Working languages: English to Chinese
Arabic to Chinese
|  Siaoning Jhang
Accurate with style
Taipei, T'ai-pei, Taiwan Local time: 19:29 CST (GMT+8)
Native in: Chinese | | |
Freelancer,  Verified site user | | Translation, Interpreting, Editing/proofreading, Subtitling, Desktop publishing | | Specializes in: | | Art, Arts & Crafts, Painting |
| Also works in: | | General / Conversation / Greetings / Letters | History | | Other |
More Less | | Questions answered: 2 | 2 projects entered | Project Details | Project Summary | Corroboration |
Translation
Volume: 8 pages
Completed: Jul 2006
Languages:
English to Chinese | A speech draft for an academic conference
A speech for the international conference on
"Re-writing Culture: Perspectives via Taiwan," organized by Institute of Taiwan History, Academia Sinica and London School of Economics and Political Science, University of London, August 2006.
Art, Arts & Crafts, Painting, History, Philosophy | No comment. |
Translation
Volume: 9 pages
Completed: Mar 2006
Languages:
English to Chinese | Translation for museum guidebook of Peggy Guggenheim Collection in Venice
Chinese translation for the English guidebook of Peggy Guggenheim Collection in Venice. The contents of the guidebook includes introduction of the museum's histroy and architecture, Peggy Guggenheim and her collection, along with concise descriptions of the artists whose works are displayed in the museum.
Tourism & Travel, History, Art, Arts & Crafts, Painting | No comment. |
More Less | Sample translations submitted: 3 English to Chinese: Peggy Guggenheim Collection Guidebook
Detailed field: Art, Arts & Crafts, Painting | Source text - English
An enigmatic mood pervades Picasso’s On the Beach (1937) in which a pair of voluminous female figures—each of them apparently adult, one of them perhaps pregnant—play with a toy boat. They seem to be fashioned from recreational carpentry. With all the liberty of the Cubist form language, they are lit by sunlight that falls in all directions (except from below), rendering their body parts even more disjointed and precarious than their loose agglomeration suggests. The ambiguous male figure that watches them from the horizon may equally be menacing or protective, near or far. The pale shading and the translucency of the color give this scene an airy seaside spaciousness. | Translation - Chinese
謎樣的氛圍瀰漫在畢卡索的沙灘上(1937)，肥大的女性身影──兩位很顯然都是成年人，而其中一位可能是孕婦──在把玩著一艘玩具船。她們的形體像是木製玩具。藉由立體派所賦予的自由語彙，陽光從四面八方(除了下方以外)灑落在她們身上，使得她們猶如凝塊一般七拼八湊而成的身體各個部位顯得更不相互連貫而且更不穩定。從海平線上注視著她們的男性高深莫測，他可以同時是危險人物，也可能是守護者，或遠或近。黯淡的光影，以及半透明的色彩，都賦予這個景象一種海邊輕飄飄的廣闊感。 | English to Chinese: Huun-Huur-Tu Intro
Detailed field: Music | Source text - English
“We do not have plans or strategies for taking our music anywhere, we go wherever the music takes us” – these words of Sayan Bapa, one of the founders of Huun-Huur-Tu, aptly describe the relationship of the band with the music it plays. You don’t listen to Huun-Huur-Tu, it leads you…
It leads you to vast steppes, green meadows, thick forests, misty mountains, and crystal rivers of Tuva, small Central Asian country of 300,000 people; part of the Russian Federation; located in Southern Siberia, on the border with Mongolia. In a capital city of Tuva, Kyzyl, there is a monument standing in the geographical center of Asia. Huun-Huur-Tu’s music comes from the center of Asia and takes us to the origins, the center of out human history and prehistory
Huun-Huur-Tu's music is built around throat-singing, a technique that allows a singer to sing two, sometimes even three, tones at the same time. According to paleo-musicologists, throat-singing is the most ancient form of music-making known to human beings. ... | Translation - Chinese
“我們並沒有為我們的音樂訂出一個明確的方向。音樂到哪裡，我們就去哪裡。”Huun-Huur-Tu的創團成員之一薩楊‧巴帕如是說。你並不是在聆聽Huun-Huur-Tu，而是它在引導你…
它帶領著你到廣大的吐瓦草原、濃密的森林、雲物裊繞的山間，以及清澈的溪流。吐瓦位於西伯利亞，和蒙古接壤，是一個只有三十萬人口的中亞小國。標記著亞洲地理中心的石碑，矗立在吐瓦的首都克孜勒。來自亞洲的中心，Huun-Huur-Tu的音樂引領著我們回到人類歷史和史前的源頭。
Huun-Huur-Tu的音樂是源於喉音唱腔，一種能夠讓歌者同時唱出兩個甚或三個音的特殊技巧。根據古音樂學家的說法，喉音唱腔是人類目前所知音樂創作最古老的形式。...
