diff --git a/content/_index.md b/content/_index.md
index e1d467b..a27f400 100644
--- a/content/_index.md
+++ b/content/_index.md
@@ -1,90 +1,44 @@
---
-title: "Lianhuanhua"
+title: "Chinese Comics in Translation"
type: docs
---
-# Lianhuanhua
+# Chinese Comics in Translation
-## Chinese Comics in Translation
+## A Word or Two About Translating Lianhuanhua
-For most of the 20th century, pocket size comic books (*lianhuanhua* 连环画, often literally translated as "linked images") were an integral part of Chinese everyday reading culture, providing readers with entertainment, information and/or political instruction. Established as such throughout the 1920s and 1930s, after 1949 these comic books continued to range from adaptations of literary texts or films to hagiographies of socialist heroes like Lei Feng to stories propagating the usefulness of using fertilizer in agricultural production. Published as handy pocket-sized booklets, they were shared among children and adult readers alike to be read at street stall libraries or at work units after hours. *Lianhuanhua* production was massive, with an estimated 50.000 titles published since the founding of the PRC. Moreover, one in three books published in 1986 was a comic!
+To provide contemporary readers and researchers with a glimpse into the vast Chinese comic culture, the ChinaComx project publishes a number of exemplary lianhuanhua from the Mao and early post-Mao years with English translations on this webpage. We hope that these translations will spur further interest and research into this diverse, relevant and, very often, entertaining medium.
-*Lianhuanhua* were indeed quite popular reading material. To provide contemporary readers and researchers with a glimpse into the vast Chinese comic culture, the READCHINA project publishes a number of exemplary comics from the Mao and early post-Mao years with English translations on this webpage. We hope that these translations will spur further interest and research into this diverse, relevant and, very often, entertaining medium.
+During the Mao years, Beijing Foreign Languages Publishing House published translations of comics into various foreign languages. In addition, the 1970s saw a few translations published outside China (most notably a translation into Italian published by Gino Nebiolo et al and retranslated into English and German; and a translation of excerpts of lianhuanhua into German prepared by Wolfgang Bauer):
-During the Mao years, Beijing Foreign Languages Publishing House published translations of comics into various foreign languages. In addition, the 1970s saw a few translations published outside China (most notably a translation into Italian published by Gino Nebiolo et al and retranslated into English and German; and a translation of excerpts of *lianhuanhua* into German prepared by Wolfgang Bauer). Today, more *lianhuanhua* in translation can be found online, such as:
+- *I Fumetti di Mao* (edited by Nebiolo, Gino, Jean Chesneaux, Umberto Eco), Bari: Laterza & Figli, 1971.
-- *Into the Tiger’s Den* 深入虎穴, adapted from the novel by Qu Bo 曲波 *Tracks in the Snowy Forest* 林海雪原: [https://u.osu.edu/mclc/online-series/into-the-tigers-den/](https://u.osu.edu/mclc/online-series/into-the-tigers-den/)
-
-- Zhuang Guanyu's *Manhua Journey to the West*: [https://www.nickstember.com/manhua-journey-west-part-1-6/](https://www.nickstember.com/manhua-journey-west-part-1-6/)
-
-- Chinese *lianhuanhua* adaptation of *Star Wars*: [https://www.nickstember.com/chinese-star-wars-comic-part-1-6](https://www.nickstember.com/chinese-star-wars-comic-part-1-6)
-
-- A *lianhuanhua* adaptation of the science fiction story *Little Smarty Travels to the Future* by Ye Yonglie: [https://u.osu.edu/mclc/online-series/little-smarty-travels-to-the-future](https://u.osu.edu/mclc/online-series/little-smarty-travels-to-the-future)
-
-- A *lianhuanhua* adaptation of the scar literature short story *Maple* by Zheng Yi: [https://u.osu.edu/mclc/online-series/maple](https://u.osu.edu/mclc/online-series/maple)
-
-## Further Reading
-
-For further reading on Chinese graphic narratives, including *lianhuanhua* but also the cartoon-like genre of *manhua* 漫画 and others, see for example:
-
-Altehenger, Jennifer 2012: "Kopieren für die Revolution: Die Cartoonreproduktionskampagne in der Volksrepublik China 1950-52", in: Henningsen, Lena, Martin Hofmann \[ed.\]: *Tradition? Variation? Plagiat? Motive und ihre Adaption in China,* (Jahrbuch der Deutschen Vereinigung für Chinastudien 6), Wiesbaden: Harrassowitz, 2012, 295-307.
-
-Altehenger, Jennifer 2013: "A Socialist Satire: Manhua Magazine and Political Cartoon Production in the PRC, 1950--1960", in: *Frontiers of History in China*, Vol.8, no.1, 77-102.
-
-Bauer, Wolfgang \[ed.\] 1976: *Chinesische Comics: Gespenster, Mörder, Klassenfeinde* (translated by Wolfgang Bauer), Düsseldorf: Eugen Diederichs Verlag.
-
-Bi, Keguan 毕克官 1982: *History of Chinese Comics* 中国漫画史话, Jinan: Shandong renmin chubanshe.
-
-Chen, Minjie 2012: "Chinese *Lian Huan Hua* and Literacy: Popular Culture Meets Youth Literature" in: Cynthia B. Leung, Jiening Ruan \[eds.\]: *Perspectices on Teaching and Learning Chinese Literacy in China*, New York: Springer, 157-181.
-
-Chen, Minjie 2015: "Linked Pictures: A Genre of Chinese Illustrated Books", in: Cotsen Children's Library, Princeton University, [https://blogs.princeton.edu/cotsen/2015/06/chinese-illustrated-books/](https://blogs.princeton.edu/cotsen/2015/06/chinese-illustrated-books/), June 19, 2015, last access 2021-02-10.
-
-Crespi, John A. 2020: *Manhua Modernity: Chinese Culture and the Pictorial Turn*, Oakland: University of California Press.
+- *Das Mädchen aus der Volkskommune* (translated from Italian by Arno Widman, with an introduction by Gino Nebiolo and commentaries by Jean Chesneaux and Umberto Eco): Reinbek: Rowohlt, 1971.
-Farquhar, Mary Ann 1999: *Children's Literature in China: From Lu Xun to Mao Zedong*, Armonk: Routledge.
+- *The People's Comic Book: Red Women's Detachment, Hot on the Trail and Other Chinese Comics* (translated from Italian by Endymion Wilkinson and Frances Frenaye, with an introduction by Gino Nebiolo), New York: Anchor Press, 1972.
-Guleva, Mariia 2021: "How to Deal with a Good Child? Prescribed Normality in Images of Children and Child-Adult Relations in Manhua Magazine, 1950-1960,"in: *The Journal of the European Association for Chinese Studies*, no. 30, 37-82.
+- *Chinesische Comics: Gespenster, Mörder, Klassenfeinde* (translated and edited by Wolfgang Bauer), Düsseldorf: Eugen Diederichs Verlag, 1976.
