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.

Comparative Aesthetics of Chinese and Western Visual Poetry Based on the Multimodal Theories

Although the Chinese visual poetry and western visual poetry have a lot of differences,the similarity of visual poetry is the combination of poetry and painting.This research will apply the method of comparative analysis and multimodal theories,aiming to provide a new view to evaluate Chinese and western poetry,so as to promote the aesthetic experiences of Chinese and western culture for public.The research finds that Chinese and western poetry can be analyzed from the perspective of framework of visual-image analysis based on multimodal theories,which is composed of three major meanings:representation,interaction and composition.The comparative aesthetics based on the multimodal theories is of great significance to the appreciation and enjoyment of Chinese and western visual poetry.

Word-Image Intertwining:William Blake’s Illuminated Poetry and the Aesthetics of Compositeness

Bowen Wang Trinity College Dublin,Dublin,From ut pictura poesis to intermediality,the close,interactive,and complicated relationship between poetry and painting has been an inevitable subject under discussion throughout the historiography of literature and fine art.Different approaches and interpretations to/on their sisterhood could come to a broad spectrum of interartistic ideas and practices.William Blake,an English Romantic poet,painter,and printmaker,links word and image by his invention of relief etching,or more understandably,the illuminated painting which juxtaposes his verse with in-text illustrations simultaneously on the same page.His technical strategy has already implied a dynamic and dialectical interrelation between word and image,like the treatment of earlier medieval manuscripts,yet in a more innovative rather than decorative manner.This article,therefore,through a comparative analysis of both Blake’s verbal and visual representations,will first attempt to clarify two distinct modes of combining poetic language with visualisation vis-à-vis form and content,and then critically investigate how this word-image interaction can be used to reflect the poet’s Romantic thought about sociocultural changes and provide new possibilities of reading,interpretation,and aesthetic complexity in that specific epoch.

On the Untranslatability of Poetry

Quite a number of scholars from western to eastern have been arguing about the question of translatability and untranslatability of poetry. Robert Frost, the well-known American poet once said,"Poetry is what gets lost in translation."Even though, practice of translating poetry has never ceased. This paper argues that poetry is untranslatable from the aesthetic point of view. Poetry's language function is to convey the aesthetic effect, thus the purpose of rendering poetry is to reach the aesthetic effect. However, aesthetic effect is based on its language form; the inerasable differences between languages determine that the translation of poetry is impossible, which tends to change language form of one language to another.

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.

Research on Chinese Education Philosophy of "Truth, Kindness, and Aesthetics Combination "

Chinese Education Philosophy of "Truth, Kindness, and Aesthetics Combination" manifests in the research on Chinese education from aesthetics perspective. It aims at the "narrow and limited view" of "not the general aesthetics, but the artistic beauty only", and it aims at biased opinion of "the interest saying", "the fine arts saying", "the esthetic sense saying" on aesthetics. It also aims at serious distraction of "LEFT in form but RIGHT in essence" of the mainstream ideology "the thought", "the revolution", "politics" and so on. It is a complex study of Chinese education from the philosophy of the unity of Truth, Kindness, and Aesthetics of oriental aesthetics, the consensus of Truth, Kindness, and Aesthetics of Western aesthetics, and the identity of Truth, Kindness, and Aesthetics of Marx aesthetics. From aesthetics perspective, it studies Chinese education, "combing" the reversed relationships among "truth", "kindness" and "aesthetics" in Chinese, adopting the methods of "research with great ease", "cases study", and "combination of ration and perception", to achieve "truth" of in Chinese, "kindness" of and "aesthetics" of , promote the development of "Chinese intellectual education", "Chinese moral education", and "Chinese aesthetic education" harmoniously, to realize the "Truth, Kindness, and Aesthetics Combination" of Chinese education and to reach the brand-new boundary territory of "human development and integrity construction" effectively.

Communities and the Poetic Imaginary：A Folklore Essay on the Poetry of the Wild Project

Poetry of the Wild is an ongoing artistic and literary project that according to originator Ana Flores＇ conception, invites the public ＂out for a walk＂ to freshly experience their world through word, sound, and image. Inspired by birdhouse design, these unique configurations of ＂poetry boxes＂, combining art and poetry are located in various communal open spaces. Each new project solicits a public response from us all to become catalysts for exploring our environs and questioning how a sense of place informs our consciousness. A folkloristic perspective shapes this discussion about the many variations of this collaborative and public project of poetry boxes, installed on trails, in parks, along rivers, and in library stacks over the past ten years. The primary concerns of folklore interpretation such as tradition, identity, cultural creativity, performance, and narrative analysis, are just a few of the dynamics that can be teased out from investigating a project with such interesting cultural parameters. In this context, cultural sustainability and poetic sensibility deepen our understanding of sense of place, environmental aesthetics, shrine markers, and the scope of individual and communal creative action.

