“Voices of Heaven and Rhymes of God”——My English and Chinese Poetry Written from the Bible in Rhyme and Rhythm is Worth over Fifteen Towns together

Thanks to Heavens bestow me natural gift and literary talent, so that I not only like English and Chinese poems, but also can write poems in English and Chinese. After my 2nd book English Letters and Essays published by Sichuan University Press in March 2016, I began to write my 3rd book Voices of Heaven and Rhymes of God-My English and Chinese poetry written from the Bible in Rhyme and Rhythm. Imitating the most famous British, American and Italian poets, I have written more than one thousand English and Chinese bilingual poems from free poems, prose, addresses and narratives in the nine copies of the Bible in fourteen kinds of English metrical stanzas of poems, such as couplet, tercet, quatrain, cinquain, sixain, septet, octive, Spenserian stanza, ten-line stanza, sonnet, crown sonnet and long-stanzas (12, 13, 18) in rhyme and rhythm, in iambic pentameter and iambic tetrameter. And my Chinese poems in the version are in five, six, seven, eight and nine Chinese characters. We know the story in the Spring and Autumn Dynasty, Bian He’s Jade is the Jade of jades, the Treasure of treasures, and it is worth fifteen towns together. And I think my treasury Voices of Heaven and Rhymes of God is the Gem of jades and treasures, cause it brings us proverbs, wisdom, courage, confidence, strength, lifestyle etc. from the Bible, it really brings us heavenly grace, gift and wisdom. Voices of Heaven and Rhymes of God will be submitted out respectfully to common people;its soul is praising the Heavens sincerely, and hearing a universal singing.

Appreciation of the Rhyme of Poems and Sonnets

In poetry, the device of ending two or more lines with words that sound alike is called end rhyming;end words that share a particular sound are end rhymes. When used in a poem,end rhymes set up a definite pattern of sounds-a rhyme scheme.

Interpreting Chinese Nursery Rhymes from Mental Space Theory

Although nursery rhymes and other texts for children often involve implausible or even fantastic combinations of elements,children seem to have no trouble following them.The paper tries to account for the phenomenon in perspective of mental space theory,suggesting that children are adept at the sort of mental process called as conceptual integration.

Applying the Frame Theory to Translating Animal Metaphors in Cantonese Nursery Rhymes into English

From the perspective of the frame theory,with the analysis of animal metaphors in Cantonese nursery rhymes,this paper discusses the feasible translation strategies,suggesting that direct translation can be adopted for animal metaphors that can evoke the similar cognitive frame in both Cantonese and English cultural contexts.As for those without identical frame,translation without the original vehicle can be used for the metaphors of physicalification,while translation with annotation can be applied for the metaphors of personification.

On Rhyme and Symmetry in the Translation of Tang Poetry:A Case Study of Xu Yuanchong’s English Translation of 300 Tang Poems

Ancient poetry represents historical and cultural legacies accumulated by the Chinese nation for thousands of years and underpins the strong cultural confidence of the Chinese people.Tang poetry distinguishes itself from other literary works with its beautiful rhyme and symmetry.Previous studies of English translations of Tang poetry mostly focused on appreciation,analysis,and critics of different translation versions.Few researchers have delved into the specific translation methods for achieving the rhyming and symmetrical effects of Tang poetry in the target text.This paper examined Professor Xu Yuanchong’s English translation of 300 Tang Poems as the research object,and elaborated on how to retain the rhyming and symmetrical effects of Tang poems.This paper also summarized some practical methods that can be applied to translating Tang poems.Rhyming can be realized by the addition of end rhyme words and changes in word or line order.Symmetry can be achieved by the omission of a modifier or predicate,the addition of function words,changes in word order,or parallelism with the original sentence structure.

A Systemic-functional Approach to Ideational Metaphor in English Nursery Rhymes

Ideational metaphor is a typical type of grammatical metaphor. The analysis of grammatical metaphor in English nursery rhymes from the perspective of ideational metaphor, which tries to explore possible evidence of the existence of ideational metaphor in the language of young children-nursery rhymes. Children learn probably many equally complex systems as that of human language.