| | English to Chinese: Rewriting Art in Taiwan | Source text - English
In 1984 the first museum dedicated to modern art opened its gates in Taiwan. The Taipei Fine Arts Museum, until today the most important museum for modern and contemporary art in Taiwan, has paved the way for the development of contemporary art on the island unlike any other space, but it has also encountered significant problems.
I would like to reflect on some of the scandals involving the museum, especially those that occurred in the museum’s early years. I will argue that they are not so much a question of the actual people involved but instead point to a general conflict right at the heart of modernity and modern art.
From the notion of the aesthetised object inside the secular space created by the modern museum, I will go on to analyze the drive to universalism in some of the Taiwanese National Pavilions in Venice, applying especially the notion of the corporeal gaze and the “enslaved sovereign, observed spectator” in Foucault’s “Order of Things”. At the end, I will use some of the Taiwanese National Pavilions in Venice after the turn of the millennium, especially curator Wang Chia-chi’s “Specter of Freedom” in 2005, to turn to the question of globalisation, and propose a reading of globalisation that is quite similar to the process of secularisation at the beginning of modernity.
This article is therefore a tour de force through two decades of Taiwanese contemporary art, which is motivated mainly by a theoretical concern, but which tries also to discover an internal logic to this development. This article makes a particular attempt to look for the driving force of this development not in the political process from the lifting of Martial Law to democratisation and the search for a new identity, but rather in a tension inherent to modernity. | Translation - Chinese
1984年台灣第一座專為現代藝術而設立的美術館開啟了它的大門。直至今日仍是台灣現代和當代藝術最重要的美術館，台北市立美術館為台灣的當代藝術發展鋪設了一條前所未有的大道，但是也在過程中遭遇了許多值得關切的問題。
我將會回顧美術館，尤其是早期的幾年間所涉及的一些醜聞。我認為它們之所以會發生主要並不在於實際的相關人士，而是在於這些問題都直接指向了現代性和現代藝術之間的衝突核心。
從現代美術館所營造的世俗性空間中的被美學化的物品(aesthetised object)這個觀點出發，我會繼續分析歷屆威尼斯雙年展台灣館的全面主義(universalism)趨勢，並把特別把傅柯(Foucault)在物之秩序(the Order of Things)一書中提出的「實體的凝視」(corporeal gaze)以及「被奴役的君王、被觀看的觀眾」(enslaved sovereign, observed spectator)等概念應用在我的分析之中。最後，我會利用幾座千禧年後的威尼斯雙年展台灣館，尤其是策展人王嘉驥2005年的《自由的幻象》，來轉而討論全球化的問題，並提議以近似現代初期的世俗化過程的角度來解讀全球化議題。
因此，這篇文章是有關台灣當代藝術二十年發展的精心力作，其背後的主要誘因是基於我自己的一項理論；然而，我也嘗試著以這項理論來找出這個發展的內在邏輯。這篇文章並非就從解嚴之後到民主化之間的政治過程來探討，而是特意嘗試從現代性之中固有的對立關係裡探尋推動這項發展的背後動力。 |
More Less | | Years of translation experience: 6. Registered at ProZ.com: Mar 2006. | | N/A | | N/A | | N/A | | Microsoft Excel, Microsoft Word, Powerpoint, Wordfast | | Siaoning Jhang endorses ProZ.com's Professional Guidelines. | | Keywords: art critiques, art history, performing arts, dance, choreographer, visual arts, museum and gallery guidebooks, paintings, commercial documents, environmental protection and preservation, novel, story, subtitles, movie
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Feb 28, 2011 |
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