Benutzer:Shi Annan/Bao Tianxiao

Vorlage:Short description Vorlage:Family name hatnote Vorlage:Use Oxford spelling Vorlage:Use dmy dates Vorlage:Infobox person Bao Tianxiao (chinesisch 包天笑, Pinyin Bāo Tiānxiào, 1876 – 24 October 1973) was a Chinese writer and translator. Born in Jiangsu, he completed the imperial examination in 1894. However, having grown interested in literature through his reading, he left his hometown in 1900 to travel to Nanking before settling in Shanghai. He translated numerous works, wrote multiple original novels, and edited several magazines. Building on this success, he adapted his works into screenplays for the Mingxing Film Company. These included Lonely Orchid , one of the most successful silent films in Republican China. Bao remained active through the 1960s, having moved to Hong Kong after the Chinese Civil War.

Identified by critics as part of the Mandarin Ducks and Butterflies school of Chinese literature, Bao has not been recognized in the country's literary canon. Nonetheless, his The Schooling of Xin'erVorlage:Sndashan adaptation of Edmondo De Amicis's Heart Vorlage:Sndashwas a common gift to graduates and received an award from the Republican government. At the same time, he cultivated a network of writers, helping shape the careers of Zhou Shoujuan, Vorlage:Ill, and Vorlage:Ill.

Bao Tianxiao was born Bao Qinzhu (Vorlage:Zhi) in Wu County, Jiangsu (now part of Suzhou), in 1876.Vorlage:Sfn The son of a merchant family,Vorlage:Sfn he attended a private school beginning at the age of five.Vorlage:Sfn In his memoirs, Bao recalled that he had been a sickly child, nearly dying from measles when he was fifteen.Vorlage:Sfn When his father died in 1892, Bao took to working to support his family. His family subscribed to the Shen Bao , and through this and other publications Bao was exposed to European and Japanese fiction.Vorlage:Sfn

In the late 19th century, the Jiangsu area had a prominent literati class, and thus Bao had ready access to calligraphy, music, painting, and poetry;Vorlage:Sfn he learned calligraphy under Yao Mengqi.Vorlage:Sfn Bao read for the imperial examination, passing its lowest level in 1894 and becoming a tutor.Vorlage:Sfn He soon became the headmaster of a middle school in Shandong, in which capacity he remodelled classrooms and installed new teaching implements.Vorlage:Sfn Bao took the courtesy name Bao Langsun (Vorlage:Zhi).Vorlage:Sfn

Bao left Suzhou in 1900, first travelling to Nanking.Vorlage:Sfn There, he established the Donglai Bookstore together with some friends, serving as its manager;Vorlage:Sfn the shop sold not only Chinese books, but also imports from Japan.Vorlage:Sfn Through the early 1900s he was active as a translator, writing under several pen names; these included Tianxiao, as well as Chunyun, Wei Miao, Jiaye, Nianhua, Qiuxinggezhu and Chuanyinglouzhu. With Yang Zilin, he translated H. Rider Haggard's Joan Haste , which was serialized in his magazine Lixue Translation.Vorlage:Sfn Another translation, The Schooling of Xin'er (from Edmondo De Amicis's 1886 children's novel Heart ),Vorlage:Sfn received an award from the Ministry of Education for best original work;Vorlage:Sfn its status as a translation was not immediately acknowledged.Vorlage:Sfn Through the 1920s, he completed more than thirty translations; Bao also established the Suzhou Vernacular Newspaper, which focused on politics.Vorlage:Sfn

In 1909, Bao moved to Shanghai, where he began working for the Vorlage:Ill.Vorlage:Sfn While with the newspaper, he introduced a column titled the "Equality Pavilion" (Vorlage:Zhi) in which readers could submit poems for publication; such reader participation efforts were uncommon in contemporary Chinese media.Vorlage:Sfn He was later entrusted with several of the TimesPflichtangabe Text für Zitat im Zitat fehlt supplementals, including the literary Novel Times and the women-targeted Women's Times .Vorlage:Sfn Another magazine, Novel Pictorial, ran from 1917 through 1920,Vorlage:Sfn and featured hand-drawn illustrations for each of its original stories.Vorlage:Sfn Bao also established a large format magazine, titled The Grand Magazine, for publishing works of fiction in their entirety; each issue contained multiple stories and was a minimum of three hundred pages in length.Vorlage:Sfn Through the end of the decade, he contributed to and edited more than a dozen magazines.Vorlage:Sfn

