Journal articles on the topic 'Chinee poetry'
To see the other types of publications on this topic, follow the link: Chinee poetry.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Chinee poetry.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Ochilov, O. "CHINESE NEW POETRY AND BUDDHISM." Builders Of The Future 02, no. 02 (May 1, 2022): 277–81. http://dx.doi.org/10.37547/builders-v2-i2-42.
Full textAbstract:
The article is about the influence of Buddhism on Chinese literature, especially poetry, the uniqueness of the verses in Buddhist scriptures, their emergence as a new genre, the peculiarities of Zen poetry, which began to spread in the late and early Sung dynasties as well as about the state of poetry in the late 19th century, which promoted Buddhist ideas and culture.
2
Bo, Zhang, and Seong-moon Kim. "Poetic Rhythm and Translation of Chinese Poetry." East Asian Ancient Studies 73 (March 31, 2024): 37–69. http://dx.doi.org/10.17070/aeaas.2024.3.73.37.
Full text
3
Chang, Haoxiang, Beitong Li, Fengwei Wang, and Yue Bin. "Thematic classification of ancient Chinese poetry using TwinEmbedAttentionNet." Applied and Computational Engineering 39, no. 1 (February 21, 2024): 302–14. http://dx.doi.org/10.54254/2755-2721/39/20230619.
Full textAbstract:
Ancient Chinese poetry, a reflection of Chinas rich cultural and philosophical fabric, encapsulates the evolving socio-cultural nuances of its historical epochs. Despite its cultural significance, there remains an evident lacuna in comprehensively classifying its recurring themes, due in part to the conciseness and polysemy intrinsic to the language and the essentiality of embedded cultural and historical contexts. Addressing this challenge, this study introduces TwinEmbedAttentionNet, a pioneering method tailored for the thematic classification of ancient Chinese poetry. This approach synergistically integrates pretrained word and sentence embeddings with an attention mechanism, ensuring the nuanced representation of the poetrys intricate details. Our results showcase its superior performance over existing models. Furthermore, an in-depth examination of model components offers insights into their respective thematic categorization efficacies. This research not only advances the academic understanding of ancient Chinese poetry but also underscores the potential of innovative neural networks in processing historically rich textual data.
4
Xu, Bao-yu. "Tang Poetry Hermeneutics in Korean Poetic Discourse." Society for Chinese Humanities in Korea 84 (August 31, 2023): 155–70. http://dx.doi.org/10.35955/jch.2023.08.84.155.
Full textAbstract:
Koreans have adopted a variety of methods in the interpretation of Tang poetry, among which the five aspects of interpretaion of poetry by Chinese classics(以經解詩), Neo-Confucianism(以理解詩), other Tang poetry(以唐解唐), dialect slang and customs(以方言风俗解詩), and personal experience are the most distinctive. The interpretation of poetry by Chinese classics shows the role of Confucian classics such as the Book of Poetry in regulating and restraining poetry, highlighting the complex and insoluble relationship between scripture and literature. Some neo-Confucianism had a hostile attitude towards literature, believing that literature was harmful, such as Er-Cheng(二程), and some neo-Confucianism had a tolerant attitude towards literature, such as Zhu Xi(朱熹). This had also created some characteristics of Koreans in understanding poetry. Interpreting poetry in dialect slang and customs brought Tang poetry into the Korean context, and tried to interpret Tang poetry regionally with its own social customs and linguistic environment, which could indeed increase and expand the ways and methods of interpretation, but it also made some misunderstandings because it was separated from the specific environment created by Tang poetry. On the contrary, the interpretation of poetry by experiencing it was somewhat in the spirit of textual research in Qing Dynasty, and the interpreter only felt some emotions and even facts in Tang poetry after experiencing certain scenes or events personally, so as to better experience the charm of Tang poetry, which can be said to be a step further in the hermeneutics of Tang poetry. There are also some foreseeable problems in the methods used by Koreans in interpreting Tang poetry, such as curious interpretation, overinterpretation, etc., which existed in Chinese poetics, and also existed in Korean poetics. If it can be rooted in the local environment of Chinese poetics, combined with the interpretive experience of Koreans, and reasonable speculation and deduction within the limits of interpretation, Korean Tang poetry hermeneutics still has important academic historical value, especially as an exotic eye, Korean poetics criticism of China should attract the attention of Chinese scholars.
5
Yong, Ping. "The Imagination of Romantic Poetry under Different Regional and Cultural Backgrounds: Comparison and Analysis of Kubla Khan and Mount Skyland ascended in a Dream-A Song of Farewell." Communications in Humanities Research 3, no. 1 (May 17, 2023): 340–47. http://dx.doi.org/10.54254/2753-7064/3/20220335.
Full textAbstract:
Romanticism is an important branch of the literary genre, and imagination is an important feature of it. From different historical backgrounds, Both British poets and Chinese have each profound insight into the imagination in their romantic poetry creations. Samuel Taylor Coleridge, as a pioneer of English Romantic poetry, his dream fragment Kublai Khan established an unshakable position in the poet's literary circle, while Li Bai was a well-known romantic poet in the prosperous Tang Dynasty. His representative work, Mount Skyland ascended in a Dream-A Song of Farewell, shocked the entire Chinese poetry circle as soon as it came out. This essay analyzes the poets' poetic thoughts on imagination by studying the different backgrounds of the two poets, the cultural traditions they contacted, and the philosophical thoughts they infected and meanwhile compares and analyzes the image characteristics of the two poets' representative works to explore the concrete expression of the poet's imagination in the poems. It is found that there are similarities and differences spatially and emotionally in terms of imagery. Moreover, the imagination in romantic poetry not only creates a series of illusory images and casts a phantom veil on the whole poem but also insinuates the poet's poetic thought and inner emotional appeal.
6
Xu, Jianzhong, and Chengxia Chang. "Poetic dialogue analysis of Chinese–English poetry translation." Language and Dialogue 2, no. 2 (August 13, 2012): 262–82. http://dx.doi.org/10.1075/ld.2.2.05xu.
Full textAbstract:
The translation of ancient Chinese Poetry into English is considered to be one of the most challenging tasks not only because of the different features between the two languages, especially as they belong to different linguistic families, but also the unique features of the ancient Chinese poetry itself.. This paper, by applying poetry dialogue analysis based on dialogism, explores the operation of its elements such as context, subject, sense, image, the reader and text form, and tries to seek out the mechanism for understanding the source text and reproducing what the source contains in the target language, thus shedding light on poetry translation studies.
