Faglige interesser
Jeg har et bredt interessefelt innenfor forskning på Kina-relaterte emner, med alt fra språk, kunst, kulturell og intellektuell historie av førmoderne Kina, til økonomisk utvikling og historie av den kinesiske diasporaen fra både et regionalt og globalt perspektiv.
Pågående forskning
Min doktorgradsavhandling undersøker den kantonesiske diasporaen og deres rolle i kapitalakkumulasjon på slutten av 1800-tallet og tidlig 1900-tallet i Øst-Asia. Dette prosjektet har som mål å bidra med en historisk dimensjon til det tverrfaglige prosjektet "Mellomledd og mekling i Kinas globale forbindelser " som er finansiert av Det Europeiske Forskningsråd.
Bakgrunn
2019– Stipendiat, Universitetet i Oslo
2017–2019 Forsker, TU Darmstadt
2016 Lærerassistent, Universitetet i Oslo
2016 MPhil, Universitetet i Oslo
2015–2016 Erasmus + masterutveksling, Universitetet i Heidelberg
2011 BA, Fudanuniversitetet
2009 Bachelorutveksling, UCLA
Emneord:
Kina,
Kinesisk,
Øst-Asia,
Økonomisk historie
Publikasjoner
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Wu, Wei
(2014).
Color Symbolism of Redness in The Dream of the Red Chamber—Are We All Misunderstanding the Title of Hongloumeng 紅樓夢?
European Journal of Sinology (EJSin).
ISSN 2190-085X.
5,
s. 76–110.
Vis sammendrag
In traditional China, colors acted as symbols signifying cosmological concepts, representing rank and implying higher knowledge of the material world. Given the pervasive redness throughout The Dream of the Red Chamber, there has been substantial research on color terminology and its translation. Existing studies, however, whether qualitative or quantitative, focus exclusively on textual sources, and leave material evidence untouched. Furthermore, in previous investigations, different shades of red remain underexplored. This paper builds on available corpus databases, going through all uses containing two main characters for the color red: “chì 赤” – the saturated hue denoting the color of fire – and “hóng 紅” – the name of the fabric dyed in whitish red (pink) in early China, but being synonymous with “chì 赤” in modern Chinese. A solid statistical account will show how their distributions differ, whether their meanings overlap with each other and how much “hóng 紅” refers to the saturated red. In addition to hóng 紅 and chì 赤, the usage of other words for various reddish hues listed in previous studies is also taken into account. A comparison of their combinations with those of hóng 紅 will provide an inclusive representation of “redness” in the novel. Furthermore, artistic images –contemporary Qing paintings in particular – serve as an importance source for the use of “hóng 紅” in architectural contexts, demonstrating what exactly “hóng 紅 ” buildings were like during the Qing dynasty. This detailed analysis of the semantics of redness and its symbolism in the novel will contribute not only to a more precise understanding of the novel's title, but also to a better grasp of its underlying color symbolism.
Se alle arbeider i Cristin
Publisert 29. juli 2019 09:09
- Sist endret 14. mai 2020 14:06