-Harder, Hans, Barbara Mittler \[eds.\] 2013: Asian Punches: A Transcultural Affair, Berlin: Springer.
+Today, more lianhuanhua in translation can be found online:
-Lent, John A. 1994: "Comic Art", in: Dingbo Wu, Patrick D. Murphy \[eds.\]: Handbook of Chinese Popular Culture, Westport: Greenwood Press, 279-306.
-
-Lent, John A. 2010: "Manga in East Asia", in Toni Johnson-Woods \[ed.\]: Manga: An Anthology of Global and Cultural Perspectives, New York, Continuum 297-314.
-
-Lent, John A. 2021: "Women and Asian Comic Art: Gendered Genres, Female Portrayals, and the Creative Industries", in: Benjamin Woo, Jeremy Stoll \[eds.\]: *The Comics World: Comic Books, Graphic Novels, and Their Publics*, Jackson: University Press of Mississippi, 32-50.
-
-Lent, John A., Xu Ying 2017: *Comics Art in China*, Jackson: University Press of Mississippi.
-
-Mandzunowski, Damian 2019: "Caricatures Criticizing the Gang of Four: Contributors and Publications", in: *The Maoist Legacy*, [https://maoistlegacy.de/db/caricatures-criticizing-the-gang-of-four](https://maoistlegacy.de/db/caricatures-criticizing-the-gang-of-four), 1 February 2019, last access February 4, 2022.
-
-Mandzunowski, Damian 2018: "Wang, Zhang, Jiang, and Yao in Caricatures: A Close-Up View", in: *The Maoist Legacy*, 1 November 2018, [https://maoistlegacy.de/db/exhibits/show/manhua-closeup](https://maoistlegacy.de/db/exhibits/show/manhua-closeup), last access February 4, 2022.
-
-Mandzunowski, Damian 2018: "The Visual Language of the Caricatures Criticizing the Gang of Four", in: *The Maoist Legacy*, 1 September 2018, [https://maoistlegacy.de/db/exhibits/show/manhua-visuallanguage](https://maoistlegacy.de/db/exhibits/show/manhua-visuallanguage), last access February 4, 2022.
-
-Mandzunowski, Damian 2018: "Caricatures Criticizing the Gang of Four," in: *The Maoist Legacy*, 1 June 2018, [https://www.maoistlegacy.de/db/caricatures-criticizing-the-gang-of-four](https://www.maoistlegacy.de/db/caricatures-criticizing-the-gang-of-four), last access February 4, 2022.
-
-Nebiolo, Gino, Jean Chesneaux, Umberto Eco \[eds.\] 1971: *I Fumetti di Mao*, Bari: Laterza & Figli.
-
-Nebiolo, Gino 1972: *Das Mädchen aus der Volkskommune* (translated from Italian by Arno Widman, with an introduction by Gino Nebiolo and commentaries by Jean. Chesneaux and Umberto Eco): Reinbek: Rowohlt.
-
-Nebiolo, Gino, Jean Chesneaux, Umberto Eco \[eds.\] 1972: *The People\'s Comic Book: Red Women\'s Detachment, Hot on the Trail and Other Chinese Comics* (translated from Italian by Endymion Wilkinson and Frances Frenaye, with an introduction by Gino Nebiolo), New York: Anchor Press.
-
-Rea, Christopher G. 2013: "'He'll Roast All Subjects that may need the Roasting': Puck and Mr. Punch in Nineteenth-Century China", in: Hans Harder, Barbara Mittler \[eds.\]: Asian Punches: A Transcultural Affair, Berlin: Springer, 389-422.
+- *Into the Tiger’s Den* 深入虎穴, adapted from the novel by Qu Bo 曲波 *Tracks in the Snowy Forest* 林海雪原: [https://u.osu.edu/mclc/online-series/into-the-tigers-den/](https://u.osu.edu/mclc/online-series/into-the-tigers-den/)
-Seifert, Andreas 2008: *Bildergeschichten für Chinas Massen: Comic und Comicproduktion im 20. Jahrhundert*, Köln: Böhlau Verlag.
+- Zhuang Guanyu's *Manhua Journey to the West*: [https://www.nickstember.com/manhua-journey-west-part-1-6/](https://www.nickstember.com/manhua-journey-west-part-1-6/)
-Seifert, Andreas 2015: "Aufstieg und Fall der Lianhuanhua", in: Reddition: Zeitschrift für Graphische Literatur, Vol.32, no.63, 4-29.
+- Chinese lianhuanhua adaptation of Star Wars: [https://www.nickstember.com/chinese-star-wars-comic-part-1-6](https://www.nickstember.com/chinese-star-wars-comic-part-1-6)
-Stember, Nick 2014: "Don't Call it 'Manga': A Short Intro to Chinese Comics and Manga", in: *Nick Stember*, March 19, 2014, [https://www.nickstember.com/dont-call-manga-short-introduction-chinese-comics-manhua/](https://www.nickstember.com/dont-call-manga-short-introduction-chinese-comics-manhua/), last access February 22, 2022.
+- A lianhuanhua adaptation of the science fiction story *Little Smarty Travels to the Future* by Ye Yonglie: [https://u.osu.edu/mclc/online-series/little-smarty-travels-to-the-future](https://u.osu.edu/mclc/online-series/little-smarty-travels-to-the-future)
-Tan, Xiyuan, 2019: "*Guoxue* Comics: Visualising Philosophical Concepts and Cultural Values through Sequential Narratives", in: *The Comics Grid: Journal of Comics Scholarship* 9:1, 11. doi: [10.16995/cg.149](https://doi.org/10.16995/cg.149).
+- A lianhuanhua adaptation of the scar literature short story *Maple* by Zheng Yi: [https://u.osu.edu/mclc/online-series/maple](https://u.osu.edu/mclc/online-series/maple)
-Wu, I-Wei 2013: "Participating in Global Affairs: The Chinese Cartoon Monthly *Shanghai Puck*", in: Hans Harder, Barbara Mittler \[eds.\]: Asian Punches: A Transcultural Affair, Berlin: Springer, 365-388.
+...as well as on this website -- with new translations coming soon!
## Acknowledgements
-The translations published here were produced in joint translation projects by students at the Institute of Chinese Studies, University of Freiburg, supervised by Lena Henningsen. The webpage was set up by Duncan Paterson. We acknowledge the support of the ERC-funded project "The Politics of Reading in the People's Republic of China" (READCHINA, Grant agreement No. 757365/SH5: 2018-2023).
+The translations published here until 2023 originated as joint translation projects by students at the Institute of Chinese Studies, University of Freiburg, supervised by Lena Henningsen. The webpage was set up by Duncan Paterson, Gu Qin and Damian Mandzunowski. We acknowledge the support of the ERC-funded project “The Politics of Reading in the People’s Republic of China” (READCHINA, grant agreement no. 757365). Students from FU Berlin, supervised by Dominik Weihrauch, also contributed translations.