7
OCHILOV, OZODJON. "The Rhythmic Paradigm of Classical Chinese Poetry." Sharqshunoslik. Востоковедение. Oriental Studies 03, no. 03 (October 1, 2022): 38–42. http://dx.doi.org/10.37547/os/vol-01issue-03-05.
Full textAbstract:
There are several differences between modern and classical Chinese poetry, and one of the most obvious is related to the strict rules imposed on the rhythm of the poem. By the Tang period (from the 7th century AD), much attention was paid to rhythm, especially to the harmony of the first tone. Rhythmic poetry based on melodies was fully formed by the Tang period and a number of strict rules were developed. These rules were in force until the beginning of the 20th century. Below we will take a closer look at the characteristic features of the rhythmic paradigm of ancient poetry. These features will help us understand the essence of the revolutionary poetry reforms that began to flourish in China at the end of the 19th century.
8
Yuqing, Luo. "Transformations of the moon image in Russian translations of Su Shi’s poetry: history and characteristics of perception." OOO "Zhurnal "Voprosy Istorii" 2024, no. 6 (June 1, 2024): 128–35. http://dx.doi.org/10.31166/voprosyistorii202406statyi01.
Full textAbstract:
This article discusses the problems of literary translation from Chinese into Russian based on the poems of Su Shi. The image of the moon in the poet's work has a special symbolic meaning. The moon in Chinese classical poetry carries a deep cultural semantic load, reflects a rich spectrum of human feelings, and it has vivid imagery and artistic expressiveness in Su Shi poetry, in this regard, the study of strategies for translating the image of the moon seems relevant. The article also analyzes the strategies of translation of Su Shi's poems by such translators as I.S. Golubev, V.E. Vitkovsky, M.I. Basmanov, S.A. Toroptsev.
9
Weezoohwang. "Several Rules for Choosing Poetic Words in Chinese Poetry." Journal of Korean Literature in Classical Chinese ll, no. 66 (June 2017): 7–36. http://dx.doi.org/10.30527/klcc..66.201706.001.
Full text
10
Ouyang Yu. "A Poetic Revolution in Keywords: On Contemporary Chinese Poetry." Antipodes 29, no. 1 (2015): 193. http://dx.doi.org/10.13110/antipodes.29.1.0193.
Full text
11
Fang, Alex C., Wan-yin Li, and Jing Cao. "In search of poetic discourse of classical Chinese poetry." Chinese Language and Discourse 2, no. 2 (December 21, 2011): 232–49. http://dx.doi.org/10.1075/cld.2.2.04fan.
Full textAbstract:
We address the issue of poetic discourse in classical Chinese poetry and propose the use of imageries as characteristic anchors that stylistically differentiate poetic schools as well as individual poets. We describe an experiment that is aimed at the use of ontological knowledge to identify patterns of imagery use as stylistic features of classical Chinese poetry for authorship attribution of classical Chinese poems. This work is motivated by the understanding that the creative language use by different poets can be characterised through their creative use of imageries which can be captured through ontological annotation. A corpus of lyric songs written by Liu Yong and Su Shi in the Song Dynasty is used, which is word segmented and ontologically annotated. State-of-the-art techniques in automatic text classification are adopted and machine learning methods applied to evaluate the performance of the imagery-based features. Empirical results show that word tokens alone can be used to achieve an accuracy of 87% in the task of authorship attribution between Liu Yong and Su Shi. More interestingly, ontological knowledge is shown to produce significant performance gains when combined with word tokens. This observation is reinforced by the fact that most of the feature sets with ontological annotation outperform the use of bare word tokens as features. Our empirical evidence strongly suggests that the use of imageries is a powerful indicator of poetic discourse that is characteristic of the two poets concerned in the study.
12
금지아. "Chinese poetry education utilizing Korean-Chinese Poetry Paintings: Chinese Poetry in Highschool Chinese Writing Textbook." EDUCATIONAL RESEARCH 45, no. ll (June 2009): 143–63. http://dx.doi.org/10.17253/swueri.2009.45..006.
Full text
13
Sundararajan, Louise. "Twenty-Four Poetic Moods: Poetry and Personality in Chinese Aesthetics." Creativity Research Journal 16, no. 2-3 (August 2004): 201–14. http://dx.doi.org/10.1080/10400419.2004.9651453.
Full text
14
Sundararajan, Louise. "Twenty-Four Poetic Moods: Poetry and Personality in Chinese Aesthetics." Creativity Research Journal 16, no. 2 (August 1, 2004): 201–14. http://dx.doi.org/10.1207/s15326934crj1602&3_5.
Full text
15
Zhu, Mini, Gang Wang, Chaoping Li, Hongjun Wang, and Bin Zhang. "Artificial Intelligence Classification Model for Modern Chinese Poetry in Educatio." Sustainability 15, no. 6 (March 16, 2023): 5265. http://dx.doi.org/10.3390/su15065265.
Full textAbstract:
Various modern Chinese poetry styles have influenced the development of new Chinese poetry; therefore, the classification of poetry style is very important for understanding these poems and promoting education regarding new Chinese poetry. For poetry learners, due to a lack of experience, it is difficult to accurately judge the style of poetry, which makes it difficult for learners to understand poetry. For poetry researchers, classification of poetry styles in modern poetry is mainly carried out by experts, and there are some disputes between them, which leads to the incorrect and subjective classification of modern poetry. To solve these problems in the classification of modern Chinese poetry, the eXtreme Gradient Boosting (XGBoost) algorithm is used in this paper to build an automatic classification model of modern Chinese poetry, which can automatically and objectively classify poetry. First, modern Chinese poetry is divided into words, and stopwords are removed. Then, Doc2Vec is used to obtain the vector of each poem. The classification model for modern Chinese poetry was iteratively trained using XGBoost, and each iteration promotes the optimization of the next generation of the model until the automatic classification model of modern Chinese poetry is obtained, which is named Modern Chinese Poetry based on XGBoost (XGBoost-MCP). Finally, the XGBoost-MCP model built in this paper was used in experiments on real datasets and compared with Support Vector Machine (SVM), Deep Neural Network (DNN), and Decision Tree (DT) models. The experimental results show that the XGBoost-MCP model performs above 90% in all data evaluations, is obviously superior to the other three algorithms, and has high accuracy and objectivity. Applying this to education can help learners and researchers better understand and study poetry.
16
Li, Dian. "Translating Bei Dao." Babel. Revue internationale de la traduction / International Journal of Translation 44, no. 4 (January 1, 1998): 289–303. http://dx.doi.org/10.1075/babel.44.4.02li.
