On the Present Situation and Trend of Vietnamese Chinese Poetry Research

Based on the analysis of the historical background and current situation of the study of Vietnamese Chinese poetry, this paper analyzes the achievements and shortcomings of the existing research. It is found that although there are a large number of authors and achievements in the study of Vietnamese Chinese poetry in the past 40 years, it still stays in the low level of work elaboration and literature review, and lacks of theoretical and systematic research. The main purpose of this article is to analyze the current situation of Vietnamese Chinese poetry research, and to explore the new path and method of Chinese scholars’ research on Vietnamese Chinese poetry through comparative analysis of domestic and foreign research results.

A Study of Robert Morrison’s Translation of Chinese Poetry

The translation activities of Robert Morrison,the first protestant missionary to China,exert a profound impact on the following missionaries of their missionary efforts and Chinese Studies.Morrison’s translations of Chinese poetry,mainly cited as examples of certain cultural context,are scattered in various publications,and are not yet systematically studied.This paper aims to integrate and analyze Morrison’s translations of Chinese poetry,summarize their linguistic features,thereby providing insight into the studies on translation of the early missionary sinologues in China.

A Study on the Reproduction of Artistic Conception in Translation of Chinese Classical Poetry from the Perspective of Reception Aesthetics Theory

Chinese classical poetry has long been known for its unique artistic conception of mixture of sentiments andscenery, the conception beyond image and the refinement out of rhyme. From the perspective of receptionaesthetics theory, this paper analyzes translation strategies of the classical poetry, probes into the problems thatretaining “indeterminacy” and satisfying the readers “horizon of expectations” when translate Chinese classicalpoetry. It is necessary to keep enough aesthetic space, and to give full play to the translator’s aesthetic creativitywhen translate Chinese classical poetry, so as to reproduce the artistic conception of Chinese classical poetry.

＂Each Has Its Moment＂： Nie Gannu and Modern Chinese Poetry

Nie Gannu 聂绀弩 （1903-86）, essayist and poet, had begun his literary career as an avid advocate of the New Culture and New Literature Movement of the early twentieth century; but later in life, he became well-known for his classical-style poetry. This paper examines the paradox of old and new in Nie Gannu＇s writings by juxtaposing classical-style with new-style poetry for a comparative analysis. In contrast to new-style poetry, classical-style poetry with its prosodic requirements and formal conventions has a strong technical aspect. Nie Gannu＇s preference for the regulated verse in the seven-syllable line is a deliberate embrace of this technical aspect of classical-style poetry： On the one hand, the absorption in poetic skills and craftsmanship was therapeutic for him in the traumatic years of the socialist revolution; on the other, the restraint of the form and the use of parallel couplet afforded him linguistic resources unavailable in the new-style poetry, so that he was able to express emotional complexity, ambivalence, and an irony that is, in his own words, ＂both there and not quite there.＂ Nie Gannu＇s case demonstrates the importance of understanding the new and old verse forms in each other＇s context. Rather than considering the mapping of modern Chinese poetry as following a linear line of progression from classical-style to new-style, this paper proposes a spatial model of configuring the relationship of the two major verse forms in modern times, as mutually defining and constricting.

A Comparative Study of the Cultural Connotations in Chinese and British Landscape Pastoral Poetry

This article is a comparative study of Chinese landscape pastoral poetry and British landscape pastoral poetry,focusing on their cultural connotations.Many Chinese and British poets take the theme of pastoral landscape as their creative content.By describing the natural scenery of the field,the life and work of the farmers and etc.,the poems eulogize the simplicity and purity of rural world,the happiness and unsophisticated life of farmers and also certain emotion of the poets.This kind of poetry is very prevalent among readers.However,due to the heterogeneity of Chinese and British culture,the landscape pastoral poetry created by Chinese and British poets has the same theme and description objects,but there are also marked differences in their content,artistic expression,writing techniques and the creation form that attracted lots of scholars to study.However,there have been few such studies in the differences about Chinese and British landscape pastoral poetry.To this extent,hopefully,this article may be scholastically significant in studying on the difference of their cultural connotations.

A Tentative Study of Translation Evaluation System of Chinese Classical Poetry Form: From the Perspective of Functional Linguistics

Chinese classical poetry is the special form of literature. The translated texts of various qualities hinder the foreign read-ers from appreciating of CCP and even from correctly understanding of the Chinese unique culture, which presents obstacles to thetransmission of Chinese great culture. Tentatively establishing an evaluation system of CCP from the perspective of functional lin-guistics,based on three meta-functions proposed by Halliday, by applying the translation evaluation system, the quality of six trans-lated versions of 清明, a poem by Du Mu are assessed. By this case study, it is intended to prove the feasibility and practicability ofthis translation evaluation system, and then provide the suggestions on bettering the translated versions.

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.