An Analysis of the Functions of Nursery Rhymes in Alice's Adventure in Wonderland

Alice's Adventures in Wonderland is a famous novel in children's literature by Lewis Carroll, plays an important role in the history of children's literature. Large amount of nursery rhymes are used in the novel. This paper simply analyzes the embodiment and function of the nursery rhymes in Alice in Wonderland, and the understanding of children's literature. It also points out the reasons for the existence of nursery rhymes.

一见倾心 HTC Rhyme

你是否总是在吵闹的环境中漏接重要电话？是否经常需要为手机充电而感到苦恼？又是否觉得在办公或开车时不知道该把手机放在哪里？你的手机俨然已经成为了焦躁情绪的来源，你甚至会觉得带手机是一件痛苦的事情。也许你需要一部新手机了，一部不同于以往的手机。一部使用更加舒适的手机。

Rhymes in English teaching in Primary Schools

Rhymes are also an essential part of foreign language learning for young learners,basically because all children enjoy sayingrhymes in their native language and they will naturally enjoy doing the same in another language.The value of using rhymes in the primaryEnglish teaching classroom has been widely recognized.In this paper we will describe the importance of using rhymes in teaching English as aforeign language in the primary school.

腧穴歌诀记忆法在经络腧穴学教学的应用——以胃经为例

经络腧穴学是针灸推拿学专业的基础课和主干课。经络腧穴学中的腧穴数量繁多,一直以来都占据课堂教学的大部分时间,也是学生学习记忆的难点。针灸歌赋借用文学体例形式,融合针灸学内容,是针灸学的重要组成部分,是学习针灸和经络腧穴的重要载体之一。时过境迁,古代腧穴歌诀难以契合现代经络腧穴学教学要求。文章在现代经络腧穴学教学大纲指导下,结合古代腧穴歌诀,拟定一套覆盖十四经的腧穴歌诀。以胃经腧穴歌诀为例,阐述其在课堂教学中的具体应用,从而提高腧穴教学的近期与远期效果。

数字人文视域中的元代江韵诗研究

在对《全元诗》进行全面统计分析之后,可以发现《全元诗》中共有207位诗人创作的456首江韵诗。通过对韵脚分布、出韵情况、韵脚组合、次韵分韵、诗风与用韵关系等方面的考察,会发现元代江韵诗的情况与唐宋两代相似,也存在核心韵脚、常见韵脚组合等现象。这同样使元代的江韵诗风以平易为主,同时也有篇幅长、用韵僻、构思奇的奇崛之作。明清两代的江韵诗中,应当也有核心韵脚与常见韵脚组合的情况。到了清代,逞才之风发展到极致,三江全韵诗大量涌现。

论吕坤《交泰韵》的反切特征及其音韵学价值

《交泰韵》的上去声反切上字,有的是入声字,有的是阴声韵字。《交泰韵》上去声反切上字的选择标准在于要与韵组入声字的介音、主要元音相同。借由这个规则可以发现,《交泰韵》与歌韵字相关的两类特殊音读,即模韵的庄组字又读为歌韵;歌韵的精组、端组字有开合两读。将《交泰韵》与相关韵书、今方言语音材料进行比较,既可说明这两个音读的来源,也可进一步确定《交泰韵》的音韵学价值。

南音活态旋律构建路径研究

南音独特的工乂谱记谱体系,只记录南音显性的骨干音和琵琶演奏法,而隐藏着丰富多元的唱腔旋律和其他乐器的演奏旋律。南音演唱、演奏者在工乂谱基础上,通过有规则的程式性和把握内在规律基础上的即兴性做韵融合,形成各自的唱奏旋律。做韵后的唱奏旋律,每一次、每一遍都有所不同,构成南音独特的多样性活态旋律。