Full textAbstract:
Abstract There is a bold suggestion that Bei Dao's translatability is symptomatic of the fact that his poetry is a "World Poetry" and thus lacks grounding in China's history. Now that Bei Dao's reputation in the West has been on the rise and his works continue to be translated in many Western languages, it is time to treat the lingering questions regarding Bei Dao's translatability seriously and to conceptualize it in the context of modern Chinese poetry, which is , in a large sense, a history of rejuvenation through the translation of Western poetry. The immediate origin of the poet's translatability resides, the paper suggests, in a literary language called the "translation style" in the late 1960s, which served as a protest against the language of authority in Mao's China. Against this historical background, the paper problematizes the use of translatability as a way of reading and critiquing Bei Dao's poetry. The translation of poetry, after all, is a form of idealized interpretation, much limited by information available to the translator. When one says Bei Dao's poetry translates well into English, it is precisely because it has been translated with all its gaps, errors, and ambiguities, all of which are abundant in Bei Dao's English texts. Résumé Certains ont suggéré que la traductibilité de Bei Dao s'explique par le fait que sa poésie est une "poésie universelle" qui ne puise pas ses racines dans l'histoire de la Chine. Aujourd'hui, la réputation de Bei Dao se confirme dans le monde occidental et ses ouvrages y sont traduits dans plusieurs langues occidentales. Il est donc grand temps d'aborder avec sérieux les questions restées en suspens quant à sa traductibilité et de conceptualiser celle-ci dans le contexte de la poésie chinoise contemporaine, qui, à plusieurs égards, est l'histoire d'un rajeunissement opéré par le biais de la poésie occidentale traduite. Dans son article, l'auteur suggère que la traductibilité du poète réside en premier lieu dans le langage littéraire que l'on appellait vers la fin des années soixante "le style traduction", un style utilisé en guise de protestation contre le langage de l'autorité propre à la Chine de Mao. C'est sur cette toile de fond que l'auteur analyse l'utilisation de la traductibilité comme moyen d'aborder et de critiquer la poésie de Bei Dao. En somme, la traduction de la poésie est une forme d'interprétation idéalisée, très limitée par les informations accessibles au traducteur. Si la poésie de Bei Dao se traduit aisément en anglais, c'est précisément parce qu'elle a été traduite avec toutes les lacunes, erreurs et ambiguïtés qui abondent dans les textes du poète chinois.
17
Qin, Zhenxiu. "Study of the Translation of Stephen Owen's Tang Poems." International Journal of Education and Humanities 8, no. 3 (May 17, 2023): 24–28. http://dx.doi.org/10.54097/ijeh.v8i3.8077.
Full textAbstract:
Tang poetry is not only a historical sparkle and a literary treasure of China, but also an important part of world literature. In recent years, many scholars have begun to translate Tang poetry in an attempt to convey the charm and beauty of Tang poetry to the world. The charm of Tang poetry has crossed national boundaries and become international. In the process of enhancing the impact of the culture of Tang poetry throughout the world, translation is inevitable. In the practice of translating Chinese poets into foreign languages, not only Chinese scholars but also overseas sinologists have been involved. One of these overseas sinologists, Stephen Owen, who is a great fan of Chinese Tang poetry, has made a significant contribution to the translation of Tang poetry through his love and dedication to the cause of translation. This paper will analyse Stephen Owen's book-- Traditional Chinese Poetry and Poetics : Symbols of the World to analyse his understanding of Chinese poetry. Then the paper will also examine examples of Stephen Owen's translations of Tang poetry. By analysing his understanding of Chinese poetry, as well as his translation practice, a study of Stephen Owen's translation of Tang poetry will be realized.
18
Zou, Luwei. "Creative Heritage of A.S. Pushkin in the Literary Courses of Chinese Schools and Universities." Philology & Human, no. 4 (December 3, 2022): 179–83. http://dx.doi.org/10.14258/filichel(2022)4-13.
Full textAbstract:
The article is devoted to the creative heritage of A.S. Pushkin in the practice of teaching literature in China. In modern Pushkin studies, the teaching of the poet's works in the literary courses of schools and universities has not been given enough attention, and the study of the practice of teaching his poetic, prosaic and dramatic works in China is being carried out for the first time. Based on the information collected in the article, it was revealed that Pushkin's teaching in Chinese educational institutions took place in several stages. This allows us to trace the evolution of the study of topics, issues, and the ideological content of the poet's works included in the curriculum. At the turn of the 20th-21st centuries. Chinese primary and middle school students are accessible to Pushkin's poetic works, while they are often asked to compare similar images in Chinese poetry and Pushkin, and there covers all genres and all the main topics of the poet's work in teaching practice in Chinese universities. The article also reveals an interesting trend in Pushkin's teaching – the actualization of those facets of his heritage that help to comprehend modern times.
19
Sim Kyung-Ho. "Differentiation of Poetic Intension Appeared in Chinese Poetry in Modern Period." Korean Classical Poetry Studies 26, no. ll (May 2009): 113–55. http://dx.doi.org/10.32428/poetry.26..200905.113.
Full text
20
Dreyzis, Yulia Alexandrovna. "Poetic topolectization in the formative years of the Chinese “new poetry”." Ethnic Culture 5, no. 3 (August 28, 2023): 29–36. http://dx.doi.org/10.31483/r-107456.
Full textAbstract:
The paper explores the infiltration of topolect into the poetry of Liu Bannong and Crescent Moon Society authors, induced by the Folksong Collection Movement, often labeled as introducing vernacular into poetry. The language of Liu Bannong’s New Poetry presents a complex hybrid between the emerging literary norm, local Beijing vernacular and his native lect of the northern Taihu region. Many contemporaries noted his poetry’s merits and his invaluable contribution to New Poetry development, greatly facilitated by Liu Bannong’s professional linguistic training. Following Liu Ban Nong’s footsteps, the Crescent Moon Society suggested experimenting with a new poetic language through the prism of the vernacular. Theorizing was supported by poetic practice: the authors of the Crescent Moon Society included topolect vocabulary in the texts abundantly, and directly marked individual poems as colloquial. In addition to inlaying topolect vocabulary or including large fragments of text written in topolect, topolectization was also carried out through rhyming. Despite the fact that further influence of this topolect poetry remained underestimated, the emerging connection between topolect and the authentic embodiment of the idea of a national language has become important for any discussion about language reform in the new China.
21
Zhongshu, Q., and Z. Liya. "Chinese Poetry and Chinese Painting." Genre 43, no. 3-4 (January 1, 2010): 239–77. http://dx.doi.org/10.1215/00166928-43-3-4-239.