Special thanks go to our colleagues Matthias Arnold and Hanno Lecher from the Centre for Asian and Transcultural Studies (CATS), Heidelberg University, for providing us with high resolution scans of the comics which are part of the [Seifert collection](https://www.asia-europe.uni-heidelberg.de/en/research/heidelberg-research-architecture/projects/hra14-chinese-comics/the-seifert-collection.html).
-We have taken much effort to contact the publishers of the respective comics in order to acquire permission by the copyright holder to publish the pages online. We regret that we have not received responses to our inquiries. If you believe that copyrights are not being respected, please send an email message to: [readchina"at"mail.sinologie.uni-freiburg.de](mailto:readchina@mail.sinologie.uni-freiburg.de). We will respond as soon as possible and will work with you to either accredit the material correctly or remove it entirely.
+Since 2024, the webpage is maintained by the ERC-funded project “Comics Culture in the People’s Republic of China” (ChinaComx, grant agreement no. 101088049) at the Institute of Chinese Studies, Heidelberg University.
+
+We have taken much effort to contact the publishers of the respective comicsin order to acquire permission by the copyright holder to publish the pages online. We regret that we have not received responses to our inquiries. If you believe that copyrights are not being respected, please [send us an email message](mailto:chinacomx.erc@gmail.com). We will respond as soon as possible and will work with you to either accredit the material correctly or remove it entirely.
\ No newline at end of file
diff --git a/content/biao/A-translation-notes.md b/content/biao/A-translation-notes.md
deleted file mode 100644
index 72106bf..0000000
--- a/content/biao/A-translation-notes.md
+++ /dev/null
@@ -1,9 +0,0 @@
----
-title: About the translation
----
-
-This translation is the outcome of a joint translation project taught in the winter of 2020/2021 at the University of Freiburg. Our aim in this translation was to remain as faithful as possible to the Chinese original while at the same time conveying a tone of narration in line with a comic book addressed to young readers based on a "classical" piece of children's literature. As the story takes place in early 20th century Russia, the given names of the characters are given in Russian. To allow for an undisturbed reading experience, we decided against the use of footnotes, though two items may call for explanation:
-
-Page [63](https://readchina.github.io/comics/biao/b-page-63/) refers to the Paris Commune Memorial Day. The Paris Commune was an attempt of establishing a revolutionary government in Paris after the Franco-Prussian War in 1871. It ended 72 days after its establishment in bloodshed carried out by the troops of the Third French Republic. Throughout the 20th century, it has been glorified as a model for socialist revolutions.
-
-As is common in Chinese literary practice, page [12](https://readchina.github.io/comics/biao/b-page-12/) contains a Chinese idiom that refers to the premodern Chinese literary tradition: "The wise man was right about gaining profit by misfortune" (聪明人说得对，因祸得福。) This idiom (which is not present in Lu Xun's translation of the story) expresses how bad luck eventually turns into something fortunate. Alternatively, the idiom is often translated as "a fault on the right side" or "a blessing in disguise". It can be traced back to a passage in the "Guan Yan biographies" (Guan yan liezhuan, 管晏列传) in the *Records of the Grand Historian* (*Shiji* 史记), written by the historian Sima Qian (司马迁, c. 145 -- c. 86 BC).
diff --git a/content/biao/_index.md b/content/biao/_index.md
index 86987e0..5497341 100644
--- a/content/biao/_index.md
+++ b/content/biao/_index.md
@@ -8,7 +8,7 @@ title: The Watch 表 (1980)
By Leonid Panteleyev, adapted by Dong Qingdong 董青冬, illustrated by Hua Sanchuan 华三川, Beijing: Lianhuanhua chubanshe, 2003. (Reprint of an earlier edition by Renmin meishu chubanshe, Beijing, 1980, translated by Laura Aymar, Bettina Jin, Piet Kortenjan, Lena Henningsen, Sascha Sacknieß, Sophia Schöller, Joschua Seiler, Miriam Stadler, Yixiong Wang and Jenny Wiggermann).[^1]
-## Introduction to the Text
+## Introduction to the text
Lena Henningsen
@@ -24,7 +24,7 @@ Overall, the *lianhuanhua* follows the plot line set out in the original story,
The story gained what may be called second order prominence in 1977 through the short story "The Class Teacher" (班主任) by Liu Xinwu 刘心武 (Liu 1977). This story is one of the central texts of the scar literature genre, a first attempt to confront the pain and scars inflicted upon individuals during the Cultural Revolution. As I have elaborated elsewhere (Henningsen 2022 forthcoming), "The Watch" operates as a powerful intertext to "The Class Teacher": On the first level, Teacher Zhang, the protagonist of the story, discusses the text with his students in order to come to terms with a prospective new student in the class. Lu Xun is explicitly referred to in the story as having translated the story with "great ardor", thus adding to the weight of the story. On the second level, "The Watch" provides the narrative frame for the plot line of "The Class Teacher" as the plot of the latter text is clearly modeled on the first. Knowledge of "The Watch" thus adds another layer of interpretation to "The Class Teacher". Soon after, in 1980, the present adaptation appeared as a *lianhuanhua* -- almost contemporaneous to the *lianhuanhua* version of "The Class Teacher" (Liu 1978).
-## References
+### References
Henningsen, Lena 2022 (forthcoming): "Fictional Texts as Sites of Knowledge: From Intertexts to Transtextuality", in: Martin Hofmann, Virginia Leung, Joachim Kurtz \[ed.\]: *Wissensorte in China*, Wiesbaden: Harrassowitz.
@@ -48,8 +48,18 @@ Pantelejew, Leonid \[1958\]: *Die Uhr*, transl. by Maria Eisenstein, illustrated
Pieper, Katrin 2006: "Die besten Helden: Literatur für Kinder und Jugendliche nach sowjetischen Vorbildern", in: Karl Eimermacher and Astrid Volpert \[ed.\]: *Tauwetter, Eiszeit und gelenkte Dialoge: Russen und Deutsche nach 1945*, München: Wilhelm Fink Verlag, 1033-1056.
-{{}}
+## About the translation
+
+This translation is the outcome of a joint translation project taught in the winter of 2020/2021 at the University of Freiburg. Our aim in this translation was to remain as faithful as possible to the Chinese original while at the same time conveying a tone of narration in line with a comic book addressed to young readers based on a "classical" piece of children's literature. As the story takes place in early 20th century Russia, the given names of the characters are given in Russian. To allow for an undisturbed reading experience, we decided against the use of footnotes, though two items may call for explanation:
+
+Page [63](https://readchina.github.io/comics/biao/b-page-63/) refers to the Paris Commune Memorial Day. The Paris Commune was an attempt of establishing a revolutionary government in Paris after the Franco-Prussian War in 1871. It ended 72 days after its establishment in bloodshed carried out by the troops of the Third French Republic. Throughout the 20th century, it has been glorified as a model for socialist revolutions.
