On Chengzhai Poetic Style and Shu Culture

Yang Wanli,a renowned poet of the Southern Song Dynasty(1127-1279 AD),has left an indelible mark on the history of Chinese literature with his unique artistic style.He pioneered the Chengzhai Poetic Style,a unique approach characterized by simplicity,naturalness,freshness,and liveliness in poetic creation.This style marked a turning point in the development of Song poetry and exerted a profound influence on the subsequent trends of Song poetry.As such,he was hailed as a“Leader in Poetry”by his contemporaries.The Chengzhai Poetic Style was gradually formed during Yang’s creation course,under the influence of several important factors,including the Bashu culture and its aesthetic taste represented by Zhang Jun and Zhang Shi,the Zen philosophy that emphasizes liveliness prevailing in the Shu area,and the view that the“Chinese Yi-ology has its roots in the Shu area.”Meanwhile,in the Collected Works of Chengzhai(Chengzhai Ji),there are many poems and essays about the Bashu area,which have provided valuable feedback to the Bashu literature and enriched its content.

Artistic Classical Chinese Gardens and Construction of Poetic Images in Modern Landscape

With regard to the artistic features of classical Chinese gardens,its ubiquitous poetic scenery is represented through the aspects of spatial sequence,landscape layout,hill piling and waterways dredging,plant configuration,architecture creation as well as various elements in classical garden.Emphasis is given to the close relationship between it and the traditional Chinese poetry and drawing,as it is resulted from the cultural feature of artistic classical garden and as art-and conception-centered as poetry and drawing.The connotation of conception is also analyzed,that is,inter-dependence,imaginary-real design,and correlation.Moreover,reality-and conception-centered methods in classical Chinese gardens are also introduced along with other conception creating methods such as configuration,view borrowing,empathy and symbolism.On this basis,discussion about key elements in conception creation in modern landscape design is carried out while emphasizing the understanding of environment,practice,experience,and method,so as to demonstrate the sense of place and create spatial artistic beauty through wider means.

Registers Study and Poetic Language

Poetic language is distinguished from other roles of language by its creativity in linguistic uses,among which register deviation and register mixing are the most conspicuous.A register study of poetic works is therefore beneficial to our understanding of the works in case.The present thesis adopts a Hallidayian Functional approach to analyze two short poems,illustrating this feature of poetic language and demonstrating a register study in a poetic context.

Noun-Inspiring Theme in Poetic Translation—On Noun Translation Governed by Theme of Classical Chinese Poetry

The presence of poetic noun is very common in classical Chinese poetry. And the absence of preposition and conjunction leading to noun juxtaposition is one of the poetic aesthetic features. At present, most researches of poetic translatio on n base individual impression and perception, fail to comprehend the nouns of source text in categorization, and critical analysis on the translated nouns is not interpretable and verifiable. This paper, taking a perspective of poetic theme relevance, categorizes the poetic noun from the indicative, descriptive and symbolic dimensions, proposes a poetic translation strategy called"aesthetic reproduction of poetic theme", and proves its necessity and rationality.

An Eternal Quest for Poetic Dwelling: A Comparative Study of the Eco-Ethic Thoughts in Silent Spring and Wolf Totem

This thesis is aimed at conducting a comparative study of the ecoethic thoughts in Silent Spring and Wolf Totem. It points out that Carson and Jiang's eco-ethics are relatively complete, ideal and objective. Moreover, the most shining features are that they not only unfold the grim fact of ecological crisis before the public, but also instil confidence and hope in each and every reader.

A Comparison of Pound's Poetic Ideas and Some Chinese Poetic Principles-Using the Translation of "The Jewel Stairs' Grievance" as a Case in Point

The prominent features of Li Bai's "The Jewel Stairs'Grievance" are precise diction;implicit meaning;an absent narrator;and a seamless unity of images and feelings.Pound's translation of it in Cathay reveals some kind of connections between some Chinese poetic principals and Pound's individual poetics.

Figurative Language and Poetic Devices in Harry Potter and the Chamber of Secrets

Written by J.K.Rowling,Harry Potterdepicts the protagonist,Harry Potter’s seven years’adventures during his life and studies at Hogwarts School.In Harry Potter and the Chamber of Secrets,Harry’s second year at Hogwarts School is described.By analyzing the figurative language and poetic devices in the book,this paper argues that similes,alliteration,rhyme and the symbolism are well used to make contribution to emphasize the theme of courage.Faced up with difficulties and hardships,Harry and his friends Ron Weasley and Hermione Granger have shown their great courage and finally figured out the clues.It illuminates that the properly used figurative language and poetic devices are essential to the emphasis of the theme.Key words:figurative language;poetic devices;

Interpreting the Merits In Aristotle's Poetics

Aristotle's Poetics represents the first major work of literature criticism. In this masterpiece,Aristotle expresses his literary and aesthetical theories. By introducing the merits in Aristotle's Poetics,this thesis tends to reveal Aristotle's large and enduring influence on modern literary criticism.

