In our daily life, we come across many things, a flower, a bird, a vase, or a picture, for example, without seeing them, or to be exact, without paying them any special attention. To ordinary eyes, they are what they ...In our daily life, we come across many things, a flower, a bird, a vase, or a picture, for example, without seeing them, or to be exact, without paying them any special attention. To ordinary eyes, they are what they are. But to the sharp, sensitive eyes of a poet, every object has its own beauty, and carries a message deeper than what it seems to do. Through his artistic work, the poet reveals to us the beauty and truth that are hidden from our mediocre eyes, and enables us to enjoy the beauty and see the truth that nature endows to its creations. An American critic once said,"All art展开更多
To write about art and literature depicting London is often to write about Romantic poetry and novels,and to draw attention to the green and pleasant parts of the lands as hills,vales,woods,and all their rural relativ...To write about art and literature depicting London is often to write about Romantic poetry and novels,and to draw attention to the green and pleasant parts of the lands as hills,vales,woods,and all their rural relatives.Urban areas are often cast as dark mills,restaurants with oyster-shells,hospitals,and underground stations,for example,whilst rural places are celebrated,but their inspiration and beauty is to be found in the more civic depictions.Such poems and novels can enable us to envisage the city in a new life and even uncover the histories of a place.This paper will shed light on London in the eyes of literature,both as a civic and a cultural city,in order to draw more attention to the city as both an urban and rural place.This paper will also shed light on the great poets as William Wordsworth,John Keats,D.H.Laurence,and novelists such as Charles Dickens,Sam Selvon Salvo,and Virginia Woolf.展开更多
The paper investigates the literary connections between nineteenth-century American poet Emily Dickinson(1830-1886)and Yang Mu(1940-2020),an award-winning Taiwan Residents poet.As a fellow admirer of the Romantic poet...The paper investigates the literary connections between nineteenth-century American poet Emily Dickinson(1830-1886)and Yang Mu(1940-2020),an award-winning Taiwan Residents poet.As a fellow admirer of the Romantic poet John Keats like Dickinson,Yang Mu showed great enthusiasm for Dickinson,expressing his passion for her in a post modernist poem“September 27th's Emily Dickinson”in the early 1970s.Dickinson also sought literary guidance at the inception of her poetic career,writing to the then editor of The Atlantic Monthly Thomas W.Higginson,after reading his“Letter to a Young Contributor”in April 1862.Their works inform a shared investment between the two writers in their Keatsian aesthetics,concerns about poetic fame,and experimentation with poetic forms during times of surging national cultural sentiments.Recent scholarships by critics like Cristanne Miller,Roland Hagenbichle,Paraic Finnerty,Paul Giles and Domhnall Mitchell,among many oth-ers,have placed Dickinson's poetry squarely in a global context.In a similar vein,critics like Lawrence R.Smith,Michelle Yeh,Stephen Owen,Anthony C.Yu,and Lisa Lai-ming Wong also perceive Yang Mu as a world poet who practices bicul-turalism by blending eastern and western cultures.Building upon previous scholar-ships,the paper examines how Yang Mu plays a role of not only an admirer and a fellow poet,but also a surrogate mentor in“September 27th's Emily Dickinson”,replacing Higginson's editorial advice for and“surgical”treatment of Dickinson.Reversely,Dickinson's poem“There's a certain Slant of light”(1862)illuminates how Yang Mu's translation of this poem of Dickinson in The Completion of a Poem(1989)and his later four poems“Rays of the Searching sun”(1996)transplant Dick-inson's latc-Romantic,proto-modernist poetic quest onto his own post-Romantic,postmodern poetics.This East-West literary resonance demonstrated in these poems reveals the“cosmopolitan”potentiality embraced by both poets,shedding light on the significance of placing the transmission,circulation and evolution of poetic dialogues in a transcultural context.展开更多
文摘In our daily life, we come across many things, a flower, a bird, a vase, or a picture, for example, without seeing them, or to be exact, without paying them any special attention. To ordinary eyes, they are what they are. But to the sharp, sensitive eyes of a poet, every object has its own beauty, and carries a message deeper than what it seems to do. Through his artistic work, the poet reveals to us the beauty and truth that are hidden from our mediocre eyes, and enables us to enjoy the beauty and see the truth that nature endows to its creations. An American critic once said,"All art
文摘To write about art and literature depicting London is often to write about Romantic poetry and novels,and to draw attention to the green and pleasant parts of the lands as hills,vales,woods,and all their rural relatives.Urban areas are often cast as dark mills,restaurants with oyster-shells,hospitals,and underground stations,for example,whilst rural places are celebrated,but their inspiration and beauty is to be found in the more civic depictions.Such poems and novels can enable us to envisage the city in a new life and even uncover the histories of a place.This paper will shed light on London in the eyes of literature,both as a civic and a cultural city,in order to draw more attention to the city as both an urban and rural place.This paper will also shed light on the great poets as William Wordsworth,John Keats,D.H.Laurence,and novelists such as Charles Dickens,Sam Selvon Salvo,and Virginia Woolf.
文摘The paper investigates the literary connections between nineteenth-century American poet Emily Dickinson(1830-1886)and Yang Mu(1940-2020),an award-winning Taiwan Residents poet.As a fellow admirer of the Romantic poet John Keats like Dickinson,Yang Mu showed great enthusiasm for Dickinson,expressing his passion for her in a post modernist poem“September 27th's Emily Dickinson”in the early 1970s.Dickinson also sought literary guidance at the inception of her poetic career,writing to the then editor of The Atlantic Monthly Thomas W.Higginson,after reading his“Letter to a Young Contributor”in April 1862.Their works inform a shared investment between the two writers in their Keatsian aesthetics,concerns about poetic fame,and experimentation with poetic forms during times of surging national cultural sentiments.Recent scholarships by critics like Cristanne Miller,Roland Hagenbichle,Paraic Finnerty,Paul Giles and Domhnall Mitchell,among many oth-ers,have placed Dickinson's poetry squarely in a global context.In a similar vein,critics like Lawrence R.Smith,Michelle Yeh,Stephen Owen,Anthony C.Yu,and Lisa Lai-ming Wong also perceive Yang Mu as a world poet who practices bicul-turalism by blending eastern and western cultures.Building upon previous scholar-ships,the paper examines how Yang Mu plays a role of not only an admirer and a fellow poet,but also a surrogate mentor in“September 27th's Emily Dickinson”,replacing Higginson's editorial advice for and“surgical”treatment of Dickinson.Reversely,Dickinson's poem“There's a certain Slant of light”(1862)illuminates how Yang Mu's translation of this poem of Dickinson in The Completion of a Poem(1989)and his later four poems“Rays of the Searching sun”(1996)transplant Dick-inson's latc-Romantic,proto-modernist poetic quest onto his own post-Romantic,postmodern poetics.This East-West literary resonance demonstrated in these poems reveals the“cosmopolitan”potentiality embraced by both poets,shedding light on the significance of placing the transmission,circulation and evolution of poetic dialogues in a transcultural context.