Full text
22
Liu, Yusen, Dayiheng Liu, and Jiancheng Lv. "Deep Poetry: A Chinese Classical Poetry Generation System." Proceedings of the AAAI Conference on Artificial Intelligence 34, no. 09 (April 3, 2020): 13626–27. http://dx.doi.org/10.1609/aaai.v34i09.7100.
Full textAbstract:
In this work, we demonstrate a Chinese classical poetry generation system called Deep Poetry. Existing systems for Chinese classical poetry generation are mostly template-based and very few of them can accept multi-modal input. Unlike previous systems, Deep Poetry uses neural networks that are trained on over 200 thousand poems and 3 million ancient Chinese prose. Our system can accept plain text, images or artistic conceptions as inputs to generate Chinese classical poetry. More importantly, users are allowed to participate in the process of writing poetry by our system. For the user's convenience, we deploy the system at the WeChat applet platform, users can use the system on the mobile device whenever and wherever possible.
23
Gao, Xiang, and Yap Jin Hin. "Interpretating and Performing the Musical Styles of Selected Chinese Art Songs Based on Mao Zedong's Poetry." Arts Studies and Criticism 5, no. 2 (June 21, 2024): 38. http://dx.doi.org/10.32629/asc.v5i2.2195.
Full textAbstract:
Mao Zedong's poetry significantly influenced Chinese vocal music in the 20th century and has been reflected in the creation of many Chinese Art songs. These songs are highly regarded in the Chinese music industry and are considered great works of Chinese literature and art. However, there is a lack of discussions on Chinese Art Songs based on Mao Zedong's poetry. This research aims to interpret and perform the musical styles of selected Chinese art songs based on Mao Zedong's poetry. This study encompasses three research objectives. The first is to identify the characteristics inherent in Chinese Art Songs based on Mao Zedong's poetry. The second objective involves the interpretation of the technical aspects of Mao Zedong's poetry in the context of Chinese art songs. Lastly, the third objective aims to perform selected Chinese art songs based on Mao Zedong's poetry in the form of recitals. This study will be conducted through the practice-based research framework, wherein textual and non-textual documentation will be utilized to report on the practice. By exploring the integration of Mao Zedong's poetry into art songs, this study provides a distinct approach to interpreting and conveying his poetry's emotions, themes, and ideas.
24
Xing, Xiaoshu. "Translation Strategies based on Cultural Image and Symbolism in Chinese Ancient Poetry." International Journal of Education and Humanities 14, no. 1 (May 14, 2024): 221–24. http://dx.doi.org/10.54097/kt9vp825.
Full textAbstract:
As the treasure of Chinese literature, ancient poetry contains rich cultural images. It is not only the crystallization of language art but also the carrier of cultural inheritance. Image and symbolism play an essential role in ancient Chinese poetry, which not only enriches the connotation of poetry but also brings challenges to translation. In the translation of ancient Chinese poetry, accurately conveying cultural images has become an essential task for translators. This paper takes one of the renowned Tang-dynasty poets, Li Bai's Silent Night Thoughts, as an example to explore the cultural images in ancient Chinese poetry and its translation strategies. Through the analysis of different versions of the poem translation, combined with the cultural background and language characteristics, this paper discusses the methods and techniques of the translation of cultural images and symbolism in ancient Chinese poetry in order to provide a new way of thinking and perspective for the translation of Chinese ancient poetry.
25
Li, Yang. "Flute archetypes of sounds in Chinese Tang era poetry." Музикознавча думка Дніпропетровщини, no. 18 (November 13, 2020): 93–104. http://dx.doi.org/10.33287/222020.
Full textAbstract:
Tang epoch trains (618–907) – an important source of judgments about expressive possibilities and sound archetypes of the Chinese flute, preserved in the music of the Celestial Empire composers of the XX – XXI centuries. The purpose of this investigation is to establish sound archetypes of the flute in the Chinese poetry of the Tang epoch. The methods of investigation are historical, semantic, genre and comparative approaches. The scientific novelty of the study is to introduce the concept of «flute poetry» of the Tang era into the musicology context, to establish its characteristic properties (spiritualization of the desolate time space with a magic melody, the reflection of the state of the soul of a lonely hero, the presence of the image of the listener-poet, connection with the elements of the wind, the nocturonal semantics of the natural landscape, signs of the palace style, the embodiment in the sounds of the flute - the mediator between the earthly and celestial worlds – philosophical ideas), the formation of the thesaurus of flute affects (moaning, sadness, sadness, state of waiting, experiencing loneliness). The samples of «flute poetry» by Li Bo, Du Fu, Wang Wei, Zhao Gu are considered. The image of the jade flute from Li Bo's poem symbolizes the priceless in human life. In Li Bo's poem about the Qiang Maiden, the flute music takes on the meaning of a leitmotif that accompanies the drama of love and separation. In Du Fu's work, the limits of earthly time and space contrast with the boundless celestial chronotope associated with the flute's sound image. In Wang Wei's poetry, the flute's crying accompanies the suffering of an abandoned woman and finds a response in the soul of a lonely traveler. Zhao Gu's poem includes the names of mythical flute artists Huan Tzu and Ma Rong, contributing to the sacralization of time and space in the work. Conclusions. In «flute poetry» of the Tang era, there are typical features of a common creative method inherent to the masters of the word «golden age»: the sound image of the flute is inscribed in a common artistic continuum based on the reflection of the poet's surrounding nature in a lyrical-philosophical landscape.
26
Li, Jin, Qiuhan Wu, and Yihao Luo. "English Translation of Fuzzy Beauty of Classical Chinese Poetry." Journal of Social Science Humanities and Literature 7, no. 2 (April 25, 2024): 20–33. http://dx.doi.org/10.53469/jsshl.2024.07(02).03.