SA-Model:Multi-Feature Fusion Poetic Sentiment Analysis Based on a Hybrid Word Vector Model

Sentiment analysis in Chinese classical poetry has become a prominent topic in historical and cultural tracing,ancient literature research,etc.However,the existing research on sentiment analysis is relatively small.It does not effectively solve the problems such as the weak feature extraction ability of poetry text,which leads to the low performance of the model on sentiment analysis for Chinese classical poetry.In this research,we offer the SA-Model,a poetic sentiment analysis model.SA-Model firstly extracts text vector information and fuses it through Bidirectional encoder representation from transformers-Whole word masking-extension(BERT-wwmext)and Enhanced representation through knowledge integration(ERNIE)to enrich text vector information;Secondly,it incorporates numerous encoders to remove text features at multiple levels,thereby increasing text feature information,improving text semantics accuracy,and enhancing the model’s learning and generalization capabilities;finally,multi-feature fusion poetry sentiment analysis model is constructed.The feasibility and accuracy of the model are validated through the ancient poetry sentiment corpus.Compared with other baseline models,the experimental findings indicate that SA-Model may increase the accuracy of text semantics and hence improve the capability of poetry sentiment analysis.

A Study on the Translation Aesthetics in Cathay based on Pound's Translation Theory of Recreation

This article expounds on Ezra Pound's translation anthology,Cathay by elaborating how he recreated classic Chinese poetry in modem English with his own translation aesthetics and theory.As both translation practice and recreation,Cathay exerts profound impact on global literatures and translations,conveying enlightenment to cultural exchanges between different civilizations.Based on Pound's translation theory,this article intends to unfold the aesthetics in Cathay including the beauty of exotic oriental culture,emotions that travels across time and space,and concise imagery through his recreation of connotations,themes,and text forms.Distinguishing from the precedents,Pound has made breakthroughs in the translation process,form,and criteria,valuing the translator's subjectivity.Nowadays,as overseas Chinese learners are increasingly keen in the Chinese culture,Pound's re-conceptualization of translation and cultural understanding can serve as rich references to cross-cultural exchanges and mutual learnings.

Rooted in Tradition, Embracing Modernity： Zhou Zuoren＇s Interest in Modern Japanese Haiku and Tanka and His Promotion of Short Verse in China

When late Qing and early Republican-period Chinese reformers grappled with the challenges of creating a new poetic language and form in the early decades of the twentieth century, Zhou Zuoren （1885-1967）, one of modern China＇s most influential intellectuals, believed that much could be learned from the experiments of modern Japanese poets who had overcome similar challenges in the decades following the Meiji restoration. Of all the verse forms Japanese poets were experimenting with, Zhou was particularly interested in modern haiku and tanka. Zhou felt that the modern haiku and tanka＇s rootedness in tradition on the one hand and their ability to express modern sensibilities on the other could offer a model for Chinese poets seeking to create a poetic voice that was at once modern, but also anchored in traditional poetics. This article will analyze some of Zhou＇s translations of modern haiku and tanka and illustrate how these translations led him to promote a new poetic form in China, typically referred to as ＂short verse＂ （xiaosh0. By further reading Zhou＇s critical essays on modern Japanese poetry against the writings of a number of Western modernist poets and translators who themselves were inspired by East Asian verse forms--Ezra Pound in particular--I will comment on the degree to which Zhou＇s promotion of short verse inspired by modern Japanese haiku and tanka challenges a perceived Western role in legitimizing East Asian forms as conducive to modernism.

Collisions of the Past with the Present： Translation, Texts, and History

This article begins by articulating a new perspective on the translation of Chinese poetry, arguing that the most important of the three well-known ＂difficulties＂ in the translation of Chinese poetry outlined by Yan Fu 严复 （1854-1921）--namely, faithfulness （xin 信）, conveyance （da 达）, and elegance （ya 雅）--should in fact be the one that is least often discussed, da. The author principally interprets da as ＂conveying＂ the mood and then the meaning of the original work into the target language. This position is then illustrated by specific examples from Lu Xun＇s （1881-1936） emotive and highly allusive classical-style poetry, engaging issues regarding its annotation, exegesis, and translation which have arisen in Chinese literary and scholarly circles. The author suggests that since the deployment of affective images has often been designated as an essential and distinguishing characteristic of Chinese poetry, the translation of Chinese poetry into Western languages must make an effort to engage with the original images--not simply resorting to paraphrases or substitutions--and concludes that poetry in translation can and does have important and lasting effects on the literature of the target language.

“牧歌体”引进与新诗创作——许地山《雅歌新译》效应探究

1919年4月出版的中文《圣经》“和合本”问世不到两年,著名文学家许地山就参照美国芝加哥大学英国文学教授莫尔顿(Richard Green Moulton,1849-1924)著作里的《雅歌》英文①,以当时出现不久的新诗体的措辞和格式,重译了《雅歌》,其《新译绪言》与重译全文发表在《生命》杂志1921年11月出版的第二卷第4期和12月出版的第5期上.