The Inspiration of Poetic and Picturesque Literati Garden to Chinese Modern Gardening

Literati garden in Chinese classical garden has its own characteristics,and literature,philosophy and aesthetic values contained in literati garden have a profound impact on the gardening of later generations.Literati garden embodies the aesthetic orientation of Chinese people’s love of poetry and painting,pays attention to the creation of poetic atmosphere and creates an emotional space,making that viewers appreciate the beauty of blending feelings and scenery.In this paper,the characteristics of the literati garden in Chinese classical garden are summarized,and its gardening essence is excavated,and its enlightenment to the modern Chinese garden is explored.

Poetic and Pictorial Splendor-Expression of Traditional Chinese Literati in Chinese Architecture

The expression of traditional Chinese literati is based on connection, seeking emotion and harmony. With various forms, though, this style of expression shares the same value in some art forms, like traditional Chinese poetry, calligraphy and paintings, and Chinese architecture. Based on the commonalities of various forms of literature and art, this paper offered an insight into Chinese architecture in light of poetic and pictorial expression of traditional Chinese literati. In order to illuminate the corresponding connection between traditional Chinese poetry, calligraphy and paintings, and Chinese architecture, this paper discussed the expression of Chinese architecture corresponding to the essence of traditional Chinese poetry, calligraphy and paintings respectively from the perspective of philosophy, aesthetics, and culture study of Chinese architecture. Via analogous analysis, which includes the analogy between the emotion of architecture and the feelings in traditional poetry, the analogy between the order of architecture and the spirit of calligraphy, and the analogy between the artistic conception and the picturesque scene, the poetic and pictorial expression of Chinese architecture was clarified. This paper emphasized that Chinese architecture needs to jump out of the concrete image, eradicate the interdisciplinary boundaries, and stress the integration of arts and humanities in a higher level, to express Chinese architecture in a Chinese way. That means making Chinese architecture modern in forms and techniques, and traditional in spirit and artistic conception.

The Negotiation between Greenblatt and Jameson on Politics and Poetics in Contemporary China

Stephen Greenblatt who first introduces the term“New Historicism”,for these years has gradually entered the mainstream from the edge of the academic and has influenced many fields fundamentally.For Greenblatt,the relationship between society and literature,politics and poetics,is the key to the study of Cultural Poetics.Therefore,in the thesis of“Towards a Poetics of Culture”,he debated with Jameson,considering him asalien,and taking the contemporary China as an argument in order to demonstrate that the functional distinctions between politics and poetics should be separated.Moreover,he deemed that these two must be adjusted in order to adapt to each other.If we learn from the methodology of New Historicism that focuses on contexts and interpretation patterns,we will find that the divergence of their views can be eventually traced back to the theoretical,political and ideological differences.

Exploring the Translation Model of Poetic Metaphor based on Conceptual Integration Theory

Poetic metaphor is a kind of conceptual structure formed by conceptual integration.It is the cognitive means,which is used by the poets to understand things and express emotions.As a conceptual structure,the poetic metaphor expresses certain semantic content,and its meaning construction is a kind of non-linear integration mode.In the translation of poetic metaphor,the translators should take the conceptual integration theory as the guide,construe the poetic metaphor firstly,in order to understand that what entities are participated in the conceptual integration of the poetic metaphor,and how the process of conceptual integration is;then,take the construal results as the basis,and take the cultural background of the target language as a reference,to reconstruct poetic metaphor in the target language,so as to achieve the purpose of translation and information dissemination.In the process of poetic metaphor translation,the translator’s cognitive model,ability and preference,the proficiency of the source language and target language,the familiarity of the culture of the source language and target language,personal encyclopedic knowledge reserve,and personal language expressing preference will affect the translation results of poetic metaphor.In addition,when the translators reconstruct the poetic metaphor in the target language,they must follow the principle of semantic consistency,cultural adaptation and universality.

The Three Stages of John Keats＇s Poetics

Apart from poetry, John Keats＇s concise remarks on poetics scatter miscellaneously in his other writings, whichhave been less studied compared with that of Keats＇s contemporary romantic poets. However, those terse remarksconstitute his deep perception on romantic poetry, many of which are now still glistening with their unique value.Based upon close reading upon Keats＇s poetical works and letters as well as later critics＇ books on poetry, thispaper intends to make a systematic study of Keats＇s poetics. Aiming at illustrating Keats＇ poetics, this paper fallsinto three parts--the first part being ＂Inspiration： Poetry as John Keats＇s Life＂, the second ＂Perspiration： NaturalGenius Plus Exquisite Revision＂, and the third ＂Perfection： the Aeolian Lyre＂.

