[雙語翻譯]--文學專業(yè)外文翻譯--網絡社區(qū)與中國網絡文學的商業(yè)化（節(jié)選）

1、2250 單詞， 單詞，12000 英文字符， 英文字符，3600 漢字 漢字出處： 出處：Michael S. C. Tse, Maleen Z. Gong. Online Communities and Commercialization of Chinese Internet Literature[J]. Journal of Internet Commerce, 2012, 11(2):100-116.1．外文資料翻譯譯文Onl

2、ine Communities and Commercialization of Chinese Internet LiteratureMICHAEL S. C. TSE, MALEEN Z. GONGThis article presents a case study on roles of online communities in development and commercialization of Chinese Inter

3、net literature (CIL). Online communities are widely used in ethnic Chinese com- munities for publication of CIL works. Uses of online communities in publication of CIL works enhance authors’ and readers’ experience and f

4、acilitate the growth of the CIL market. In turn, the growth of the CIL market creates new business opportunities that eventually lead to CIL commercialization. Evidences from the case show that the roles of online commun

5、ities on CIL commercialization are much larger than simply being a new product development platform.KEYWORDS: e-commerce, e-publishing, Internet literature, inter- net users, online communityINTRODUCTIONThe development o

6、f the World Wide Web (WWW) and the rapid growth of the Internet population in the 1990s opened up new windows of opportunities for Internet users. Many individuals and business organizations seized these opportunities an

7、d utilized the Internet in their business operations (Amit and Zott 2001; Zhuang 2005). At the same time, noncommercial uses of the Internet were also booming. Online communities, as a computer network applica

8、tion originated from the pre-Internet age, enjoyed a new lease of life.Online communities are groups of individuals who engage in many-to-many online interactions with others who share common interests in specific subjec

9、t domains (Bishop 2007; Chen, Wu, and Chung 2008; Fu¨ller, Jawecki, and Mu¨hlbacher 2007; Gal-Oz, Grinshpoun and Gudes 2010; Madupu and Cooley 2010; Williams and Cothrel 2000). Driven by shared enthusiasm for a

10、n issue or an activity, individuals use online communities to exchange knowledge and ideas concerning the subject domains (Armstrong and Hagel 1996; Butler 2001; Fu¨ller et al. 2006; Greenfield and Campbell 2006; Zh

11、ang and Watts 2008). The migration of online communities from proprietary net- works like CompuServe and America Online to the Internet and the proliferation of WWW-based communities extend the reach of online communitie

12、s and enable more users to participate.One application of online communities is publication of original literary works. The open nature of online communities gives amateur authors opportunities to publish their works and

13、 receive feedback from readers with minimal effort. In Chinese online communities, all types of literary works are published. However, the vast majority of published works are fiction. Collectively, these works are known

14、 as Chinese Internet literature (CIL).CIL came under the spotlight in the Greater China Region (China, Hong Kong, Macau, Taiwan, and Singapore) after the publication of the seminal work, The First Intimate Contact, in 19

15、98 (Ewen 2007; Li 2007). After its initial success at the Internet, The First Intimate Contact was subsequently published in printed form (Tsai 1998), and a film adaptation of the story was made in 2000. The huge success

16、 of The First Intimate Contact provided strong encouragement to individuals who publish original literary works at online communities and drew the general public’s attention to the growing body of CIL works. For commerci

17、al publishers and venturers, literary works are mostly professional authors who consider writing as an occupation. In contrast, most CIL authors do not consider themselves as professional authors. Most of them are in the

18、ir early twenties and have other commitments, such as work and study (Ewen 2007). For example, Roson, the author of Tales of the Wind and Story of Eastern Cloud and Dream, was a postgraduate student when he published pre

19、quels of Tales of the Winds. A sign of their amateurish attitude towards publishing is their choice of nicknames. Most CIL authors use their nick-names rather than real names when they publish their works and the nick- n

20、ames they use generally sound less serious than the ones used by professional authors. For example, Jhi Hsin Tsai, the author of The First Intimate Contact, is known by his nickname Pizi Tsai (literally Tsai the Hooligan

21、).TABLE 1. Distinctive Characteristics of CILAuthors Mostly nonprofessional Motivated by desire for self-expressionGenresInclude genres that are not popular in traditional literature (e.g., alternate history,co

22、ntemporary fantasy, and xianxia)The initial motivation of most CIL authors to publish their works on the Internet is the desire for self-expression (Bishop 2007; Ewen 2007; Liu 2005; Madupu and Cooley 2010). In the forew

23、ord of New Song, the author, Ah Yue, states that the original motivation of the work is his dissatisfaction with his own performance in answering a question on Song Dynasty in the post- graduate entry examination (Ah Yue

24、 2005).Due to differences in authors’ profiles, the variation in quality of CIL works is significantly larger than those of traditional literacy works. While some CIL works like The First Intimate Contact are viewed by m

25、any as seminal works, a large number of them are considered to be of low quality (Luo 2007; Yin 2005). In addition, qualities of different parts of CIL works may vary significantly as many CIL authors let their work and

26、personal lives affect their writing activities. For example, in the course of writing Heavenly King, the author, Dancing, broke up with his girlfriend. Consequently, the quality of later parts of the work dropped signifi

27、cantly.As pointed out in the introduction, most CIL works are fiction. The gen- res of CIL works are not dissimilar to those of traditional literary works. How- ever, genres that are popular in the CIL arena are quite di

28、fferent from the ones that are popular in traditional literary works. In particular, alternate history, contemporary fantasy, and xianxia are three genres that are very popular in CIL but not in traditional literary work

29、s.The rise of the alternate history genre in CIL is largely stimulated by the popularity of historical simulation games like Romance of the Three Kingdoms series and Taikou Risshiden series in the Greater China region. I

30、nfluenced by emphasis of individuals’ roles in history in this type of games, the point of divergence in most Chinese Internet alternate history fictions is protagonists’ appearance in a specific point of time in history

31、 rather than a change in the outcome of a particular historical event. The protagonists, equipped with knowledge in history, society, and/or technology, change the courses of history through their efforts.New Song is a t

32、ypical example of Chinese Internet alternate history fictions. The protagonist of the story is a postgraduate student in history who mysteriously appears in the Song Dynasty. By utilizing his knowledge in history, cultur

33、e, and society, he establishes his own school of thought and becomes an eminent statesman of the Dynasty. He then uses his influence in the academic community and government to correct mistakes in Wang Anshi’s New Polici