英语翻译In calling these writers and artists “bastards” or “cult

英语翻译
In calling these writers and artists “bastards” or “cultural bastards,” Huang is at once claiming them to be illegitimate,false,spurious,counterfeit,and hybrid.Without getting into the meanings of each of these words and their possible implications (and complications),we only need to point out their antonyms to immediately put Huang’s operative concept in jeopardy:legitimate,true,genuine,authentic,and original.Hence,we must ask this question:What qualifies as legitimate,true,genuine,authentic,and original culture or literature?Or,to put it bluntly,is it even possible to define such a culture or literature without falling back on racial fundamentalism and extreme nationalism?Huang,however,seems to imply that Chinese culture only began to bastardize since the nineteenth century as Western thoughts and products flooded into China and eventually culminated in the May Fourth sociocultural-political movement.Huang contends that the “new man” who was conceptualized by intellectuals to be free of the burden of the past was in actuality “nothing less than an ‘orphan of history’ as opposed to one with a contaminated,impure and illegitimate origin,that is,a damned ‘cultural bastard’ ” (p.2).Taking Lu Xun’s “A Madman’s Diary” as his springboard,Huang continues to argue that “this Madman,the very first ‘new man’ of modern Chinese literature,suffers from the discovery of his own rootedness in and contaminationby a premodern history.” (p.2) Meanwhile,almost simultaneous with the publication of “A Madman’s Diary,” Mao Zedong had developed his own vision of the Chinese subject,which “was a result of a hybridization of the traditional Confucianism with the newly imported German idealism and nationalism” (p.3).This madman–turned–new man–turned–orphan of history–turned–bastard process,as Huang concludes,replayed itself in the post–Cultural Revolution era after Mao’s nearly three decades of nationalizing the Chinese subject to create a “Maoist ‘new man’ ” (p.4).

在调用这些作家和艺术家“混蛋”或“文化的混蛋,”黄同时声称他们是非法的,假的,假的,假的,和混合.没有进入的意思每个关键词及其可能的影响(并发症),我们只需要指出他们的反义词,立即使黄的手术概念:合法,真实,危险真实可信,和原始.因此,我们必须问这个问题:什么是认可的合法,真实,真诚,真实,和原始文化或文学吗?或者,说白了,它甚至可以定义这样一种文化或文学没有回落到种族原教旨主义和极端民族主义?黄,然而,似乎暗示中国文化才开始退化自十九世纪西方思想和产品涌入中国,最终画上了句号,在五四社会文化政治运动.黄认为,“新男人”谁是概念化的知识分子是免费的负担过去是在现状”不亚于“孤儿的历史”而不是一个被污染的,不纯的和非法的起源,即,一个该死的“文化混蛋’”(p.2).以鲁迅的《狂人日记》“作为他的跳板,黄继续认为,“这疯子,第“新男人”的现代中国文学,遭受自己的发现和contaminationby根深蒂固在近代历史.“(p.2)与此同时,几乎同时出版的“狂人日记》,“毛泽东已经开发了自己的视觉中国主题,“是一个杂交的结果传统的儒家思想与新进口德国唯心主义和民族主义”(p.3).这个疯子把新男人把孤儿的历史变成混蛋过程,黄的结论是,在文革重演本身在毛泽东时代近三十年的国有化中国主题创建一个“毛派”东北