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 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.

Rational Reflection and Realistic Transcendence on Ecological Crisis: Based on the Perspective of Marxist Ecological Concept

The construction of ecological civilization fully demonstrates the CPC's historical initiative spirit to keep pace with the times. This ruling mind is rooted not only in the realistic interpretation of Marxism ecological view,but also in the profound introspection on the development of history of human civilization. It has a practical guiding meaning to the construction of socialism with Chinese characteristics. Furthermore,it has a theoretical perspective on the ecological crisis which is a global problem. Therefore,we should stand on the commanding heights of humanity's horizons,and restore systematically the harmonious relationship between man and nature from the perspective of ecological aesthetics.

Edward Burne-Jones’s The Mirror of Venus: Physical and Intangible Female Beauty

The Pre-Raphaelite painter Edward Burne-Jones(1833-1898)conceived the subject of The Mirror of Venus between 1865 and 1867.He painted two versions:a small version in gouache and oil and a larger version in oil on canvas.In composing this subject Burne-Jones was inspired by the poetic and chromatic description of a lyrical stanza on“The Hill of Venus”in the long epic poem Earthly Paradise,written by his close friend and collaborator William Morris.1 This study comprises three parts:Burne-Jones’s history of the paintings,his iconographical sources,and an iconological interpretation of The Mirror of Venus.

A Reception Aesthetic View of Three English Versions of CHUN XIAO

Chun Xiao, a famous Tang poetry, written by Meng Haoran, has been translated by some great translators. In translating poems, what is important is not only the transferring of the intended meaning of the source language into target language, but keeping its literariness, i.e. the style of the original text. Three English versions are selected to make a comparative study from the perspective of reception aesthetics in terms of lexicon, rhyme and syntax.

Value Recognition:The International Communication of Shared Human Values and Aesthetics:A Case Study of the Overseas Dissemination and Reception of Chinese Literature

International communication should fundamentally aim at promoting the exchange and mutual learning of civilizations,achieving a transformation from"cultural clashes"to""civilizational exchange and mutual learning."The manifestation of international communication that facilitates this exchange and mutual learning is that the values contained in the communication texts ultimately become integrated into the culture of the receiving party and even into human culture as a whole due to this exchange and mutual learning.Achieving civilizational exchange and mutual learning in international communication requires"value recognition"efforts between the disseminating and receiving parties,focusing on the universal values of human happiness for all,which is the"greatest common divisor"of value recognition among different receiving subjects.International communication that facilitates the exchange and mutual learning of civilizations must take the inevitable route of such international communication:the path of aesthetic communication.

A Glimpse of Hong Kong ＂Chineseness＂： Pre-existing Tunes as the Redemption of a Cultural Identity

When the umbrellas were held up against the tear gas attack in the protest on September 28, 2014, the hot issue raised by the marathon-like Yellow Umbrella Movement was not only the matter of politics but also a coincidence created for the Hong Kong locals to face, or to be faced with an already moot cliche： How the Hongkongese can redef＇me and redeem their almost lost socio-cultural identity, particularly under the increasingly hegemonic influences and the socio-cultural invasion of the mainland after the 1997 Handover. My present paper is not intended to discuss the topic of identity on the platform of politics, or the postcolonial studies such as transculturation or cultural hybridty. But instead, I am far more interested in locating such issue on the aesthetic dimension of collective memory, which is revealed in two local contemporary Hong Kong compositions. In the process of shaping and reshaping a form of＂HongKongeseness＂ in which the composers tend to create and the local listeners tend to experience, albeit transient, can appear in every nuance of the sonic metaphor embedded in the pre-existing indigenous tunes of a self-contained compositional work.