+
+As is common in Chinese literary practice, page [12](https://readchina.github.io/comics/biao/b-page-12/) contains a Chinese idiom that refers to the premodern Chinese literary tradition: "The wise man was right about gaining profit by misfortune" (聪明人说得对，因祸得福。) This idiom (which is not present in Lu Xun's translation of the story) expresses how bad luck eventually turns into something fortunate. Alternatively, the idiom is often translated as "a fault on the right side" or "a blessing in disguise". It can be traced back to a passage in the "Guan Yan biographies" (Guan yan liezhuan, 管晏列传) in the *Records of the Grand Historian* (*Shiji* 史记), written by the historian Sima Qian (司马迁, c. 145 -- c. 86 BC).
+
+We have taken much effort to contact the publisher of this comic in order to acquire permission by the copyright holder to publish the pages online. We regret that we have not received responses to our inquiries. If you believe that copyrights are not being respected, please [send us an email message](mailto:chinacomx.erc@gmail.com). We will respond as soon as possible and will work with you to either accredit the material correctly or remove it entirely.
[^1]: This translation was produced in a joint translation project by BA students at the Institute of Chinese Studies, University of Freiburg, supervised by Lena Henningsen. We acknowledge the support of the ERC-funded project "The Politics of Reading in the People's Republic of China" (READCHINA, Grant agreement No. 757365/SH5: 2018-2023). Special thanks go to Julia Schneider for a critical reading of the translation and to our colleagues Matthias Arnold and Hanno Lecher from the Centre for Asian and Transcultural Studies (CATS), Heidelberg University, for providing us with high resolution scans of the comics which are part of the [Seifert collection](https://www.asia-europe.uni-heidelberg.de/en/research/heidelberg-research-architecture/projects/hra14-chinese-comics/the-seifert-collection.html).
- We have taken much effort to contact the publisher of this comic in order to acquire permission by the copyright holder to publish the pages online. We regret that we have not received responses to our inquiries. If you believe that copyrights are not being respected, please send an email message to: [readchina"at"mail.sinologie.uni-freiburg.de](mailto:readchina@mail.sinologie.uni-freiburg.de). We will respond as soon as possible and will work with you to either accredit the material correctly or remove it entirely.
+## Read the translated lianhuanhua
+
+{{}}
\ No newline at end of file
diff --git a/content/luxun/_index.md b/content/luxun/_index.md
index 4c9be52..c39ec8d 100644
--- a/content/luxun/_index.md
+++ b/content/luxun/_index.md
@@ -1,14 +1,14 @@
---
bookCollapseSection: true
type: docs
-title: Geschichten über Lu Xun und Junge Leute - Lu Xun und die chinesische Holzschnitt Bewegung 鲁迅和青年的故事
+title: Geschichten über Lu Xun und Junge Leute 鲁迅和青年的故事 (1976)
---
-# Geschichten über Lu Xun und Junge Leute - Lu Xun und die chinesische Holzschnitt Bewegung 鲁迅和青年的故事
+# Geschichten über Lu Xun und Junge Leute: Lu Xun und die chinesische Holzschnitt Bewegung 鲁迅和青年的故事
-Einleitung zu den Comics und Erläuterung der Übersetzung:
-Lena Henningsen
+## Einleitung zu den Comic
+Lena Henningsen
Gegen Ende seines Lebens bemühte sich der chinesische Schriftsteller Lu Xun 鲁迅 (1881-1936) um die Holzschnitt-Bewegung in China. Er sah das große ästhetische und politische Potenzial in dieser Kunstform: Mit ihrer Ausdrucksstärke konnte sie den Betrachter direkt ansprechen, aufgrund ihrer Reproduzierbarkeit war sie geeignet, einer breiteren Zuschauerschaft ästhetisches Erleben zu ermöglichen und diese gar zu mobilisieren. Lu Xun sammelte Holzschnitte von europäischen Künstlern wie Frans Masereel oder Käthe Kollwitz, deren Werk „Die Mutter" in der Ausstellung in „Die Geschichte eines Holzschnitts" (Fan 1976) im Hintergrund des zweiten Panels zu sehen ist, wenn auch überproportional groß. Lu Xun ließ diese Werke reproduzieren, ausstellen und in Zeitschriften veröffentlichen, und er organisierte einen Workshop für junge Künstler: ein japanischer Künstler -- der Bruder von Lu Xuns Freund, dem Buchhändler Uchiyama Kanzō -- unterrichtete junge chinesische Künstler, Lu Xun übersetzte.
@@ -30,11 +30,7 @@ Gleichzeitig spiegeln die Geschichten durchaus einen Lu Xun wieder, wie er in de
Diese politische Interpretation des Gedichts entspricht nicht unbedingt der dichterischen Intention (Davies 2020); aufgrund der vielfachen Wiederveröffentlichung der Yananer Reden aber sind die Gedichtzeilen weit über ihren Ursprungskontext bekannt und werden vielfach zitiert -- sowohl im *Tagebuch von Lei Feng* (Henningsen 2022), als auch auf der letzten Seite der hier übersetzten Geschichte „Der Letzte Besuch" (Sheng 1976): Die jungen Künstler sehen Lu Xun hinterher, der im Nieselregen verschwindet. Sie haben einen von der Krankheit gezeichneten Lu Xun erlebt -- der aber noch immer Energie ausstrahlte, der weiterhin seine ganze (verbleibende) Kraft in den Dienst der guten Sache, des Kampfes stellen will. Und sie scheinen zu ahnen, dass dies ein Abschied für immer ist, schließlich stirbt Lu Xun nur wenige Tage nach seinem Ausstellungsbesuch. So passend das zitierte Gedicht in der Situation scheint: Angesichts der weiten postumen Verbreitung der Zeilen durch die Yananer Reden sind sie ebenso ein Zitat von Lu Xun, das den jungen Leuten in ihre Gedanken gelegt wird, wie auch ein Zitat von Mao Zedong, der wiederum nur wenige Wochen nach der Veröffentlichung dieses Comics sterben würde. So sehr die Comics die Unterdrückung durch den politischen Gegner anprangern (eine Unterdrückung, die auch gelesen werden kann als eine Spiegelung der Unterdrückung, der viele Künstler während der Kulturrevolution ausgesetzt waren!), so bekräftigen die Geschichten mit diesem Zitat am Ende doch das Supremat der KP über künstlerisches Schaffen in der Volksrepublik China des Jahres 1976.
-Eine Anmerkung zur Übersetzung: die Texte verwenden die Partikel 得, 地 und 的 nicht entsprechend des heutigen Standardgebrauchs, aber durchaus entsprechend der Gepflogenheiten der späten 1970er. Das Gleiche gilt für das Schriftzeichen anstelle 象 von 像. Wir haben diese Stellen entsprechend in der Transkription markiert, aber nicht korrigiert.
