices and Cultural Identifications of Shanghainese Seamen in Liverpool
This article draws on the understudied oral testimonies collected by Guanbao Shen and Ling Li in 1997 and 1998 to discuss the diasporic practices and cultural identifications of Shanghainese seamen in Liverpool, a community that has received less scholarly attention than other overseas Chinese communities. The Shanghainese seafarers are marked by three important characteristics—provenance, profession, and intermarriage, adding to the diversity an…
The creation of Chinese personae in Steinbeck’s fiction
This article discusses Steinbeck’s linguistic creation of Chinese personae in his fiction, which develops from the early practice of using silence in ‘Johnny Bear’ (1938) to chronologically progressive engagement with Chinese Pidgin English (CPE) in Cannery Row (1945) and East of Eden (1952). This change is evident from the increase of CPE dialogues in his later works and best exemplified in the turn to taking non-standard English as a key concer…
Why does Lee say what he says the way he says it: A socio-cognitive approach to understanding the Chinese character in East of Eden
This paper employs Kecskes’ socio-cognitive approach to analyze the varied speech styles and cognitive dynamics of the Chinese character (Lee) in John Steinbeck’s East of Eden . The discussion of the novelistic dialogue segments has shown that the Chinese interlocutor’s verbal strategies vary from pidgin to English or a combination of the two, which are predominantly hearer-centered and marked by deliberate and conscious attempts on the part of t…
Writing in the Third Space: Pearl S. Buck's intercultural translation in Pavilion of Women
Pearl S. Buck’s 1946 novel Pavilion of Women portrays a diverse range of Chinese women’s personalities and lives. This article examines Buck’s intercultural translation practice in terms of what Homi Bhabha calls “the Third Space”. A comparison of the text with contemporaneous works reveals that Buck’s representation of Chinese women constitutes a departure from the conventional “harem” and “Madame Butterfly” tropes then prevalent in western repr…
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Writing in the Third Space: Pearl S. Buck's intercultural translation in Pavilion of Women
Pearl S. Buck’s 1946 novel Pavilion of Women portrays a diverse range of Chinese women’s personalities and lives. This article examines Buck’s intercultural translation practice in terms of what Homi Bhabha calls “the Third Space”. A comparison of the text with contemporaneous works reveals that Buck’s representation of Chinese women constitutes a departure from the conventional “harem” and “Madame Butterfly” tropes then prevalent in western repr…
Why does Lee say what he says the way he says it: A socio-cognitive approach to understanding the Chinese character in East of Eden
This paper employs Kecskes’ socio-cognitive approach to analyze the varied speech styles and cognitive dynamics of the Chinese character (Lee) in John Steinbeck’s East of Eden . The discussion of the novelistic dialogue segments has shown that the Chinese interlocutor’s verbal strategies vary from pidgin to English or a combination of the two, which are predominantly hearer-centered and marked by deliberate and conscious attempts on the part of t…
The creation of Chinese personae in Steinbeck’s fiction
This article discusses Steinbeck’s linguistic creation of Chinese personae in his fiction, which develops from the early practice of using silence in ‘Johnny Bear’ (1938) to chronologically progressive engagement with Chinese Pidgin English (CPE) in Cannery Row (1945) and East of Eden (1952). This change is evident from the increase of CPE dialogues in his later works and best exemplified in the turn to taking non-standard English as a key concer…
Diasporic Practices and Cultural Identifications of Shanghainese Seamen in Liverpool
This article draws on the understudied oral testimonies collected by Guanbao Shen and Ling Li in 1997 and 1998 to discuss the diasporic practices and cultural identifications of Shanghainese seamen in Liverpool, a community that has received less scholarly attention than other overseas Chinese communities. The Shanghainese seafarers are marked by three important characteristics—provenance, profession, and intermarriage, adding to the diversity an…
Extension and amputation of sense and sentiment: Food as medium in Celeste Ng’s Everything I Never Told You and Little Fires Everywhere
Drawing on McLuhan’s approach to medium as extension of man, this article explores food’s mediatory function to extend and amputate sense and sentiment in Celeste Ng’s Everything I Never Told You and Little Fires Everywhere. Given the overpowering influence of secrecy as a structuring principle in both texts, food becomes a meaningful channel for communicating emotions. By preparing and cooking food, the sentiment of love and affection is extende…
Sociology (4 works) · Aesthetics (3 works) · History (3 works) · Art (2 works) · Latin American and Latino Studies (2 works) · Linguistics (2 works) · Literature (2 works) · Philosophy (2 works) · Pidgin (2 works) · Psychology (2 works)