Standards of Classical Architecture Criticism: Between Mathematics and Philosophy

Criticism is an intellectual process that primarily searches for beauty aspects in the works of art,including architecture.This article explores the mathematical and philosophical principles of classical architectural criticism.It is hypothesized that design criteria during the Classic period were clear and specific.The research presents theories of classical art that focus on the process of beauty interpretation.It also assesses the mathematical evaluation of architectural art and beauty through“The Golden Ratio”and“The Fibonacci Sequence.”Classical philosophy,and its perception of beauty,is discussed as an essential basis in any artistic critical activity.The research asserts that the science of aesthetics is both objective and subjective,which explains the difference in aesthetic evaluation across eras.Objectivity stems from conditions of proportionality that must be met for an architectural art to be aesthetically judged as beautiful.Subjectivity lies in the time and place of the architectural work,whereby tendencies,tastes,and needs related to the human and geographical environment can affect the standards of beauty.This makes the evaluation of beauty in classical architecture a delicate and complex process in which many aspects must be considered to have an objective,fair,and correct judgment.

Evocation (Gan-Xing) in Aesthetics and Atmospheric Beauty in Ancient Chinese Poetry

In recent years,“aesthetics of atmospheres,”a concept introduced from Western aesthetics,has emerged in aesthetic studies,offering a new perspective to examine ancient Chinese poetry.In poetry,atmospheric beauty is neither fixed nor rationalized;rather,it is pervasive and ubiquitous,much like a mist.Atmosphere is something spatial but primarily something emotional.Atmosphere creation is the products of a poet’s emotional expression evoked by external objects;thus,evocation(gan-xing)is a catalyst for creating atmospheres.At its core,evocation is the process by which a poet is emotionally stimulated at the sight of external objects and generates a desire to express such emotions.In this process,the poet is connected with the outside world through senses such as sight and hearing and is presented with abundant physical images.When these physical images are incorporated into poems,they become atmospheric agents.In poetry,atmospheres represent the unity of emotions and intentions.They are a poet’s situational aesthetic experiences.The statement,“If there is no self in poetry,how can we possibly have poetry”holds significant theoretical importance in aesthetics.Synesthesia plays a crucial role during the creation of atmospheric beauty in poetry.By employing synesthesia,a poet can greatly enhance the tension in poetic language,extending the poetic beauty beyond a singular sensory experience,and creating rich atmospheres that blend sensations such as sound,color,and taste.

Mastering Metaphors: A Possible Path to Understand Modern Poetry

Understanding modern poetry is a big problem for average readers because of all kinds of rhetorical devices filled with them,especially metaphors,which are hard for the readers to understand clearly.Thus,grasping metaphors would provide a possible solution to enhance the understanding of modern poetry.Based on the motivation to better understand modern poetry,the paper explores the 11 mechanisms of metaphors in modern poetry with examples in detail,i.e.,blending,mapping,frame shifting,image schema,conceptual integration,contextual grounding,inter-subjectivity,embodied cognition,recursiveness,juxtaposition,shape-moulding,by borrowing some concepts from Cognitive Linguistics,literary studies,and Rhetorics,which can be adopted as means and methods to understand modern poems.

Double-bind of Humanistic Facticity in Nocturnes

Through the paralleling structure of these stories in Nocturnes,Ishiguro makes visible the similar fates both Lindy and Steve have encountered,which indicates their attempts to achieve the fortune and success through cosmetic surgery,in order to greet the all-or-nothing prospects and new future of life.Therefore,the similar condition readers have encountered emphasizes the significance of reader-response,which can promote their understanding of human facticity with regards to their own life experience and convictions.

夏目漱石汉诗中的禅宗审美意蕴呈现及其原因研究

夏目漱石在创作汉诗时巧妙融入人生品味理念,自然天成禅宗美学意蕴,创造出日本本土化汉诗文的样态,借此实现中国传统文化在日本的语境转换。本稿在分析了夏目漱石汉诗文中的禅宗理念基础上,然后以具体示例重点阐释了其汉诗文中所蕴含的“物哀、幽玄”之禅宗意境、“动静”合璧之禅画意境、“道”之禅宗神韵等审美内涵。最后,从夏目漱石深厚的汉文学修养功底、艰辛坎坷的个人经历以及日本传统文化审美意识的影响等方面,详细分析了夏目漱石汉诗文中所蕴含的禅宗审美思想之来源。

从感物美学的角度重审“诗可以怨”观念

自从钱钟书先生的论文《诗可以怨》发表后,“诗可以怨”一直被看作是文学创作的主要动机。从感物美学角度,创作动机可以划分为自然风物触发与社会历史现实触发两种基本类型。研究发现,无论因何而触发,文学创作动机都不仅包括“诗可以怨”,而且还包括“诗可以乐”。由此可见,文论界普遍认同的“诗可以怨”是文学创作的主要动机这一观念其实是不全面的和有局限性的,文学创作的动机实际上是“多元情感并举”的。