-
-Die vorliegenden Übersetzungen wurden unter der Leitung von Dominik Weihrauch von Studierenden der Freien Universität Berlin im Rahmen des Masterkurses „Fortgeschrittenes Chinesisch 2" erstellt: Großer Dank an Johannes Nentwig (hauptverantwortlich für „Die Geschichte eines Holzschnitts"), Carolina Franke, Carla Nikolaus.
-
-## Zitierte Literatur:
+### Zitierte Literatur
Baker, David, Mary Ginsberg 2020 \[eds.\]: *Lu Xun's Legacy: Printmaking in Modern China: An Exhibition of Prints from the Muban Educational Trust*, London: Muban Educational Trust.
@@ -73,3 +69,15 @@ Sheng Zengxiang 盛增祥 (Illustration), Shi Zhongpei 史中培 (Adaptation) 19
Shi Zhongpei 史中培1976: *Geschichten über Lu Xun und Junge Leute* 鲁迅和青年的故事, Shanghai: Shanghai renmin chubanshe.
Tang, Xiaobing 2007: *Origins of the Chinese Avant-Garde: The Modern Woodcut Movement*, Berkeley: University of California Press.
+
+## Erläuterung der Übersetzung
+
+Eine Anmerkung zur Übersetzung: die Texte verwenden die Partikel 得, 地 und 的 nicht entsprechend des heutigen Standardgebrauchs, aber durchaus entsprechend der Gepflogenheiten der späten 1970er. Das Gleiche gilt für das Schriftzeichen anstelle 象 von 像. Wir haben diese Stellen entsprechend in der Transkription markiert, aber nicht korrigiert.
+
+Die vorliegenden Übersetzungen wurden unter der Leitung von Dominik Weihrauch von Studierenden der Freien Universität Berlin im Rahmen des Masterkurses „Fortgeschrittenes Chinesisch 2" erstellt: Großer Dank an Johannes Nentwig (hauptverantwortlich für „Die Geschichte eines Holzschnitts"), Carolina Franke, Carla Nikolaus.
+
+Wir haben uns sehr bemüht, den Herausgeber dieses Comics zu kontaktieren, um die Erlaubnis des Rechteinhabers zur Online-Veröffentlichung der Seiten und der Übersetzung zu erhalten. Wir bedauern, dass wir keine Antworten auf unsere Anfragen erhalten haben. Wenn Sie der Meinung sind, dass Ihre Urheberrechte nicht respektiert werden, senden Sie uns bitte [eine E-Mail-Nachricht](mailto:chinacomx.erc@gmail.com). Wir werden Ihnen so schnell wie möglich antworten und mit Ihnen zusammenarbeiten, um das Material entweder korrekt zu akkreditieren oder es ganz zu entfernen.
+
+## Lese die übersetzten lianhuanhua
+
+{{}}
\ No newline at end of file
diff --git a/content/niqiu/_index.md b/content/niqiu/_index.md
index 82498b1..466f6da 100644
--- a/content/niqiu/_index.md
+++ b/content/niqiu/_index.md
@@ -8,7 +8,7 @@ title: Niqiu Protects the Watermelons 泥鳅看瓜 (1974)
*Niqiu Protects the Watermelons* 泥鳅看瓜, illustrated by Zhong Shan 钟山, translated by Laura Aymar, Bettina Jin, Piet Kortenjan, Lena Henningsen, Sascha Sacknieß, Sophia Schöller, Joschua Seiler, Miriam Stadler, Yixiong Wang and Jenny Wiggermann, Tianjian: Tianjin renmin meishu chubanshe, 1974. (No author or editor named).[^1]
-## Introduction to the Text
+## Introduction to the text
Lena Henningsen
@@ -22,8 +22,13 @@ The story contains scenes of youthful play and of careless mischief. At the same
His courageousness is crowned with victory -- and framed within the proper rhetoric of the Cultural Revolution. He resists the threats of the spy, as "children raised by Mao Zedong\'s Thought do not listen to such kinds of threats, and temptations have no effect on them." ([47](https://readchina.github.io/comics/niqiu/b-page-47/)) And the villagers similarly make an explicit connection between Niqiu's success and the efforts of the CCP by stating: "Niqiu is a good boy educated by the Communist Party, he averted yet another harm to the villagers!" ([57](https://readchina.github.io/comics/niqiu/b-page-57/)). As such the *lianhuanhua* is as much a witness to the historical past of the War of Resistance against Japan as it is a witness of the rhetoric of its Cultural Revolutionary present.
+## About the translation
+
+We have taken much effort to contact the publisher of this comic in order to acquire permission by the copyright holder to publish the pages online. We regret that we have not received responses to our inquiries. If you believe that copyrights are not being respected, please [send us an email message](mailto:chinacomx.erc@gmail.com). We will respond as soon as possible and will work with you to either accredit the material correctly or remove it entirely.
+
+## Read the translated lianhuanhua
+
{{}}
[^1]: This translation was produced in a joint translation project by BA students at the Institute of Chinese Studies, University of Freiburg University, supervised by Lena Henningsen. We acknowledge the support of the ERC-funded project "The Politics of Reading in the People's Republic of China" (READCHINA, Grant agreement No. 757365/SH5: 2018-2023). We thank Julia Schneider for a critical reading of the text and our colleagues Matthias Arnold and Hanno Lecher from the Centre for Asian and Transcultural Studies (CATS), Heidelberg University, for providing us with high resolution scans of the comics which are part of the [Seifert collection](https://www.asia-europe.uni-heidelberg.de/en/research/heidelberg-research-architecture/projects/hra14-chinese-comics/the-seifert-collection.html).
- We have taken much effort to contact the publisher of this comic in order to acquire permission by the copyright holder to publish the pages online. We regret that we have not received responses to our inquiries. If you believe that copyrights are not being respected, please send an email message to: [readchina"at"mail.sinologie.uni-freiburg.de](mailto:readchina@mail.sinologie.uni-freiburg.de). We will respond as soon as possible and will work with you to either accredit the material correctly or remove it entirely.
diff --git a/content/zhufu/A-translation-notes.md b/content/zhufu/A-translation-notes.md
deleted file mode 100644
index 1c1da20..0000000
--- a/content/zhufu/A-translation-notes.md
+++ /dev/null
@@ -1,24 +0,0 @@
----
-title: About the translation
----
-
-In preparing this translation, our aim was to produce a text that would do justice to the legacy of Lu Xun, but more so, to the language and contents of the PRC adaptation of the story. In his essay accompanying his retranslation of the original short story into German, Hans Peter Hoffmann (2015) makes a convincing argument for the use of slightly outdated terms as markers for what Lu Xun wanted to emphasize as backward in his times. As we translated from an adaptation of Lu Xun's story in rather blunt PRC language, we measure our translation against that language. We thus aimed at staying close both to the literal meaning of the text and to its spirit -- bearing in mind that this is, likely, a story targeting not only adults, but also children; we also aimed at a translation that would not make the text longer than in the original, thus subverting the simplicity, elegance and brevity of *lianhuanhua* language. While many names in the Chinese language are 'speaking names' and thus reveal information about the person or place they relate to, we opted for the more neutral terms derived at by transliterating and not translating the names in order not to unduly exoticize the translation. We also decided against adding explanations for terms into the text. But as the names of the protagonists and places may be confusing for readers unfamiliar with Chinese naming conventions, the following may be helpful.[^1]
-
-- **Xianglin's wife** 祥林嫂: The protagonist of the story does not have a name of her own; much as she does not have any choice in her life, she is given a name and identity reducing her to being the wife of her first deceased husband which also seals the rest of her fate.