Bao also wrote extensively during this period. His novel Liufang Ji featured the opera singer and dan performer Mei Lanfang as its protagonist, using it to explore the events of the early Republic of China.Vorlage:Sfn He also worked on civilized dramas, staging an adaptation of Victor Hugo's Angelo, Tyrant of Padua (1835) via a Japanese translation by Vorlage:Ill.Vorlage:Sfn As a result of these activities, he was invited to work with the Commercial Press to prepare textbooks. In 1913, Bao spent time in Japan, publishing a piece of travel literature retelling his journey in the Times upon his return.Vorlage:Sfn In the 1920s Bao operated the Jinsuzhai Translation Office, which published works by translators such as Yan Fu as well as a new printing of Tan Sitong's book Ren Xue.Vorlage:Sfn

With the popularity of his translations and original works, Bao was approached by the Mingxing Film Company in 1925. The company offered him 100 yuan per month (equivalent to \Fehler im Ausdruck: Unerwarteter Operator < per month in 2019), with the expectation that he would produce one screenplay every month. Bao later recalled that Zheng Zhengqiu, a dramatist who had co-founded Mingxing, arrived in his office and offered these terms with the understanding that Bao would provide the rights to two of his most popular novels, Lonely Orchid and Fallen Plum Blossoms.Vorlage:Sfn Bao accepted these terms, and within a week he had produced a treatment for Lonely Orchid,Vorlage:Sfn which he had translated from a British novel via a Japanese-language translation by Kuroiwa Shūroku.Vorlage:Sfn

Mingxing released its Lonely Orchid on 13 February 1926,Vorlage:Sfn one of the most successful Chinese films of the silent era.Vorlage:Sfn Previously, the company had filmed Bao's The Story of a Poor Vagrant Boy, adapted from Kikuchi Yūhō's Japanese-language translation of Hector Malot's Sans Famille (1878), as Little Friends (1925). It also made A Married Couple in Name Only (1927), based on Bao's original novel A Thread of Hemp,Vorlage:Sfn and released a film adaptation of Fallen Plum Blossoms on 20 March 1927.Vorlage:Sfn Other films written by Bao for Mingxing included A Sincerely Pitiful Girl (1925), Her Pain (1926) Resurrection of Conscience (1926), and A Good Man (1926).Vorlage:Sfn Bao remained on contract with Mingxing until November 1927, when he was downsized as a result of budget cuts.Vorlage:Sfn His The Schooling of Xin'er was adapted to film by Wu Yonggang for the United Photoplay Service in 1933.Vorlage:Sfn

Through the late 1930s, Bao published editorials that staunchly opposed the encroaching Imperial Japanese Army.Vorlage:Sfn He lived in Shanghai through 1948. He later described the Japanese occupation of the 1940s as "the most bitter period of his life", a period of suffering when he wrote nothing for eight years.Vorlage:Sfn He began writing again in the mid-1940s, with a 1945 article titled "This Year's Special Wishes" highlighting glutinous rice porridgeVorlage:Sndashwhich he had not eaten in two yearsVorlage:Sndash as his greatest desire.Vorlage:Sfn

During the Chinese Civil War, Bao moved to Taiwan with his son Ke-hung. There, he published The New Story of the White Snake.Vorlage:Sfn He later settled in Hong Kong,Vorlage:Sfn where he published his memoirs in 1971.Vorlage:Sfn Bao died on 24 October 1973,Vorlage:Sfn having recently completed a 99-page treatise on changes in food, clothing, and shelter in the past century.Vorlage:Sfn

Since the 1950s, Bao has been identified as a member of the Mandarin Ducks and Butterflies school of Chinese literature; this dismissive label, generally used to identify works of "overly sentimental love stories", frustrated him.^[1] Consequently, he has not been included in the Chinese literary canon.Vorlage:Sfn At the same time, he was considered one of the greatest writers of the school, with the literary critic Wei Shaochang identifying him as one of its "five tiger generals" (Vorlage:Zhi) together with Vorlage:Ill, Vorlage:Ill, Zhang Henshui, and Zhou Shoujuan.Vorlage:Sfn The sinologist Perry Link argues that Bao and his fellow writers, as with many authors active in the May Fourth era, had sought to "bring enlightenment" to the Republic of China.Vorlage:Sfn

Bao considered The Schooling of Xin'er to be his "proudest accomplishment". The book was widely read through the 1910s and 1920s, with copies distributed to graduates and excerpts published in school textbooks.Vorlage:Sfn The novel included several episodes not found in its Japanese source, which Bao based on the experiences of his own family.Vorlage:Sfn The work was extensively Sinicized, with names and diction changed to reference Chinese geography and history; at the same time, foreign characters were cast as villainous and demeaning of the Chinese.Vorlage:Sfn It also included various modifications, recasting the narrator as an old man named after Bao's deceased son while simultaneously conveying Confucian values.Vorlage:Sfn