Full textAbstract:
This paper attempts to probe into English translation of fuzzy beauty of classical Chinese poetry via imagery. Classical Chinese poetry is the cream of Chinese culture. It attracts millions of Chinese and western readers with its subtle and profound fuzzy beauty. The ultimate requirement of English translation of classical Chinese poetry lies in transferring its fuzzy beauty. Fuzzy beauty of classical Chinese poetry falls into three categories: fuzzy beauty in form, fuzzy beauty in imagery and fuzzy beauty in artistic conception. Imagery, being the soul of classical Chinese poetry, serves as a communicative and operational medium of transference of fuzzy beauty. The essence of fuzzy beauty consists in "gaps of indeterminacy" which conjures up the reader's unrestrained association. "Gaps of indeterminacy" constitute the "appealing structure" in a text which is subject to the reader's free interpretation according to his own "horizon of expectation". Fuzzy aesthetics sheds light on the aesthetic features of fuzzy beauty, and the hierarchical structure of fuzzy beauty in fuzzy aesthetics corresponds to different layers of fuzzy beauty of classical Chinese poetry. Therefore, both aesthetics of reception and fuzzy aesthetics are of instructive value to English translation of classical Chinese poetry. This paper is composed of five sections. The introductory section is concerned with the significance and purpose of the research. The second section reveals in detail fuzzy beauty in classical Chinese poetry. In the third section, the techniques and principle for translation of poetic fuzzy beauty are put forward in light of aesthetics of reception and fuzzy aesthetics and imagery is recommended as an ideal medium of transference of fuzzy beauty. The fourth section centers on how to transfer fuzzy beauty of classical Chinese poetry using imagery as a medium, analyses and proposals are given from such angles as fuzzy modifiers, syntax, juxtaposition, and cultural influences. A natural conclusion is drawn in the last section.
27
Hu, Zhe. "Analysis of the Historical Origin of Ancient Chinese Poetry and Art Songs." Journal of Innovation and Development 3, no. 1 (May 17, 2023): 76–78. http://dx.doi.org/10.54097/jid.v3i1.8425.
Full textAbstract:
The successful combination of poetry and dynamic beauty in poetry and dynamic beauty in music often brings vitality to people with transcendent aesthetic enjoyment. Classical poetry is an important cultural treasure in ancient Chinese literature, and it also has a relatively broad cultural value in the context of the current era, and is a brilliant pearl of Chinese culture. Ancient Chinese poetry and art songs refer to a relatively unique form of music genre produced by taking the poetry of Chinese literati and scholars as the singing content, adding scores and soundtracks by composers, and skillfully integrating poetry, rhyme and vocal emotion. After thousands of years of development, Chinese modern art songs combine literary art and musical art, precipitating thousands of years of cultural connotations of the Chinese nation; It embodies the spiritual feelings of thousands of people and is an important part of the excellent traditional culture of the Chinese nation. It is not only a perfect combination of traditional culture and elegant art, but also the symbiotic link between poetry and music. It has been spread for thousands of years in the long river of literature and art of the Chinese nation for a long time, and has profound historical connotation and high research value.
28
He, Shumin, and Liuqin Zhou. "On the Boundedness of English Versions of Chinese Poems." International Journal of Education and Humanities 2, no. 3 (May 9, 2022): 36–39. http://dx.doi.org/10.54097/ijeh.v2i3.340.
Full textAbstract:
As the main form of the creation of the Chinese classical literature, poetry is also a bright pearl of Chinese traditional culture. The ancient poetry is an art of language with distinctive rhythm, harmonious rhyme, concise character, rich connotation and profound artistic conception. Few western readers could enjoy its profound literary artistry. The primary reason is that Chinese was born with a poetic nature. The translation of Chinese classical poetry has limits. This essay analyzes this problem from three aspects-the beauty of sound, the beauty of sense and the beauty of form. The study not only helps us further comprehend and appreciate ancient Chinese poetry but also improves translation. This paper hopes that new light could be shed on the translation of ancient Chinese poetry with the help of this research.
29
Jiang, Minge. "Analysis of Translatability in Classical Chinese Poetry from the Perspective of Translation Strategies Taking Xu Yuanchong's Translations of the Lyrics "Everlasting Longing" as Examples." Communications in Humanities Research 12, no. 1 (November 20, 2023): 324–29. http://dx.doi.org/10.54254/2753-7064/12/20230173.
Full textAbstract:
Classical Chinese poetry is an important literary genre in Chinese literature, of which the Tang poems and Song lyrics are two of the highest artistic achievements in ancient Chinese poetry. The study of classical poetry translation has become a hot topic in Chinese literary translation. This paper aims to study the translatability of Chinese classical poetry from the perspective of the translation strategies of Xu Yuanchong by selecting lyrics titled everlasting longing in the Chinese-English Translation of 300 Chinese Tang and Song Lyrics authored by Xu Yuanchong, an outstanding translator. In the translation of Xu Yuanchongs poems, he emphasized the beauty of meaning, form and sound. Through a theoretical overview of important translation strategies and case study of the translation strategies adopted by Xu Yuanchong, the following conclusions are drawn: Xu Yuanchongs translation strategy of creative translation has greatly improved the translatability of classical Chinese poetry. Due to the particularity of the poetry style and literary form, the semantic meaning loss can be caused to a certain extent, so the translation strategy oriented by functional equivalence and aesthetic pursuit can provide the reference for the translation of Chinese classical poems and lyrics.
30
Xinyi, Xu, and Wang Feng. "A Study on the Tang Poetry Translation in the Perspective of "Harmony-Guided Three-Level Poetry Translation Criteria"." International Linguistics Research 2, no. 3 (July 31, 2019): p1. http://dx.doi.org/10.30560/ilr.v2n3p1.
Full textAbstract:
Tang poetry, a treasure of Chinese classical culture and art, is one of the precious representatives of the Chinese historical and cultural heritage. With its rich form, wide range of subjects and unique artistic charm, it represents the highest level of Chinese classical poetry. Based on Dr. Wang Feng's "Harmony-guided Three-Level poetry translation criteria", this paper compares and analyzes four English versions of different styles in different periods of Li Bai's "Qing Ping Melody (three poems)", and demonstrates that the theory is reasonable and feasible as the principle of poetry translation practice and criticism, aiming to encourage researchers to pay more attention to the field of Tang poetry translation and promote the further dissemination of Chinese classical poetry.
31
Xuan, Jinwan. "Comparative Study of the Main Images of Shakespeare's Sonnets and Ancient Chinese Poetry." Communications in Humanities Research 18, no. 1 (December 7, 2023): 42–45. http://dx.doi.org/10.54254/2753-7064/18/20231114.
Full textAbstract:
Shakespeare was a famous playwright and poet during the English Renaissance. His sonnets had a profound impact on world poetry. In the sonnets, he uses different images to express his inner emotions, and China also has extraordinary achievements in the sonnets. The ancient Chinese poets were good at using different intentions to express their feelings. Therefore, this paper focuses on the differences between Shakespeares sonnets and the imagery in Chinese poetry. The choice of images in Shakespeares sonnets and ancient Chinese poetry is closely related to the background of The Times. Shakespeares choice of images focuses more on seasonal animals, while the images in ancient Chinese poetry are more inclined to choose plants and the moon, and the expressions of emotions in ancient Chinese poetry are consistent.