-
-- **Luzhen** 鲁镇: The name of the town -- Luzhen -- signals that it is a small town. The character for "Lu" in Luzhen is the same character as in Mr. Lu, the name of the uncle who the nameless narrator of the story has to stay with and whom he dislikes for his backwardness. This suggests that the Lu-Family is (and has been for generations) a central authority in town. It likely is not a coincidence that "Lu" both in "Luzhen" and in Mr. Lu is the same as in the penname the author of this story chose for himself: Lu Xun. While this by no means is an argument to declare that the first-person narrator represents or is Lu Xun himself, it is a signal of the text to play with autobiographical suggestions and hints.
-
-- **Mr. and Mrs. Lu**: Throughout the *lianhuanhua*, different variations are used for these two persons. For reasons of clarity, we are using Mr. and Mrs. Lu throughout. One recurring name is Lu Si Laoye 鲁四老爷 which might be translated as Old Master Lu Si or as Fourth Master Lu, thus emphasizing the reverence that townspeople would approach him with. There are also different terms used to address his wife. However, as her social status and all her comportment are defined by her being the wife of Mr. Lu, she is referred to as Mrs. Lu throughout the translation.
-
-- **Auntie Liu** 柳妈: Her name would have been literally translated as Mother Liu. We settled on Auntie Liu wishing to emphasize that she is a -- likely unmarried -- poor woman in town helping out with the Lu family. Auntie here does not signal a kinship relationship, but is more used as a form of address.
-
-- **Old Wei**: Likewise, the matchmaker is a -- likely unmarried -- woman in town.
-
-- **Hejia Village** 贺家墺 (Hejia'ao) and **He Laoliu** 贺老六: Similar to the Lu family and Luzhen, there is a relationship between Hejia Village and Xianglin's wife's second husband: The name of the village could literally be translated as He-Family-Village suggesting that it is predominantly inhabited by the He clan. He Laoliu's name literally means He Old-Six, likely indicating him to be the sixth son, or, more likely the sixth male offspring in his generation thus taking into the account also his male cousins.
-
-- **"The New Year's Sacrifice"** 祝福: The title of the story is conventionally translated as "The New Year's Sacrifice" or "New Year's Sacrifice". In the aforementioned essay, Hans Peter Hoffmann makes a convincing argument to translate the title as "The Blessing" (German: "Der Neujahrssegen"), as this captures much more succinctly the contrast between the blessing that the well-to-do families receive and the misery that Xianglin's wife experiences (2015: 47-52). "The New Year's Sacrifice" sets the focus on Xianglin's wife and her being a victim of 'old feudal society' which literally sacrifices her life in order to hold on to customs that place dead ancestors above those living and suffering today. The more literal translation "The Blessing", Hoffmann points out, is both closer to the actual meaning of the word and refocuses and complicates the narrative. It emphasizes that through the ritual those who perform it receive a blessing, or benediction. In that way, it emphasizes old customs prevalent in the town. As a consequence, the individuals in Luzhen, including the nameless narrator, attain more agency and personal responsibility for what is taking place. As this particular adaptation of the story emphasizes -- as do the translations of the story which are entitled "The New Year's Sacrifice" -- the sacrificing of Xianglin's wife, we have decided to opt for this translation as well.
-
-
-[^1]: This translation was produced in a joint translation project by students at the Institute of Chinese Studies, University of Freiburg, supervised by Lena Henningsen. We acknowledge the support of the ERC-funded project "The Politics of Reading in the People's Republic of China" (READCHINA, Grant agreement No. 757365/SH5: 2018-2023). Special thanks go to Eve Y. Lin for her critical reading of the translation and to Matthias Arnold and Hanno Lecher from the Centre for Asian and Transcultural Studies (CATS), Heidelberg University, for providing us with high resolution scans of the comics which are part of the [Seifert collection](https://www.asia-europe.uni-heidelberg.de/en/research/heidelberg-research-architecture/projects/hra14-chinese-comics/the-seifert-collection.html)
-
- We have taken much effort to contact the publisher of this comic in order to acquire permission by the copyright holder to publish the pages online. We regret that we have not received responses to our inquiries. If you believe that copyrights are not being respected, please send an email message to: [readchina"at"mail.sinologie.uni-freiburg.de](mailto:readchina@mail.sinologie.uni-freiburg.de). We will respond as soon as possible and will work with you to either accredit the material correctly or remove it entirely.
diff --git a/content/zhufu/_index.md b/content/zhufu/_index.md
index 6d75e0a..9550bf1 100644
--- a/content/zhufu/_index.md
+++ b/content/zhufu/_index.md
@@ -8,18 +8,15 @@ title: The New Year's Sacrifice 祝福 (1974)
Lu Xun 鲁迅 1974: *The New Year's Sacrifice* 祝福, illustrated by Yong Xiang 永祥, Hong Ren 洪仁, Yao Qiao 姚巧, translated by Stefanie Gondorf, Lena Henningsen, Charlotte Kräker, Jingying Li, Ghost Tian, Beijing: Beijing renmin meishu chubanshe, 1974.[^1]
-
-## Lost and Gained in Adaptation:
-
-#### Comic Book Adaptation of Lu Xun’s “The New Year’s Sacrifice” (祝福, 1974)
+## Introduction to the text[^2]
Lena Henningsen and Ghost Tian
-## Introduction to the Text
+### Lost and Gained in Adaptation -- Comic Book Adaptation of Lu Xun’s “The New Year’s Sacrifice” (祝福, 1974)
The 1974 *lianhuanhua* adaptation of Lu Xun's (鲁迅, 1881-1936) famous short story "The New Year's Sacrifice" (祝福, 1924) represents a distinct interpretation of the original. The comic can be seen as a work of art in its own right, yet it is firmly situated in Maoist discourses and in textual practices of the time. In the following, we will briefly sketch this situation, point out how the comic differs from the original as well as from an earlier adaptation. Doing so, we argue that in the process of adaptation the figure of the narrator is lost -- yet, through the images, the story also gains.
