JackX 發問時間: 社會與文化語言 · 2 0 年前

Jim Yong's writing style +15

Can u tall me about Jim Yong's writing style in Cinese and English .

I need it to do my research paper.

I am exchange student. I need to do research paper. And I think Jim Young is the one of the best writer in Asia. So I want to introduce to my Eng3 teacher .


金庸 Louis Cha

2 個已更新項目:

I already Read his novel !

(Not all of his book, but that's enough for me to say one of the best writers in Asia )

3 個已更新項目:

European appear very rarely in his books, only in one occasion if I remember correctly; the Russians(In鹿鼎記when韋小寶and a girl(I forgether name) run alway from 神龍教's boat.They go to 鹿鼎.That's their first time meet Russians).

西域人is one of European I think at that time.

4 個已更新項目:

張無忌道:「瞎說!好端端的,她幹麼殺你?」又看了她一眼,但見她膚色奇白,鼻子較常女為高,眼睛中卻隱隱有海水之藍意,說道:「你是本地西域人,是不是?比之我們中原女子,另外有一份好看。」小昭秀眉微蹙,道:「我寧可象你們中原的姑娘。」(in倚天屠龍記 Ch20)

And I just need more information to write about ,so I ask for help.

anyway Thank U!

4 個解答

  • 匿名使用者
    2 0 年前


    It’s good to know that you have read his books. So you can give first hand honest opinion yourself.

    You can first indicate why you consider Louise Cha as one of the best Asian writer.

    What makes his novels attractive?

    What is unique about his writing style? Which makes him superior than others?

    What is significant influence and impact to you and other Chinese?

    Here is a MY opinion why I have a complete collection of Cha's books :

    For myself, I enjoy his novel mainly because it’s very fascinating. He brought me a virtual world contains old value and historical setting. There are many old books only give very rigid instruction about Chinese thoughts and value which is very boring. That’s why Cha’s books are unique. His series are all very different but you also feel there is something shared. That’s why his fans are loyal to him. He is the one to make Kung Fu novel filled with Chinese Culture, value, spirit, philosophy into popular reading.


    Here is a webpage about Louis' Biography for your reference.

    I would rather teach you how to go fishing instead of giving you fish.

    So please read it and hope you can come up with a good research paper.

    If not enough materials, here is the website with Jin Yong's Webring link. (http://q.webring.com/hub?ring=theultimatepoetr)

    Good luck! You can use opinion column for more discussions.


    What makes Louis Cha's martial-arts novels so wildly popular in Asia?

    By Simon Elegant

    September 5, 1996

    Louis Cha doesn't know how many books he's sold. Not to the nearest 10 million, anyway. The 72-year-old Hong Kong writer and journalist isn't being coy, though. It's just that he's been able to sell legitimate versions of his hugely popular martial-arts novels in his main market-China-only for the last two years. That means he has no idea how many pirated copies of his books have been published illegally on the mainland.

    Cha does know that in 1984, when his books could finally be published in China after being banned for many years as ideologically unsound, he was told by the director of China's Bureau of Publications that an estimated 40 million pirated copies of his 15 novels were circulating in the country. "They accused me of being responsible for the lack of paper to print textbooks on," Cha laughs.

    Add to that number the one million legitimate copies that have sold every year for the last decade in Hong Kong and Taiwan. Then assume -- not unreasonably -- that he has matched his pre-1984 sales in China over the last 12 years, and the total begins to approach 100 million. And that's not counting the sales of his books that have been translated into Korean, Bahasa Indonesia, Vietnamese and, soon, Japanese. Not bad for someone who hasn't written a word of fiction since 1972.

    It's still a little difficult though to equate the dapper man in the blue blazer and grey slacks relaxing in the opulent surroundings of his house at No. 1, Peak Road with the swashbuckling and often fairly bloodthirsty adventure stories for which the Asian reading public seems to have an inexhaustible appetite. Perhaps that's because in the 24 years since he last published a novel, Cha has devoted his time to making a name for himself in other fields.

    Journalism, for example, where he used money from his literary success to found the Ming Pao newspaper. Under his guidance the paper rose to become Hong Kong's most respected daily. He also wrote regular columns and editorials, though the paper's early drawing card was a the thousand-word excerpt it printed each day from the latest novel by Jin Yong, Cha's pen name.