32
Шань, Н., and С. Ван. "Yesenin’s poetic heritage and its impact on the new “rustic” Chinese poetry of early 90s." Иностранные языки в высшей школе, no. 2(65) (August 14, 2023): 64–73. http://dx.doi.org/10.37724/rsu.2023.65.2.009.
Full textAbstract:
Китайские и российские ученые рассматривали влияние есенинской поэзии на китайскую в целом и на творчество Хай-цзы в частности. Однако отражение поэтического наследия Есенина в новой деревенской поэзии Китая начала 90-х годов XX века пока не полностью изучено. В связи с тем, что современная китайская поэзия обладает жанровым и стилистическим разнообразием, авторы статьи предприняли попытку перевести пять стихотворений посредством верлибра — стиха со свободной рифмой, то есть как с рифмой, так и без нее. Актуальность предлагаемого исследования обусловлена необходимостью осмысления практических путей перевода современной новодеревенской поэзии на русский язык. Both Chinese and Russian scholars studied the influence of Sergei Yesenin’s poetic heritage on Chinese poetry ingeneral and the works of Hai Zi, in particular. Yet little attention has been so far given to the spiritual connection between Yesenin’s poetic world vision and that of the modern representatives of the so-called “rustic” poetry. The paper traces the influence of Yesenin on the inherent qualities of modern “rustic” Chinese poetry — on its thematic scope, imagery, tonality. Since modern Chinese poetry is characterized by genre and style variations, the paper offers five vers libre translations of well-known contemporary Chinese poets. The article is expected to draw attention to the necessity of looking for adequate ways of rendering in Russian the philosophic and emotional impact of modern “rustic” poetry and its tonality.
33
ZHU, Sizhe. "An Alternative Approach to the Translation of Poems in Political Texts: Take Xi Jinping: The Governance of China as an example." Asia-Pacific Journal of Humanities and Social Sciences 3, no. 1 (March 15, 2023): 150–58. http://dx.doi.org/10.53789/j.1653-0465.2023.0301.016.p.
Full textAbstract:
Chinese poetry translation is currently dominated by the rhymed translations of poetry represented by Xu Yuanchong and the unrhymed translations of poetry represented by Weng Xianliang. Both of these poetry translation methods have provided us with valuable practical experience. However, volumes 1 to 3 of Xi Jinping: The Governance of China, as authoritative interpretations of Chinese wisdom, Chinese plans, and Chinese theories, contain a large number of ancient Chinese poems. However, in the English version of the three volumes, the English translations of the relevant verses do not copy the existing translations, of famous translators, but instead, use the paraphrasing method to render these verses. By collecting representative verses on different topics and comparing the similarities and differences between translators’ translations of the same poems in the three volumes, the author summarizes the different paths of poetry translation, explores the feasibility and merits of the paraphrasing method as the main path of translating poetry in political texts, and provides a practical basis for promoting the paraphrasing method of poetry translation.
34
Lin, Hong. "Software Aided Classic Chinese Poem Composition." International Journal of Computer-Assisted Language Learning and Teaching 4, no. 1 (January 2014): 63–83. http://dx.doi.org/10.4018/ijcallt.2014010104.
Full textAbstract:
The forms of Chinese classic poetry have been developed through thousands years of history and are still current in today's poetry society. A re-classification of the rhyming words, however, is necessary for the classic poetry writing to be done in the new settings of modern Chinese language. In order to maintain the continuation of the poetry forms, computing technology can be used to help the readers as well as poetry writers to check the compliance of poems in accordance to the forms and compose poems without the effort to learn the old grouping of rhyming words. This work will help revive Chinese classic poetry in modern society and promote its writability.
35
Seng, Anabela Fong Keng. "THREE MILLENNIA OF CHINESE POETRY." Revista Brasileira de Literatura Comparada 22, no. 41 (December 2020): 103–9. http://dx.doi.org/10.1590/2596-304x20202241afk.
Full textAbstract:
Abstract Poetry has a history of thousands of years in China and can be said to be the shining jewel in the crown of Chinese literature, occupying a major proportion in her history. Having originated from folk songs, the Chinese poetry has produced a large number of brilliant examples from the Western Zhou Dynasty (1046-771 BC) to the Chunqiu (Spring and Autumn) Period (770-476 BC). China has, since ancient times, maintained a tradition of education in poetry, which is used to educate the people and arouse their intelligence. Through the reading, studying and writing of poetry, it is possible to instruct and cultivate the character of young pupils, as well as to promote children’s creative thinking, logical dialectics and humanistic consciousness. In addition, reciting, learning and writing poetry has the ability to cultivate one’s temperament, allowing people of all social strata, professional occupation and age to cleanse and purify their minds. The realm of poetry has the same effect of calming the soul as religious belief. This article shows the highlights of three millennia of Chinese poetry to the readers or scholars whose native language is not Chinese.
36
Li, Jiantao, Wenhao Hong, and Ying Hu. "Language consciousness and poetic reconstruction: A re-examination of goddess as a modern Chinese poetry anthology." Forum for Linguistic Studies 5, no. 3 (December 14, 2023): 2060. http://dx.doi.org/10.59400/fls.v5i3.2060.
Full textAbstract:
Goddess, as the inchoation of Chinese New Poetry, has significant meaning and always attracts the attention of researchers. However, there is a lack of a practical understanding of the ontological characteristics of the goddess in modern Chinese poetry (MCP). Guo Moruo consciously uses the rich grammatical functions and means of modern Chinese to construct the textual space of poetry. The subjective, dramatic, and rich modality system of modern Chinese has created the intense lyricism and dramatic, poetic aesthetic style of goddess, which makes goddess the anthology that genuinely practices the writing of MCP. Re-examining the goddess from the perspectives of language consciousness and poetic reconstruction is of excellent enlightenment significance for understanding the linguistic properties of early new poetry.
37
Lu, Zh. "The lyric oeuvre of Afanasy Fet and Chinese idyllic poems." Voprosy literatury, no. 5 (November 29, 2021): 222–32. http://dx.doi.org/10.31425/0042-8795-2021-5-222-232.
Full textAbstract:
There are compelling similarities between Afanasy Fet’s lyric poetry and classical Chinese lyric poetry. This connection is traced in the article with specific examples. Fet, carried away by the ideas of Schopenhauer, argued that thepoetic feeling lives in every person and can be called the sixth and highest feeling. In classical Chinese poetry, the Confucian concept of ‘the sense of things,’ the Taoist formula ‘words and forms’ and the idea of the unity of man and nature played an important role. With characteristic fixation of subtle changes of light and shadow, with the transmission of flushed feelings, Fet’s oeuvre reminds the readers of the ancient Chinese lyric poetry. Like classic Chinese texts, Fet’s poems are textbooks where the idea of the unity of man and nature is developed. In both Chinese poetry and Fet’s works, human life goes into natural life, gaining eternity in the nature. As a result, although Fet was not familiar with Chinese culture, the intuitions that fed his work surprisingly coincided with pictorial techniques as a way of conveying emotion in classical Chinese poetry, separated from him by many centuries.