-## "The New Year's Sacrifice": Lu Xun in Maoist China
+### "The New Year's Sacrifice": Lu Xun in Maoist China
"The New Year's Sacrifice" relates the story of Xianglin's wife: It is the story of a poor woman suffering misfortune throughout life. Her misfortune is exacerbated by the social norms of her day. She is poor to begin with, loses two husbands and her young son who is eaten by a wolf. Not only does she have to struggle constantly to make a living, she also suffers as people assume her to have accumulated sin which caused these deaths. The family which employs her even considers her unclean and thus bars her from participating in the spiritual rituals conducted during the Chinese New Year celebrations. Unable to find a way to atone for her assumed sins, Xianglin's wife loses her mind, her job, her dignity, and, finally, her life.
@@ -27,7 +24,7 @@ In this story, Lu Xun clearly blames superstition and old customs for the fate i
As such, "The New Year's Sacrifice" is very much in line with the CCP's take on 'superstitious' and 'feudal' practices. The modernist left-wing writer Lu Xun became a central figure in Mao Zedong's literary policies. In the 1942 Yan'an talks (McDougall 1980; Denton 2016), Mao established Lu Xun as one of the core models for Chinese authors to emulate. Later on, official discourse propagated Lu Xun as a revolutionary, including on propaganda posters from the early to mid 1970s (see, for example the posters collected in the [Landsberger collection](https://chineseposters.net), i.e. coinciding with the publication of this comic book. Lu Xun's works continued to be published in the PRC years, with numerous comic adaptations of this stories, and also a wave of internal publications of works by and about Lu Xun setting off in 1972 (Henningsen 2021: 173) when cultural life during the Cultural Revolution began to relax. After the Cultural Revolution, yet and another *lianhuanhua* version was published, entitled *Xianglin's Wife* 祥林嫂 based on movie stills (Lu Xun 1979).
-## "The New Year's Sacrifice" in *lianhuanhua* adaptation(s)
+### "The New Year's Sacrifice" in *lianhuanhua* adaptation(s)
This is the context which saw the publication of the present *The New Year's Sacrifice* comic. Or rather, it saw the remake of a *The New Year's Sacrifice* comic, as the artists (Yong Xiang 永祥, Hong Ren 洪仁, Yao Qiao 姚巧) redid their earlier *lianhuanhua* book in 1974. The present version rests on the adaptation of the text by Xu Gan 徐淦 from 1957 with only minor changes. The images, however, are entirely redrawn in different style. Two aspects are particularly noteworthy, both of them resulting in a reduction of complexity of the *lianhuanhua* versions vis-à-vis the original short story. One is a reduction in complexity of the plot as the first-person narrator of the story is lost in adaptation -- the other a stylistic reduction of the complexity of emotions that result from the style of the text and the accompanying images.
@@ -39,7 +36,7 @@ In the original text, in candidly revealing through inner thoughts his complacen
Lacking this narrative framework of the uncaring spectator and centering only on the experiences of Xianglin's wife, the *lianhuanhua* adaptation presents a simplistically sympathetic story which does not achieve the critical complexity of the original text. Unlike the original where two central characters---the first-person narrator and Xianglin's wife---blur the standard distinction between protagonist and antagonistic forces, the *lianhuanhua* is told from the removed point of view of an omniscient narrator with Xianglin's wife acting as a clear protagonist. The comic's text focuses on event description rather than psychological explication as in the original, and its images likewise are drawn in a realistic style with little depiction of emotional or mental states; readers are thus provided a straightforward telling of plot with no imposition of external analysis. In this way, the *lianhuanhua* is akin to a blank slate onto which readers may project their own understandings and feelings without the influence of a given narrational perspective. Because readers are likely to sympathize with the protagonist of a story, the foremost emotional takeaway from the *lianhuanhua* adaptation becomes one of simple compassion or pity rather than the disquiet aroused when asked to embody in the first-person an indifferent narrator placed in opposition to a suffering protagonist. This unsophisticated call to sympathy is an easy task for readers to fulfill, especially for a tragic character such as Xianglin's wife, and does not invite the critical reflection on societal apathy that is fundamental to Lu Xun's original short story.
-## "The New Year's Sacrifice": Continuity and change from 1957 to 1974
+### "The New Year's Sacrifice": Continuity and change from 1957 to 1974
The 1957 (republished in 1963 and reprinted again in 2005) and 1974 versions have only minor changes in the texts below the panels. Only page 55 sees a larger change, with the merging of two pages into one in the 1974 version (pages 55+56 in the 1957 version are merged into one page in 1974). The images accompanying the text are similar in that often the persons are displayed in similar arrangements, though, often from different angles. The style of the images, nonetheless, is very different. While the 1974 version is drawn in watercolors, the earlier version is black and white drawings which allow and call for more simplification in style.
@@ -82,7 +79,7 @@ The differences in historical framing among the two versions become more obvious
On the one hand, the adaptations represent a reduction of the complexity and ambiguity of Lu Xun's original and as such can be seen as a losing in the course of adaptation, with the realism inscribed into the images and with the loss of the ambiguous first-person narrator from Lu Xun's short story. On the other hand, however, the comics in their variety of framing and individual painting styles serve to keep the story visible and meaningful to later generations of readers. In their simplicity, they provide access to the story to a readership who may not be literate enough to read the original -- and they may add a distinct interpretation of the story for those readers familiar with the original, thus clearly representing a gain in adaptation.
-## References
+### References
Denton, Kirk, A. 2016: "Literature and Politics: Mao Zedong's 'Yan'an Talks' and Party Rectification", in: Kirk A. Denton \[ed.\]: *The Columbia Companion to Modern Chinese Literature*, New York: Columbia University Press, 224-230.
@@ -102,6 +99,30 @@ Lu, Xun 2015 (1924): *Der Neujahrssegen* (transl. Alisa Daniczek, Brigitte Höhe
McDougall, Bonnie \[ed.\] 1980: *Mao Zedong\'s "Talks at the Yan\'an Conference on literature and art"*, Ann Arbor: Center for Chinese Studies, University of Michigan.
-{{}}
+## About the translation
+
+In preparing this translation, our aim was to produce a text that would do justice to the legacy of Lu Xun, but more so, to the language and contents of the PRC adaptation of the story. In his essay accompanying his retranslation of the original short story into German, Hans Peter Hoffmann (2015) makes a convincing argument for the use of slightly outdated terms as markers for what Lu Xun wanted to emphasize as backward in his times. As we translated from an adaptation of Lu Xun's story in rather blunt PRC language, we measure our translation against that language. We thus aimed at staying close both to the literal meaning of the text and to its spirit -- bearing in mind that this is, likely, a story targeting not only adults, but also children; we also aimed at a translation that would not make the text longer than in the original, thus subverting the simplicity, elegance and brevity of *lianhuanhua* language. While many names in the Chinese language are 'speaking names' and thus reveal information about the person or place they relate to, we opted for the more neutral terms derived at by transliterating and not translating the names in order not to unduly exoticize the translation. We also decided against adding explanations for terms into the text. But as the names of the protagonists and places may be confusing for readers unfamiliar with Chinese naming conventions, the following may be helpful:
+
+- **Xianglin's wife** 祥林嫂: The protagonist of the story does not have a name of her own; much as she does not have any choice in her life, she is given a name and identity reducing her to being the wife of her first deceased husband which also seals the rest of her fate.
