This article focuses on representations of Emperor Qin Shihuang＇s necropolis, an example of the tomb as a special form of landscape in Chinese literature and visual culture. Unlike remnants of other historic structur...This article focuses on representations of Emperor Qin Shihuang＇s necropolis, an example of the tomb as a special form of landscape in Chinese literature and visual culture. Unlike remnants of other historic structures, the tomb is built to be an enclosed space and is contained in its own system of time. If a tomb is broken into, its system of time/space is fractured, and it becomes a ruin from the point of view of both its own historical function and its larger contemporary context. Both Chinese and American popular culture have a demonstrated fascination with breaking into Emperor Qin Shihuang＇s tomb. This article provides an analysis of three groups of texts from China and the United States, including Lilian Lee＇s novella The Terracotta Warrior and its screen adaptations, the 2005 film The Myth, directed by Stanley Tong, and its TV adaptation, and American texts including the 2001 NBC TV movie The Lost Empire, directed by Peter MacDonald, and the 2008 film The Mummy： Tomb of the Dragon Emperor, directed by Rob Cohen. After demonstrating how the special chronotope of Qin Shihuang＇s tomb directly affects the major thematic developments of these texts, this article then examines and compares how the different groups of texts confront the topics of death and immortality, excavation vs. preservation, and good vs. evil in ways that reflect the politics of representation.展开更多
The present paper discusses mainly some inscribed slips and tablets from the Qin State Zhoujiatai tomb that have not been deciphered or seem mis-deciphered.For example,in the words"取本小弱者,齐约大如小指,"...The present paper discusses mainly some inscribed slips and tablets from the Qin State Zhoujiatai tomb that have not been deciphered or seem mis-deciphered.For example,in the words"取本小弱者,齐约大如小指," the "齐约"should be deciphered as "cut bundles neatly." In the sentence "而取稾牛肉剶(劙)之,小大如黑子," the "剶" is a mistake of "剥." In the phrase "令人孰(熟)以靡(摩)之," the"孰" is a wrong decipherment of "執." In " 即以并傅," the "并" refers to "small basin." In "某以壶露、牛胙,为先农除舍," the "除舍" means "provide lodging or room for somebody."展开更多
文摘This article focuses on representations of Emperor Qin Shihuang＇s necropolis, an example of the tomb as a special form of landscape in Chinese literature and visual culture. Unlike remnants of other historic structures, the tomb is built to be an enclosed space and is contained in its own system of time. If a tomb is broken into, its system of time/space is fractured, and it becomes a ruin from the point of view of both its own historical function and its larger contemporary context. Both Chinese and American popular culture have a demonstrated fascination with breaking into Emperor Qin Shihuang＇s tomb. This article provides an analysis of three groups of texts from China and the United States, including Lilian Lee＇s novella The Terracotta Warrior and its screen adaptations, the 2005 film The Myth, directed by Stanley Tong, and its TV adaptation, and American texts including the 2001 NBC TV movie The Lost Empire, directed by Peter MacDonald, and the 2008 film The Mummy： Tomb of the Dragon Emperor, directed by Rob Cohen. After demonstrating how the special chronotope of Qin Shihuang＇s tomb directly affects the major thematic developments of these texts, this article then examines and compares how the different groups of texts confront the topics of death and immortality, excavation vs. preservation, and good vs. evil in ways that reflect the politics of representation.
文摘The present paper discusses mainly some inscribed slips and tablets from the Qin State Zhoujiatai tomb that have not been deciphered or seem mis-deciphered.For example,in the words"取本小弱者,齐约大如小指," the "齐约"should be deciphered as "cut bundles neatly." In the sentence "而取稾牛肉剶(劙)之,小大如黑子," the "剶" is a mistake of "剥." In the phrase "令人孰(熟)以靡(摩)之," the"孰" is a wrong decipherment of "執." In " 即以并傅," the "并" refers to "small basin." In "某以壶露、牛胙,为先农除舍," the "除舍" means "provide lodging or room for somebody."
