From the Poem ‘Blue,blue is the Grass’ to Explore the impact of Chinese Classical Poetry on Ezra Pound

Blue,blue is the grass,Ezra Pound's version of a classical Chinese poetry,has enjoyed great popularity in the English reading public since its coming out in 1915.Through his translation Pound brought freshness into English poetry on the one hand,and disseminated Chinese culture on the other.And these verses happened to be a great stimulus as the Renaissance from the Greeks to the imagist poetry movement.This paper aims at a penetrating analysis of the impact of Chinese classical poetry on imagist poet Ezra Pound.

On untranslatability of classical Chinese poetry： From the perspective of aesthetic function of language

The author analyzes the untranslatability of the classical Chinese poetry from the perspective of aesthetic function of language. The untranslatability lies firstly in the heterogeneity, indeterminism and the ambiguity of the Chinese language itself. Moreover, the classical Chinese poetry displays its unique features and beauty which can not be rendered into English in terms of aesthetic function of language.

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.

On the Untranslatability of Classical Chinese Poetry

China is one of the countries which has the longest history and brilliant development of poetry.Among the translation of literature works,the translation of poetry has the most difficulty,which has reached common agreement in the field of translation.Particularly,the translation of Classical Chinese poetry arouses widely discussion,that is if it translatable or untranslatable.

Analysis of Aesthetic Communication Barriers in English Translation of Classic Chinese Poetry

Aesthetic communication plays significant role in poetry translation,for it affects the target text in both internal structure and external structure. This paper analyzes the comparison of nine versions of English translation of classic Chinese poem —Jing Ye Si written by Li Bai(李白) from the perspective of aesthetic communication barriers and reiterates the factors which influence the translation target texts.

A brief analysis of the classical poetry Chinese-English translation： From the perspective of ＂Beauty in three aspects＂

With the growing of mutual communication between different cultures, the translation of classical Chinese poetry becomes quite significant in the contemporary times. This paper first briefly introduces classical Chinese poetry, major classical Chinese poetry translation schools and their representatives, and professor XU Yuan-zhong＇s famous principle of ＂Beauty in three aspects＂. In order to help disseminate this part of Chinese culture through discussing how the reader of the translation may be inspired, moved and aesthetically entertained in the same way as one reads the original, this paper will analyze the classical poetry Chinese-English translation from the perspective of ＂Beauty in three aspects＂, namely, in three parts--beauty in meaning, beauty in sound and beauty in form. Thus, it serves the purpose to offer a relatively comprehensive view of the classical poetry Chinese-English translation.

A Stylistic Perspective on Translation of Reduplicated Words in Classical Chinese Poetry

Chinese poetry has a very long and remarkable history.It is one of the most important representatives of China's ancient civilization of 5000 years.Chinese poetry utilizes quite a large number of methods in order to be more melodious and charming.Reduplicated words,as a figure of speech,are one of the most frequently used form among them.Reduplicated words as an active rhetorical device can add more flavor and taste to poems.They have the advantages of expressing the stylistic beauty effectively in form,sound and sense,thus push the article to its topmost aesthetic beauty.This paper,from a stylistic perspective,first discusses and argues the translatability of reduplicated words and then the importance to maintain the style of reduplicated words.After that it tries hard to put forward some favorable ways of dealing with the translation of reduplicated words so that reduplicated words in classical Chinese poetry can be appropriately translated without damage to the original style and flavor.

Poetry Translation and Cultural Transmission——the English Version of the Classical Chinese Poem “Bring in the Wine”

This article,based on the English version of Li Bai's Classical Chinese Poem“Bring in the Wine”,explores the important position of cultural transmission in the English translation of the Classical Chinese Poem through the comparison of the cultural translation,and finally draws the rationality and feasibility of the creative translation techniques in the English translation of the Classical Chinese Poems.It points out that the alienation of the Chinese culture's external communication has ignored the reader's cultural acceptance ability and position of the western countries and regions dominated by the foreign countries.It is believed that in a long period of time,Chinese culture needs the translation of Chinese translators to dissimilation,the translation of foreign sinologists,domestication,and alienation,to meet the needs of different types of readers and to promote the Chinese culture to go out.

Study on the Emotions Conveyed by the Moon Image in Classical Poetry

Image is an abnormal description of a word or phrase used to create artistic conception in classical poem writing.This paper focuses on the literal meaning of image and symbolic meaning of the moon by analyzing typical moon-chanting poems of Li Bai,to illustrate the role of image in ancient poetry writing.