38
Ku In Mo. "The Possibilities of Modern Appropriation andPrivatization of Chinese poetry-Kim Eok’s translationof Chinese poetry and Mangwoocho(1934)." Korean Classical Poetry Studies 39, no. ll (November 2015): 169–200. http://dx.doi.org/10.32428/poetry.39..201511.169.
Full text
39
LIN, HONG. "TOWARD AUTOMATED GENERATION OF CHINESE CLASSIC POETRY." New Mathematics and Natural Computation 09, no. 02 (July 2013): 153–81. http://dx.doi.org/10.1142/s1793005713400024.
Full textAbstract:
The forms of Chinese classic poetry have been developed through thousands of years of history and are still current in today's poetry society. A re-classification of the rhyming words, however, is necessary to keep the classic poetry up to date in the new settings of modern Chinese language. To ease the transition process, computing technology is used to help the readers as well as poetry writers to check the compliance of poems in accordance with the forms and to compose poems without the effort to learn the old grouping of rhyming words. A piece of software has been developed in a faculty/student research project at the University of Houston-Downtown to verify this idea. This software, called Chinese classic poetry wizard, provides the functionality of checking metrical forms and rhyming schemes. It also allows users to edit rhyme dictionaries and metrical forms. The new rhyming scheme proposed in this paper should rationalize the composition rules of classic Chinese poetry in the modern society; and the poem composition wizard will provide a handy tool for poem composition. This work will help revive Chinese classic poetry in modern society and, in a sequel, contribute to the current campaign of advocating Chinese traditional teachings.
40
Wang, Yong, and Olga V. Vinogradova. "Contemporary Chinese poetry and Russian modernist and postmodernist poetry: influence and analogy." RUDN Journal of Studies in Literature and Journalism 24, no. 4 (December 15, 2019): 704–12. http://dx.doi.org/10.22363/2312-9220-2019-24-4-704-712.
Full textAbstract:
For the last thirty years, Chinese poetry mostly has been well-known for three schools, namely: “Misty Poetry”, “Intellectual Writing”, and “Folk Writing”. Russian poets of diff erent periods were among those who had a notable impact on the works of Chinese poets. Russian lyric poets praising freedom, love, and relationships with nature became the main source of inspiration for “misty” poets. “Intellectual” poets felt their being close to the Russian Silver Age poets: A. Akhmatova, A. Blok, B. Pasternak, M. Tsvetaeva. Their poems include examples of direct addressing to them. “Folk” poets created an enormous and diverse area of postmodernist poetic texts, which is in sync with Russian poets of postmodernism. In the fi rst part of the article, the authors review the contemporary Russian poetry, in particular the “second avant-garde” poetry, in relation with the contemporary Chinese poetry that was “moved in time” for some decades, but came across the same processes of rising and the dialogue with society (sometimes provocative), with the world poetry, processes of introspection and experimental search. The second part of the article deals with the aspects of infl uence, made by Russian poets of different periods upon Chinese poetry, and with the issues of further development of contemporary Chinese poetry.
41
Ting, Ying, Wang Feng, and Ma Yan. "An Analysis of the Aesthetic Features in the English Versions of Li Bai’s “Hard Is the Journey (Ⅰ)” from the Perspective of “Eight Beauties Criteria”." English Literature and Language Review, no. 54 (April 12, 2019): 42–47. http://dx.doi.org/10.32861/ellr.54.42.47.
Full textAbstract:
The combination of translation theory and aesthetics has a unique position in the translation theories with Chinese characteristics. It is better to learn poetry or to translate poetry from the perspective of beauty. Dr. Wang Feng’s “Harmony-Guided Three-Level Poetry Translation Criteria” is one of the latest poetry translation theories in China, which provides a more comprehensive and effective perspective for poetry translation. This paper, taking several English versions of Li Bai’s “Hard Is the Journey (Ⅰ)” as the object, explores how the "Eight Beauties Criteria" in Dr. Wang Feng’s “Harmony-Guided Three-Level Poetry Translation Criteria” can be applied in translation practice. It proves the practical value of "Eight Beauties Criteria" in the translation practice of classical Chinese poetry in better carrying forward its aesthetic thoughts and aesthetic charm, and better helping Chinese culture to go out.
42
Qiubin, Wan. "HYPERBOLE IN CLASSICAL CHINESE POETRY AND ENGLISH TRANSLATION." MODERN VECTORS OF SCIENCE AND EDUCATION DEVELOPMENT IN CHINA AND UKRAINE 2023, no. 9 (May 2023): 50–56. http://dx.doi.org/10.24195/2414-4746-2023-9-5.
Full textAbstract:
Classical Chinese poetry is a microcosm of the history of Chinese civilization, and plays a vital role in the process of communication and mutual learning between Chinese and Western poetics, historiography and civilization. Hyperbole is a rhetorical device with rich expressive power. In the process of poetry creation, poets often use the technique of numeral hyperbole to describe events, portray scenery, express emotions and aspirations, and achieve superb artistic effects. This paper expounds the artistic value of hyperbole in classical Chinese poetry, and summarizes three translation strategies of numeral hyperbole in the translation of classical poetry on the basis of corpus and literature analysis.
43
Zhao, Guangxu, and Luise von Flotow. "Translating iconicities of classical Chinese poetry." Semiotica 2018, no. 224 (September 25, 2018): 19–44. http://dx.doi.org/10.1515/sem-2016-0206.
Full textAbstract:
Abstract In the history of translating classical Chinese poetry, there are two kinds of translators. The first kind translate classical Chinese poetry “by way of intellectual, directional devices” (Yip, Wai-lim. 1969. Ezra Pound’s Cathay. Princeton, NJ: Princeton University Press: 16). What these translators are concerned with most is the coherence of their translations. They give little attention to the ideogrammic nature of Chinese characters. I call them traditional translators. These translators include those in the history of translating classical Chinese poetry from its beginning to the first decade of the twentieth century, although there are still some who translate classical Chinese poetry in this way later. The second kind of translator is highly interested in the images created by ideogrammic Chinese characters and tries to convey them in target language. We call them modernist translators. These translators are represented by some American modernist poets such as Ezra Pound, Amy Lowell, Florence Ayscough, etc. From the point of view of iconicity, modernist translators’ contribution lies in their concern with the iconic characteristics of Chinese characters. But they did not give enough attention to syntactical iconicity and textual iconicity in classical Chinese poetry.