    Or, latterly, politics, in which he has served as a senior adviser to the Chinese government during the drawn-out negotiations over the handover in 1997. Or even scholarship, where he has found time to publish a series of works on Chinese history and culture ranging from The Life and Times of Genghis Khan to The Concept of Materiality in Buddhist Thinking.

    Despite such accomplishments, Cha faces a problem much like that which confronted a writer he cites as one of his formative influences, Arthur Conan-Doyle, author the Sherlock Holmes mysteries. Conan-Doyle became so exasperated with the public's infatuation with his detective that he killed Holmes off-only to be forced to bring him back to life after a prolonged outcry.

    Cha, too, is plagued by constant entreaties for new works, but he is able to meet such demands with an equanimity that Conan-Doyle -- who was always short of cash -- could not. Cha's novels and newspaper publishing have brought him wealth on a scale the impoverished Conan-Doyle could never even imagine. He recently sold his house for a reported HK$190 million ($21 million), for example, and his personal fortune is estimated at many times that.

    His wealth has allowed Cha to resist calls for more martial-arts fiction. But now that he has retired from journalism -- he sold his controlling stake in Ming Pao three years ago -- Cha says he is spending his time on historical research that might lead to a nonfiction book: "My ambition is to write a readable history of China; there are many histories of China very very good and very scholarly, but they are written in a very clumsy and hard-to-read style." Or he might decide to write a historical novel.

    The prospect of another Jin Yong novel -- albeit one which will "definitely not" be another martial-arts epic -- will surely be welcome news to the legions of Jin Yong fans. They range from eight-year-old boys, who can be seen on Hong Kong's subways labouring through Cha's often consciously archaic prose, to professionals, businessmen and even mainland academics.

    "I've read all his books, each one many times-like most people who read Cha," says Chi-shun Feng, a 49-year-old Hong Kong doctor. "Nobody comes even close. There are Chinese literary classics, but Cha transcends these. Everybody knows and loves them, but nobody reads them 10 times. But Louis Cha's books, it's easy to find people who have read them 10 times over the years."

    What is it in Cha's novels that causes such devotion? Critics and scholars say there is nothing exactly comparable in the Western canon; perhaps the Musketeer romances of Alexandre Dumas senior. The closest modern comparison might be Patrick O'Brian's historical novels that follow the adventures of an English naval captain in the Napoleonic wars.

    Cha's novels are sprawling, complex epics featuring the exploits of "dashing heroes and heroines possessing in varying degrees extraordinary prowess" in kung fu, the traditional Chinese martial arts, according to John Minford, an academic at Hong Kong Polytechnic University. He is coordinating an Oxford University Press project that aims to translate all of Jin Yong's works into English.

    "Kung fu, together with Chinese medicine, calligraphy, painting, playing Go and strumming the seven-stringed zither constitute the core of the Chinese cultural essence," Minford says. All these elements appear in the novels, and their placement firmly in the myth-shrouded past combine to produce a kind of "cultural euphoria" in Chinese readers that cannot be found anywhere else in modern Chinese literature.

    The historical settings and plots often seem designed to stoke that glow of cultural euphoria. As Feng, the Hong Kong doctor, notes, the plots of Cha's books "always involve so-called Barbarians trying to invade the Han lands. They're about how the Han Chinese try to fight back."

    For Cha himself, the core of his books' popularity rests on a simple quality: their storytelling. "My novels are full of stories and very exciting developments," he says. "People like adventures, they like to read adventure stories." But he also identifies that "Chineseness" of his works as an important element in their continuing success. "I think maybe the reason my books are so popular is not only the style but also because people in them are thinking and acting in a very Chinese way, without any taint of the Western influence, so readers think: 偲his is we Chinese.'"

    Cha also sees himself as filling a vacuum created during China's turbulent emergence into the modern world since the overthrow of the Qing dynasty in 1911. Following the revolution, "China was under the foreign aggressor very severely and the intellectuals tried to analyze the reason and they found many, many faults in traditional Chinese culture. So they knocked down everything. They thought a modern and strong China should copy the Western countries. So they copied everything, even the style of literature."

    That produced generations of writers like Lu Xun who, in Cha's opinion, produced Western novels and plays and poems that happened to be written in Chinese and set in China. He notes that even the Communist founding father, Mao Zedong, "wrote poems totally in the old style. People could remember his poems and recite them. But other new poems written in the Western style, people couldn't remember them at all." There was little or no attempt to draw on the traditions of the past and evolve a new style based on those traditions. It was the hunger created by that vacuum that his martial-arts novels have filled, Cha concludes.