Borges＇ Poetics of Visible Unrealities

Close reading and inter-textual analysis of Borges＇ essays, fiction, and poetry suggest a poetics of visible unrealities, a fiction that calls attention to its own artifice. Borges＇s poetics of reading and dreaming require another poetics of the work as a text that calls attention to its own artifice. In reading Borges＇ fiction, the separate roles and identities of reader, writer, and work of fiction merge and exchange roles, powers, and identities and are transformed into a single act of dreaming, which assumes cosmogonic and apocalyptic risks. In the dominant role given to the reader, the work of fiction as an object or work of art does not exist unless it is read. There is no determinate text, only a version of our own we re-write and invent every time we read the text. The author＇s reading is not a spontaneous evocation of vision, but an artifice, as artificial as the writing of the fiction. As writers and readers we are composed of texts and schemata, alphabets and artifacts, not merely mental perceptions and ideas. The reader requires a prior text to copy, translate, and recreate, and that text only exists as a fictional microcosm in so far as it is being read by a Reader who is able to actualize the revelation only imminent within it.

Poetic Language： Heidegger and Us

Late Heidegger＇s thinking of language is on the way to pure language, for Heidegger tries to overcome the impurity and equipment-treating of language. The pure language shows itself as poetic language. Poetic language overcomes the impurity of everyday language and theoretic language before it reveals itself as Saying and Silence, the conversation between poetry and thought, and the possible poetic dwelling. However, Heidegger＇s poetic language has its limitation, which calls for our rethinking of his thinking of poetic language and language itself and makes us bring forth the contemporary nature of poetic language. In this sense, poetic language is to become the purest language or language of the very beginning. Also three sorts of languages are differentiated： language of desire, language of equipment, and language of truth （poetic language）, of which poetic language is simultaneously the game of language of desire, language of equipment, and language of truth （poetic language）. Poetic language in the contemporary times helps us to think about our fate in our times and urges us to build our own dwelling home.

On ＂Poetic Spontaneity＂ and Aesthetics

This paper tries to explore Wordsworth＇s poetics through a discussion of his important poetic conception of＂poetic spontaneity＂ or ＂All good poetry is the spontaneous overflow of powerful feelings＂. Wordsworth＇s poetic point ＂All good poetry is the spontaneous overflow of powerful feelings＂ is stated in his important work The Preface to Lyrical Ballads （1801）, and this theoretical point is actually validated by many good poems of his own. This paper demonstrates the significance of the theoretical point by a close examination of The Preface and its textual meanings. And then it presents an understanding of the theory through a detailed analysis of his masterpiece Tintern Abbey （1798） and I Wandered lonely as a cloud （1804）. It also demonstrates the importance and influence of his ＂poetic spontaneity＂ by comparing it with the Neo-classicalism in the 18th century and the Modernism in the 20th century.

On the Generation of Nominalization and its Ecological Significance in Poetic Language

In consideration of the confused debates about the value of nominalization, this paper tries to explore the original generation of nominalization and analyze its use in poetry. This paper attempts to explore the generation of nominalization from a comprehensive point of view, to distinguish between ＂primary nominalization＂ and ＂ideological nominalization＂, to trace the root of primary nominalization, and to analyze the use of primary nominalization in poetry. Based on these analyses, this paper points out that primary nominalization in poetry is more consonant with the Green grammar, with the undivided, holistic ecological worldview and has ecological significance. However, the ideological nominalization in some other nonliterary formal style is an obstacle to the solution to environment problem, and so we should understand the function of nominalization with its contexts and pay more attention to poetic language.

赋即散文诗辩——由欧美学者译赋为“poetical essay”等谈起

赋是中国文学中比较特殊的一种文体,它介于诗文之间,与现代散文诗极为相似,因此有人称赋即散文诗。西方学者译赋时,把赋大类归于散文,也有称赋为散文诗的倾向。从文学发展的角度看,赋是诗的进一步散文化。因此称赋为散文诗或译赋为“poetical essay”都是不准确的。

Poetic Wisdom, Mind and Senses, Media. How to Deal With Phenomenon of Crisis of Humanities？

The today culture seems to be tom by two contradicted phenomena. First is connected with crisis of humanities, second with stepping of arts into the new spheres. Based on the thought of Marshall McLuhan, Giambatistta Vico and Rudolf Arnheim we will display that this contradiction is only apparent. After Marshall McLuhan we acknowledge the power of media to change the pattems of cognition and after RudolfArnheim we acknowledge the intimate relation between senses and mind. On such foundation we will see that crisis of humanities is connected with incorrect understanding relation between mind and senses. As Rudolf Arnheim remarks strict division between senses and mind favors downgrading social role of art and humanities--such division refuses art and humanities right to take a part in cognition. But in the age of electronic/digital culture, which is recovering the simultaneous of the verbi-voco-visual communication, new proportion between our senses is appearing. It must entail new approach to art and humanities.

On the Poetic Features in Jia Zhangke's Films

As one of the representative figures of the sixth generation of Chinese directors, Jia Zhangke is known as "the most poetic Chinese filmmaker." He has constructed artistic conceptions through image positioning, which create a unique beauty. At the same time, the themes of his works reflect the tradition of "poetry as an expression of aspirations" from the perspective of the fates of ordinary people in this era of change, allowing the audience to feel the poet's "aspirations." His films also show poetic features in terms of composition, lens, language and music.