+
+- **Luzhen** 鲁镇: The name of the town -- Luzhen -- signals that it is a small town. The character for "Lu" in Luzhen is the same character as in Mr. Lu, the name of the uncle who the nameless narrator of the story has to stay with and whom he dislikes for his backwardness. This suggests that the Lu-Family is (and has been for generations) a central authority in town. It likely is not a coincidence that "Lu" both in "Luzhen" and in Mr. Lu is the same as in the penname the author of this story chose for himself: Lu Xun. While this by no means is an argument to declare that the first-person narrator represents or is Lu Xun himself, it is a signal of the text to play with autobiographical suggestions and hints.
+
+- **Mr. and Mrs. Lu**: Throughout the *lianhuanhua*, different variations are used for these two persons. For reasons of clarity, we are using Mr. and Mrs. Lu throughout. One recurring name is Lu Si Laoye 鲁四老爷 which might be translated as Old Master Lu Si or as Fourth Master Lu, thus emphasizing the reverence that townspeople would approach him with. There are also different terms used to address his wife. However, as her social status and all her comportment are defined by her being the wife of Mr. Lu, she is referred to as Mrs. Lu throughout the translation.
+
+- **Auntie Liu** 柳妈: Her name would have been literally translated as Mother Liu. We settled on Auntie Liu wishing to emphasize that she is a -- likely unmarried -- poor woman in town helping out with the Lu family. Auntie here does not signal a kinship relationship, but is more used as a form of address.
+
+- **Old Wei**: Likewise, the matchmaker is a -- likely unmarried -- woman in town.
+
+- **Hejia Village** 贺家墺 (Hejia'ao) and **He Laoliu** 贺老六: Similar to the Lu family and Luzhen, there is a relationship between Hejia Village and Xianglin's wife's second husband: The name of the village could literally be translated as He-Family-Village suggesting that it is predominantly inhabited by the He clan. He Laoliu's name literally means He Old-Six, likely indicating him to be the sixth son, or, more likely the sixth male offspring in his generation thus taking into the account also his male cousins.
+
+- **"The New Year's Sacrifice"** 祝福: The title of the story is conventionally translated as "The New Year's Sacrifice" or "New Year's Sacrifice". In the aforementioned essay, Hans Peter Hoffmann makes a convincing argument to translate the title as "The Blessing" (German: "Der Neujahrssegen"), as this captures much more succinctly the contrast between the blessing that the well-to-do families receive and the misery that Xianglin's wife experiences (2015: 47-52). "The New Year's Sacrifice" sets the focus on Xianglin's wife and her being a victim of 'old feudal society' which literally sacrifices her life in order to hold on to customs that place dead ancestors above those living and suffering today. The more literal translation "The Blessing", Hoffmann points out, is both closer to the actual meaning of the word and refocuses and complicates the narrative. It emphasizes that through the ritual those who perform it receive a blessing, or benediction. In that way, it emphasizes old customs prevalent in the town. As a consequence, the individuals in Luzhen, including the nameless narrator, attain more agency and personal responsibility for what is taking place. As this particular adaptation of the story emphasizes -- as do the translations of the story which are entitled "The New Year's Sacrifice" -- the sacrificing of Xianglin's wife, we have decided to opt for this translation as well.
+
+We have taken much effort to contact the publisher of this comic in order to acquire permission by the copyright holder to publish the pages online. We regret that we have not received responses to our inquiries. If you believe that copyrights are not being respected, please [send us an email message](mailto:chinacomx.erc@gmail.com). We will respond as soon as possible and will work with you to either accredit the material correctly or remove it entirely.
+
+[^1]: This translation was produced in a joint translation project by students at the Institute of Chinese Studies, University of Freiburg, supervised by Lena Henningsen. We acknowledge the support of the ERC-funded project "The Politics of Reading in the People's Republic of China" (READCHINA, Grant agreement No. 757365/SH5: 2018-2023). Special thanks go to Eve Y. Lin for her critical reading of the translation and to Matthias Arnold and Hanno Lecher from the Centre for Asian and Transcultural Studies (CATS), Heidelberg University, for providing us with high resolution scans of the comics which are part of the [Seifert collection](https://www.asia-europe.uni-heidelberg.de/en/research/heidelberg-research-architecture/projects/hra14-chinese-comics/the-seifert-collection.html)
+
+[^2]: This essay has been developed as part of the project "The Politics of Reading in the People's Republic of China" (READCHINA) which has received funding from the European Research Council (ERC) under the European Union's Horizon 2020 research and innovation programme (grant agreement No. 757365) and as part of the class "Comics in China" (winter 2021/2022) taught at the University of Freiburg.
+
+## Read the translated lianhuanhua
-[^1]: This essay has been developed as part of the project "The Politics of Reading in the People's Republic of China" (READCHINA) which has received funding from the European Research Council (ERC) under the European Union's Horizon 2020 research and innovation programme (grant agreement No. 757365) and as part of the class "Comics in China" (winter 2021/2022) taught at the University of Freiburg.
+{{}}
\ No newline at end of file
diff --git a/hugo.toml b/hugo.toml
index 4425fff..980f488 100644
--- a/hugo.toml
+++ b/hugo.toml
@@ -1,11 +1,17 @@
baseURL = 'https://chinacomx.github.io/translations/'
languageCode = 'en-us'
-title = 'Lianhuanhua Translations'
+title = 'ChinaComx Translations'
theme = 'hugo-book'
# Book configuration
enableGitInfo = true
+[menu]
+[[menu.before]]
+ name = "Home"
+ url = "https://chinacomx.github.io/"
+ weight = 10
+
[params]
# (Optional, default light) Sets color theme: light, dark or auto.
# Theme 'auto' switches between dark and light modes based on browser/os preferences
@@ -29,6 +35,11 @@ enableGitInfo = true
# Edit path must point to root directory of repo.
BookEditPath = 'edit/main'
+ # Configure the date format used on the pages
+ # - In git information
+ # - In blog posts
+ BookDateFormat = '2 January 2006'
+
[markup.goldmark.renderer]
unsafe = true
diff --git a/public/404.html b/public/404.html
index cf27187..5616fb0 100644
--- a/public/404.html
+++ b/public/404.html
@@ -8,13 +8,13 @@
-
-404 Page not found | Lianhuanhua Translations
-
-
-
-
-
+
+404 Page not found | ChincaComx Translations
+
+
+
+
+