44
Landa, Sara. "On the Interplay between Poets’ and Philologists’ Translations of Chinese Poetry into German." Comparative Critical Studies 17, no. 2 (June 2020): 245–62. http://dx.doi.org/10.3366/ccs.2020.0361.
Full textAbstract:
‘[I]t has unfortunately become a fashion that people who obviously cannot claim to have any legitimation or any understanding in the field of sinology […], take hold of the sinological works of others and exploit them merely for business reasons’, complains the sinologist Leopold Woitsch in 1924, referring to Albert Ehrenstein's newest translations of Chinese poetry. The debate on who could authoritatively translate Chinese poetry was fiercely contested in German modernist circles and still rages to this day. Most scholars still contrast ‘poetical’ and ‘scholarly’ translations of Chinese poetry, either claiming that the former in an intuitive way come closer to the original, or criticizing the work of the poets who did not possess the linguistic and cultural background knowledge to dare approach Chinese poetry. However, it is exactly the interaction between the two modes that shaped the German reception of Chinese poetry in the twentieth century. Referring to a number of examples from the early-twentieth-century adaptations of Tang poetry, this article offers a more differentiated perspective on the cooperative and competitive relations between poets’ and scholars’ translations of Chinese poetry. Against the background of controversies surrounding ‘legitimate’ translations which shaped literary modernism in the early twentieth century, I show how the poetic and scholarly approaches were (and remain) closely interconnected, and discuss the thematic and aesthetic implications of this interrelationship.
45
Li, Wei, and Huiqin Dai. "Cognitive Approach to Metaphor From Metonymy in Classical Chinese Poetry." Theory and Practice in Language Studies 13, no. 3 (March 2, 2023): 777–82. http://dx.doi.org/10.17507/tpls.1303.27.
Full textAbstract:
Metaphor and metonymy, which are treated as two basic cognitive and conceptual mechanisms in cognitive linguistics, are highly interactive to each other. Metaphor from metonymy, as a complicated linguistic device and cognitive mechanism, has long been ignored although it helps create abundant implications and aesthetic value in poetry. This paper explores functions of metaphor from metonymy in meaning construction in classical Chinese poetry in order to offer a new perspective for the research of classical Chinese poetry and provide implications for appreciation, translation and teaching of classical Chinese poetry.
46
Zheng, Yan. "Study on the English Translation of Librettos of Modern Qinqiang Opera under the "Three Beauties Theory"." International Journal of Education and Humanities 8, no. 3 (May 17, 2023): 9–15. http://dx.doi.org/10.54097/ijeh.v8i3.8074.
Full textAbstract:
The librettos in the script of modern Qinqiang Opera The Rose Come Late into Bloom are similar to ancient Chinese poetry in form, sound and sense. Its translation can be adapted to the "Three Beauties Theory" of poetry translation proposed by Professor Xu Yuanchong. This paper introduces the similarities between Qin Opera, libretto and Chinese poetry, script content, translator team, rhyme characteristics of Chinese and Western poetry, and the "Three Beauties Theory", trying to explore the applicability of "the beauty in sense, the beauty in sound, and the beauty in form" in script translation.
47
Lihong, Zhu, and Wang Feng. "The Zen Relationship between Chinese Poetry and American Poetry." International Journal of Multicultural and Multireligious Understanding 6, no. 4 (August 13, 2019): 92. http://dx.doi.org/10.18415/ijmmu.v6i4.952.
Full textAbstract:
Zen has become especially popular after 1950 and the Zen craze of East Asia not only has become a kind of belief but also a way of life in America. Many American writers introduce, advocate, and concentrate on their Zen, and even go to the East to learn Zen. They applied the ideology, content and allusions of Chinese Zen to their works, so they have a close relationship with Chinese Zen. This article aims to analyze the poems of Kenneth Rexroth, Anthony Piccione, Gary Snyder and James P. Lenfesty to explore the mysterious relationship between Chinese and American poetry. These poets imitate the quiet beauty, wild freedom or orthodox of Zen poetry. Furthermore, each of them forms their own writing characteristics, thus creating a new realm of American poetry.
48
Nuo Xu. "Application of Foreignization Strategy in Chinese Translation of Emily Dickinson's Poetry: Taking Zhou Jianxin's Translation Selected Poems of Emily Dickinson: 601-900 as an Example." International Journal of Linguistics, Literature and Translation 5, no. 5 (May 13, 2022): 142–48. http://dx.doi.org/10.32996/ijllt.2022.5.5.18.
Full textAbstract:
Poetry is the perfect combination of form and content. Therefore, poetry translation should faithfully translate the original form and content. In other words, foreignization could be the best translation strategy for poetry translation, especially for those poems with distinctive formal characteristics, such as the poems of Emily Dickinson, a 19th-century American poetess. Currently, there have been 17 Chinese translations of Dickinson's poetry published in China, with few of them using a foreignization strategy; most of these translations fail to faithfully reproduce the original flavor of Dickinson's poetry. This study takes the only version of the current 17 translations that adopts the foreignization strategy, Zhou Jianxin's translated book, Selected Poems of Emily Dickinson: 601-900, as a research object to investigate Zhou's translation of poetic form and vocabulary through data statistics and textual analysis. It is found that Zhou has basically reproduced original punctuation marks and lexical connotations and achieved equivalence of lexical function and meaning in lexical translation. Zhou's translation shows no traces of translation. That is, it reads natural and fluent. It retains original thought-provoking content and form and is a successful example of adopting a foreignization strategy to translate Dickinson's poems into Chinese, which justifies that the application of foreignization strategy in the Chinese translation of Dickinson's poetry is not only necessary but also feasible, which is the purpose of this study. It is expected that this study should encourage more Chinese translators to apply the foreignization strategy in translating Dickinson's poetry in the future so as to further enhance the quality of Chinese translation of Dickinson's poetry and present a truer and more authentic image of Dickinson's poetry in the Chinese world.
49
Groarke, Paul. "Chinese Poetry and Symbolism." Journal of Chinese Philosophy 26, no. 4 (February 1, 1999): 489–512. http://dx.doi.org/10.1163/15406253-02604004.
Full text
50
Wang, Xiao-Lun. "Geography and Chinese Poetry." Geographical Review 80, no. 1 (January 1990): 43. http://dx.doi.org/10.2307/215897.
Full text