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.

小学古诗词跨学科教学问题与策略

古诗词教学在提升小学生语文核心素养中发挥着重要作用,跨学科学习是小学古诗词教学的一种行之有效的方式。通过对广东省115名小学语文教师进行问卷调查,发现当前小学开展古诗词跨学科教学时存在如下问题:部分跨学科教学流于形式;教学形式单一,缺乏创新性;教学实施过程中脱离小学生学情。教师可通过熟悉跨学科学习任务群内容,明确把握跨学科学习的教学目标;多角度提升综合素养,创新跨学科教学形式;了解其他学科的课标内容,找准符合学情的跨学科教学关联点等策略,为小学古诗词跨学科教学提质增效。

周代酒精神的演变脉络——以《诗经》为中心的考察

从以抵抗酒的礼乐精神立国,到不断无礼饮酒而致使礼崩乐坏,周王朝的命运始终与酒捆绑在一起。从《颂》《雅》到《风》,《诗经》清晰地反映了西周以来对酒态度的变化,周文化随着饮酒精神的变化而呈现同步演变。周公制定《酒诰》,确立了周人饮酒的精神基调。从《周颂》《大雅》中祭祀饮酒、孝亲饮酒,到《小雅》《风》中私人宴饮,从以礼饮酒到以酒解忧、以酒和乐,饮酒由公共事务逐渐变为个体行为,酒的功能也逐渐由口腹享受转变为调理身心。为悦友或解忧等私人性饮酒、醉酒逐渐增多,既远离《酒诰》精神,也不断冲击着礼乐制度。特别是随着宴饮频繁举行,人们对醉酒的态度由规避到接受,甚至饮酒不醉反被耻笑,对醉酒的态度完全被颠覆。酒逸出礼乐之外,标志着周朝的制度与精神双重解体。如何安顿张扬欲望而充满反叛性的酒,成为春秋以降的时代课题。

“形式的反作用”与“时代折光”——论贺敬之的新古体诗

新古体诗是贺敬之在新的历史阶段的又一艺术创新。面对社会语境的变化,立足自身承担的文艺工作使命,贺敬之创建新的抒情方式,以“形式的反作用”传达出面向丰富的“时代的折光”。贺敬之一方面清楚旧体诗具有形式束缚内容的一面;另一方面也敏锐意识到,旧体诗在表现某些特定题材的时候有其优长所在。通过对旧体诗取其便利、去其束缚,贺敬之打造出“新古体诗”这一兼具传统特色与当代品格的艺术形式。结合贺敬之对创作观念的阐述,分析其诗作可以看出,新古体诗兼具形式再造和内容重塑的双重意义。贺敬之一方面改造“古体”,激发今日之诗情,抒写当代之感思;另一方面依托古代典故等历史内容翻陈出新,其诗作折射出时代的光影流变。如同新歌剧、政治抒情诗一样,新古体诗是贺敬之辩证地理解诗心、诗思、诗情与“形式的反作用”之间的关系,循时代之脉搏、发人民之心声、创艺术新形制的实践成果。

以钢琴伴奏和美声艺术还原古典诗词优美的意境——用旋律和情感与古人对话

以钢琴伴奏和美声艺术相结合的形式来演绎中国古典诗词艺术歌曲,是用旋律和情感与古人对话的绝妙平台,为全世界的炎黄子孙和热爱中国文化的人们,诠释和传播中国辞章优美、底蕴深厚的传统文化。中国古典诗词能展现优美的意境及“家国怀古”“悲欢离合”及“伤春悲秋”等不同情怀的表达。而被称之为“音乐之王”的钢琴能够表现出世界上感性的、具体的声音形象,恰是由于钢琴所具备的诸种特征,可以还原中国古典诗词优美的意境。我国许多作曲家以中国古典诗词为歌词创作成艺术歌曲时,在钢琴伴奏上广泛借鉴了中国传统乐器的演奏技巧、情感表达方式及曲调特点,使他们创作的音乐作品能够再现中国古诗词的意境效果。实现了跨越千年的灵魂对话,让观众除了感受到典雅的艺术享受外,在这类以中国古典诗词为歌词的艺术歌曲里,能穿越时空,与古人对话,共享其艺术感染力。

