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Abstract(s)
INTRODUCTION
The popular Hong Kong comedy, The Greatest Lover, re-incarnates one of the most popular western
musicals, My Fair Lady.
OBJECTIVES
1. To find out in what major ways My Fair Lady was rewritten as the Hong Kong Cantonese
movie, Gungzi Docing (The Greatest Lover).
2. To find out the socio-political, socio-linguistic, and gender ideology behind the rewriting.
METHODOLOGY
1. To note the similarity of the themes for both works – a creator falling in love with his/her
creation, and class prejudice and cross-class romance.
2. To note how the times of The Greatest Lover differ from that of My Fair Lady.
3. To note how the main characters in The Greatest Lover differ from My Fair Lady in terms of
profession, gender, etc.
4. To note how the plot of The Greatest Lover differs from that of My Fair Lady.
5. To note how focus on language in The Greatest Lover compares with that in My Fair Lady.
6. To discuss the ideological implications of the differences noted above, e.g. women in Hong
Kong today have much higher status than women in Victorian England; the conflict between
local Hong Kong people and both legal and illegal immigrants from Mainland China is even
more serious than that between the British upper middle class and the lower class during the
Victorian period.
7. Andre Lefevere (1992) argues that translation and adaptation are rewriting informed and
influenced by the rewriter’s ideology, among other things.
8. Both Aline Remael (1995) and Patrick Cattrysse (1992) think that film adaptation is a kind of
translation.
9. Sirkkus Aaltonen (2000) argues that drama translation mirrors the ideologies of the target
society.
CONCLUSION
1. The Greatest Lover projects local cultural significance onto My Fair Lady by helping us to
appreciate an important Western work of art through the Hong Kong Cantonese perspective.
2. Broader issues in translation and intercultural studies are also considered.
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Publisher
Instituto Politécnico do Porto. Instituto Superior de Contabilidade e Administração do Porto