基于文旅融合的四川非遗巴渠童谣的数字绘本转化研究

目的以传统四川非遗巴渠童谣为研究对象,探索当地文化旅游资源与巴渠童谣数字绘本进行双向结合的方法和路径,旨在用巴渠童谣数字绘本的视听感受、游戏互动及网络传播等优势对当地文旅资源起到更广泛的推广和宣传作用。方法用文献调查法对“巴渠童谣”的历史文脉、政治和文化意义进行梳理,并以“巴渠”为地域范围,用文献调查法和田野调查法相结合的方式,对当地进行文化旅游相关资源的调查和研究,将巴渠童谣和当地文化旅游资源融合起来,力求构建一套四川非遗巴渠童谣的数字传承和传播的新形式,并以实证案例加以阐释。结果基于上述方法,以巴渠童谣和巴渠地区的文化旅游相关资源为研究主体,对巴渠童谣进行数字化传承和传播的新模式探究,并以理论指导实践,在非物质文化遗产的数字化传承和当地文旅结合的多重传播形式上取得了较好的突破。结论通过对四川非遗巴渠童谣及当地文旅融合的数字转化再设计实践表明,四川非遗巴渠童谣数字绘本能在视觉、听觉、互动传播以及周边衍生品几个方面与地方文旅资源进行有效结合,因此,数字绘本作为一种创新载体,为推进非遗文化的传承与创新、丰富地域文化旅游内涵、扩大地域文旅资源传播,开辟了新的途径和可能性。

毛先舒的《南曲正韵》和曲韵论

《南曲正韵》是一部南曲专用韵谱。由于毛先舒认为四声韵系是语音之“正音”,而《洪武正韵》是四声韵系的韵谱,因此,他将《洪武正韵》作为设置韵部和收列韵字的主要依据,《南曲正韵》的二十二个韵部便是据《洪武正韵》设置的。他认为,曲韵的“正音”不能以地域来确定,应根据语音本身的自然规律来确定,若是以地域而定“正音”,那东、西、南、北,皆是土音,不是“正音”,只有融合了各地的土音,在此基础上制定的韵,才是“正音”。由于南曲采用了四声韵系为标准语音,故南曲不同于北曲,四声齐备,有入声字。南曲的入派三声,是南曲自身演唱作腔的需要,以与缠绵婉转的旋律相合。

《孺子歌图》非言语修辞编译的形貌修辞诠释

清末美国传教士何德兰编译的《孺子歌图》以图文并茂的形式,采用双语纂辑模式译介中国童谣,其跨符际的非言语修辞不啻为对外文化传播的有效途径。从《孺子歌图》翻译研究的现状入手,阐述形貌修辞及形貌修辞翻译的主要论题,继而从形貌修辞视角分析《孺子歌图》的英译,从“精选—巧变”的字形修辞、“缩移仿”结合的排列修辞、“以符表意”的标点修辞、“相似—异化”的图符修辞四个维度诠释形貌修辞在童谣编译中的应用。

从“重气”到“尚韵”:中国文人画美学品格变迁理路探究

考察从东晋顾恺之始至清末民初康有为、陈师曾和徐悲鸿等众多有识之士论画的1500多年绘画历史,我们发现,中国文人画的美学品格经历了一个由“重气”到“尚韵”的变迁理路。而在中国文人画美学品格发生转折的关键点上,顾恺之、谢赫、张彦远、荆浩、郭若虚、苏轼、米芾、赵孟頫和董其昌等书画家,担负起了历史给予他们的神圣责任和光荣使命。尤其是明末画家董其昌,他对“董、巨逸轨”的中国文人画图式语言赞叹至极,并对中国文人画的“尚韵”理论作了全面、深刻且系统的总结。因此,从某种层面而言,中国文人画“尚韵”的理论主张始于苏轼,成于董其昌,的确是有道理的。

朝鲜王朝时期文人李敬舆次韵李白诗歌探析

李白对中国后世诗歌产生影响的同时,也影响了不少朝鲜时期的文人,李敬舆就是其中的一位代表。李敬舆今存的40首五言古诗中,有14首是次韵李白的诗歌。这些诗歌从题材内容和思想意涵上均受到了李白原诗的影响,但同时又具有“学李而不囿于李”的特点。本文将以这14首次韵诗为出发点,采用文本细读的方式,探究李敬舆次韵李白诗歌的特点及原因。