论宗璞《野葫芦引》中的古典诗歌

在系列长篇小说《野葫芦引》中,宗璞精心创作了“序曲”“间曲”“终曲”共11首散曲,它们饱含深沉浓郁的家国情怀,提示故事情节发展,寄寓作家的当代立场以及对知识分子文化人格与民族精神的理性思考。这些古典诗歌与正文情节相得益彰,显示出情理交融的、可靠的叙述视角;古典诗歌的摘录与创制符合人物性格、心理,实质性地融入了人物活动,塑造出生动真切的人物形象,增强了作品的艺术张力;古典诗歌渲染氛围、营造意境,言近旨远,使小说艺术风格典雅凝练,体现了宗璞坚守诚雅的艺术追求。《野葫芦引》将古典抒情传统融入当代小说叙事,提供了一种现代与传统融合的可能性。

李氏朝鲜文人宋翼弼次韵李白诗歌探析

次韵是一种特殊的接受方式,李氏朝鲜著名文人宋翼弼《龟峰集》录有次韵李白诗歌8题13首。这13首诗特点突出,表现为对李白原诗主题的继承与翻新,对清静避世思想的接受,对家国情怀的接受,其背后是他对李白诗歌自觉的学习和与李白相似的人生遭遇。通过对李白诗歌的次韵,宋翼弼完成了对李白诗歌经典作品的选择,并成为李白诗歌在李氏朝鲜传播的重要一环。

莆籍诗人黄祖汉的诗词创作考论

考述莆籍渡台诗人黄祖汉的生平略历,指出他是民国时期“壶社”和“说诗社”两个诗社的中坚社员,其作品得到陈衍的推崇;重点考述黄氏所著三部旧体诗词集的主要内容;分析归纳黄祖汉诗词的艺术特色;认为黄祖汉在上世纪百年闽诗史上应占有一席之地。

数智时代国际中文教育视域下中国古典诗词传播的机遇、挑战与实现路径

随着数智化时代的到来,越来越多的数智技术应用于国际中文教育,国际中文教育的理念和实践也随之发生变革。在数智产品多模态、更灵活、非主流学习方式流行的背景下,国际中文教育中的中国古典诗词传播也面临内容参差不齐、传播者和教育者数智素养不足等挑战。本文认为,通过选取人类命运共同体内容和题材的古典诗词,采用立体化、多层次的呈现方式等路径,可实现数智化时代古典诗词更有效的传播。

论“歌诗”作为一种古典诗传统的再发现与重构

“歌诗”本为中国古代诗歌的一脉重要传统,但在新诗中,由于诗与歌分离的态势成为主导倾向,因而“歌诗”传统长期处于被冷落或被遮蔽的尴尬境地,导致新诗缺乏音乐性而危机频仍。21世纪以来的一批诗人和学者在回望古典诗词时重新意识到歌诗传统的重要性,因而重新发掘歌诗传统,对其进行重新阐释与界定,在重认歌诗传统的重要性、歌诗范畴的重新认知、歌诗对新诗建设的启示三方面构成了对古代歌诗传统的再发现。然而,“歌诗”作为一种古代诗歌传统,其口耳相传的歌诗形式已难以为继,因而新诗无法照搬古代歌诗形式,而应在新诗创作的文本策略上构建诗的节奏和韵,以此重构诗的“歌性”质素;在传播路径上将诗、歌、舞相结合进行跨界演绎,张扬诗的“歌性”;在诗与歌的体式上,让新诗与歌词之间通过跨体创作凸显“歌性”,由此建构新诗自身的歌诗传统。

融合中国诗词的线上自助正念干预的可行性及对参与者依从性的影响

本研究基于情绪困扰的正念干预和诗歌疗法,开发了一种融合中国诗词的线上自助正念干预方案,旨在提高参与者的依从性。研究1分别从可接受性、需求性、可执行性、实用性、有效性检验等维度对该干预方案进行了可行性评估。在此基础上,研究2采用随机对照实验,探索比较有无中国诗词的线上正念干预对参与者依从性的影响。结果显示,融合中国诗词的线上自助正念干预具有可行性,而且其显著提高了参与者的依从性。本研究首次将中国诗词和正念进行结合,开发了一种极富中国特色的线上正念干预形式,不仅改善了参与者的正念水平、知觉压力、总体幸福感,提升了其参与积极性和项目完成度,同时对中国传统文化的推广传播发挥了一定作用,具有一定的实践意义和社会价值。