Generally, Bao experimented with different forms, and as such contemporary critics deemed him a "jack of all trades".Vorlage:Sfn He did not work with drafts, preferring instead a fluid approach completed without revision. From his youth, Bao's writing style was characterized as "easygoing"Vorlage:Sndasha label used by his imperial examiner. Link described Bao as having "a true gift for describing ordinary events in daily life without their seeming at all dull or ordinary."Vorlage:Sfn

In his translation, Bao generally used a system wherein one translator read the work in the original language while another wrote it in Chinese; such an approach was also used by his contemporary Lu Xun.Vorlage:Sfn In his memoirs, Bao recalled that translation offered an "open and free job, and my thoughts of stipends from the academies came to be replaced ... by thoughts of selling translations. The one hundred yuan I had received from the Civilization Book Co., for example, was enough for the family to live on for several months."^[2] Bao cultivated a network of literary proteges that included Zhou Shoujuan, Vorlage:Ill, and Vorlage:Ill.Vorlage:Sfn For many, he acted as a surrogate father.Vorlage:Sfn

In his role as editor of the Women's Times, Bao advanced the magazine as a means of spreading information to women. He advocated for women to be involved as writers and content creators, with a focus on issues related directly to their lives; these included entertainment, family, marriage, school, and work. Women featured in the magazine included the journalist Vorlage:Ill, the aviator Zhang Xiahun, as well as the educator Lü Bicheng. To increase coverage, he published photographs submitted by readers.Vorlage:Sfn Most readers and contributors, however, were men.Vorlage:Sfn

Vorlage:Reflist

Vorlage:Refbegin

• ? (Originaltitel: zh:包天笑与《妇女时报》, deutsch: Bao Tianxiao and The Women's Times). China Modern and Contemporary Press and Publication Museum, 11. Januar 2024, archiviert vom Original am 5. Januar 2025; abgerufen am 5. Januar 2025 (chinesisch). Fehler bei Vorlage * Pflichtparameter fehlt (Vorlage:Cite web): title
• Yaxin Gu: ? (Originaltitel: zh:苏州通史·人物卷, deutsch: General History of Suzhou – Figures). Band 2, 2019, S. 60–61 (chinesisch). Fehler bei Vorlage * Parametername unbekannt (Vorlage:Cite book): "trans-chapter; script-chapter; author1-mask"
• Xuelei Huang: Shanghai Filmmaking: Crossing Borders, Connecting to the Globe, 1922–1938. Brill, Leiden 2014, ISBN 978-90-04-27933-9 (google.com). 
• Perry Link: An Interview with Pao T'ien-hsiao. In: Renditions. 17 and 18, 1982, S. 241–253 (cuhk.edu.hk (Memento des Originals vom 13 February 2015 im Internet Archive ) [abgerufen am 5. Januar 2025]). 
• Siyuan Liu: Adaptation as Appropriation: Staging Western Drama in the First Western-Style Theatres in Japan and China. In: Theatre Journal. 59. Jahrgang, Nr. 3, 2007, S. 411–429, doi:10.1353/tj.2007.0159 , JSTOR:25070065. 
• Maria Franca Sibau: Portrait of the Artist as a Schoolboy: Bao Tianxiao's Creative Interventions in "Little Xin's School Journal". In: Modern Chinese Literature and Culture. 28. Jahrgang, Nr. 2, 2016, S. 1–42, JSTOR:24886574. 
• Qizhang Xie: ? (Memento des Originals vom 5 January 2025 im Internet Archive ) (Originaltitel: zh:包天笑与杂志界, deutsch: Bao Tianxiao and the Magazine Industry) In: The Paper, 11 May 2020. Abgerufen im 5 January 2025 (chinese). Fehler bei Vorlage * Parametername unbekannt (Vorlage:Cite news): "author1-mask"
• Emilie Yueh-yu Yeh, Enoch Yee-lok Tam: Early Film Culture in Hong Kong, Taiwan, and Republican China: Kaleidoscopic Histories. University of Michigan Press, 2018, ISBN 978-0-472-12344-5, Forming the Movie Field: Film Literati in Republican China, S. 244–276, doi:10.1353/book.57846 . Fehler bei Vorlage * Parametername unbekannt (Vorlage:Cite book): "editor1-first; editor1-last"

Vorlage:Refend Vorlage:Mingxing

1. ↑ Vorlage:Harvnb; Vorlage:Harvnb
2. ↑ quoted in and translated by Vorlage:Harvtxt

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