    These days, of course, China is far from weak, and Cha -- who was renowned for his anti-communist stance during the Cultural Revolution -- has of late counselled a conciliatory attitude in dealings with her. He did resign as a senior adviser to China after the Tiananmen Massacre in 1989, but this year accepted a position on the China-appointed committee that will supervise Hong Kong's handover in 1997.

    Cha remains discreet and publicly optimistic about the Chinese leadership and the future of Hong Kong under its new masters. But sparks of the old fire are evident when he expresses surprise at the widespread official and critical praise his novels have garnered on the mainland.

    "I was maybe a little surprised because my later novels have a strong taint of anti-Marxism and anti-totalitarianism," he says. "They are very much individualistic, anti the control of the individual and advocating freedom of thought and activity."

    2005-04-21 18:05:54 補充:




  • 匿名使用者
    7 年前








    ✿Line賬號搜索ID: w58586

    ✿預約專線:0979-450-880 (歡迎電話預約~請顯示號碼)





  • 匿名使用者
    2 0 年前

    Who's Jim Yong? Did you mean Jinyong, that kung-fu novelist?

    2005-04-20 08:00:15 補充:

    Well, can agree with dameimei about not giving you the fish, but I think you're kind of in a bind here. If you're asking about Jinyong's writing style, I assume that it's because you haven't read his books yourself. If you indeed have not read his books, then I assume it's because you either can't read Chinese or can't understand the poetic, slightly archaic Chinese he writes in. All of these adds up to make it pretty absurd for you to personally consider him to be "one of the best writers in Asia".

    In anycase, the webpage dameimei provided gave little information on his particular writing style. But again, wouldn't it be futile to try to explain to a non-Chinese speaker of his writing style? Wouldn't it just end up being a bunch of hollow descriptions?

    Anyway. In the spirit of giving you free fish and hopefully starving you for the rest of your life, here are some of my thoughts on his "writing style", with the caveat that, as I've stated, it's rather pointless to try to describe his "style" to someone with no understanding of the Chinese language. What I will give you is more on what he writes *about* rather than how he uses the language.

    First off, Jinyong differs from most other "wuxia" (martial art/kung-fu) novelists in that he devotes a significant portion of his books on character development. Compare to Jinyong's works, most wuxia novels feel like Hollywood action flicks. This is, of course, not to say that Jinyong's action scenes are any less spectacular than other wuxia writers.

    Characters in Jinyong's novels, especially the protagonists and antagonists, are often complex, multi-faceted characters, each with flaws of their own. There are plenty of unwilling heroes, sympathetic villains and even more supporting characters that cover a wide spectrum of the shades inbetween. Jinyong holds the Confucian ideals and traditional Chinese values in high regard. Characters are often bound by their roles in the Confucian society, yet their struggle to break from this bound is also a frequent theme of the novels. As such, major characters regularly commit social taboos yet remain sympathetic.

    The Han Chinese national identity is also a major current that runs throughout his novels. Most of his books are set in periods of Chinese history where China was under the governance or occupation of "foreign" powers, i.e. the northern nomadic tribes, such as the Mongols, Manchus, Khitans, etc. The Han Chinese in Jinyong's books are often disgruntled by this foreign rule, and rebel against these foreigners are seen as automatic just cause. At the same time, however, Jinyong tend to idealize these foreign rulers, for the most part portraying them as brave, just, intelligent, and capable rulers, especially in comparison to the frequently corrupt Han officials. This paradoxical love-hate opinion of the foreign powers is also a signiture of Jinyong's works.

    European appear very rarely in his books, only in one occasion if I remember correctly; the Russians. They are however not portrayed with nearly the same admiration that the other foreigners enjoy.

    Women in Jinyong's books are, for the most part, mere romantic interests, and are of little thematic importance. A few exceptions exist, however, and they are possibly some of the most memorable women in all of Chinese literature. These women are deeply complex and deeply flawed; they rebel against the Confucian norms while honoring their own code of morality; they are intelligent, emotional beings who are comfortable in the macho world of jianghu (the world of kung-fu fighers), and are no less capable than any men they encounter; they are always sympathetic even when commit the most heinous crimes, and they are no less loveable at their most grotesque moments...

    And lastly, more than any other wuxia novelist, Jinyong excels in depicting the varied landscapes of China, especially those of the otherworldly regions of the south.


  • 2 0 年前