浅谈陶渊明诗歌中的隐士文化

陶渊明是东晋隐士文化的代表人物,他为诗歌开辟了一个新的天地,对后世产生了积极的、深远的影响。陶渊明诗歌中的隐士文化主要有以下表现：洁身自好,远离官场;热爱自然,崇尚自由;躬耕南野,与民同乐;空怀理想,寄情桃园。本文试图通过对陶诗的分析,揭示这一文化现象的内涵和特点。

论魏晋时期“以《诗》为经”与“以《诗》为戏”——以《世说新语》所载用《诗》为中心

魏晋时期同时出现了"以《诗》为经"和"以《诗》为戏"两种矛盾的现象,分别体现了宗经和离经两种相反的倾向性。"以《诗》为经"表现出对《诗》的态度是尤为宗崇的,"以《诗》为戏"则显示出一种戏谑和幽默的态度,二者是不同性质的语言游戏。"以《诗》为经"显然是有汉一代经学意识形态的延续,而"以《诗》为戏"则反映了魏晋之际《诗》文化的新风貌。《世说新语》较为真实地再现魏晋史实,对上述《诗》文化面貌也有很好的记录与反映。在"以《诗》为经"的大文化环境下,"以《诗》为戏"显得相当特殊,值得我们深入探讨。

Aesthetic comparison between Chinese memorial poetry and western elegy

Owing to the cultural, philosophical and religious differences, Chinese memorial poetry and western elegy show different attitudes towards death and have different ways to express it. Therefore, they have different aesthetic preference to death. This paper focuses on the basic characteristics of Chinese memorial poetry and western elegy. It analyzes the causes of these differences from the aspect of the content and style, ways of expression and cultural psychology.

Decoding the Homosexuality of Western Culture in Archetypal Approach

Homosexuality is a special part of western gender studies, which has been studied by western intellectual ever since it was born. Owing to the different attitudes of various cultures in different spatial-times, it was more depressed rather than accepted, but as an objective being in histor）; it shows itself a static state accompanying the whole human history. Today homosexuality has been one of the mainstreams in western intellectual movement and it is vitally important for us to give it a reasonable, precise definition in order to build up a harmonious society. This article tries to break through the bondage of material determinism and economical monism. It will be guided by the principle to delve into the human sub-consciousness to find the same essence between homosexuality and heterosexuality, to trace back to the origin of homosexuality in archetypal approach in order to reveal the anxiety of the legality of human existence and its poetic construction, which is hidden behind the cultural phenomenon.

Confucianism in Du Fu＇s Poetry and Sun Dayu＇s Translation

The great Chinese poet Du Fu＇s poetry in the Dang Dynasty has important significance in the development of the world culture. Confucianism is the main theme of his poetry, which penetrates connotation of benevolence, love of all life and self-cultivation. The famous poet Sun Dayu strived to highlight ideological content and the essence of Confucianism in Du Fu＇s poetry through translation. On the basis of deep understanding of the source text and careful choice of words, Sun Dayu mainly used literal translation, free translation and explanation in order to make the target readers know the spirit of Confucianism. His translation activities showed solicitude for national destiny and historical responsibility.

The influence of ancient poetry on Chinese traditional culture

China traditional culture, our culture, the root of all the children of the Yellow Emperor. Ancient poetry, the essence of traditional Chinese culture, but also the world’s cultural and artistic treasure house of a bright pearl. Chinese culture has a long history, broad and profound, poetry is always the highbrow type of aesthetic elegant, attracted many devout followers, especially those in the thoughts and feelings, wisdom and creativity in a famous through the ages, although after thousands of years of vicissitudes of life still shine, while dancing alone in the modern civilization and tired of noisy. Never forgotten.

I Celebrate Myself ＆ I Sing Myself： Romulus Bucur on Romulus Bucur＇s Ditties

The present paper, in spite of its quite scandalous title, is just a serious reflection, from the inside, on a certain part of the poetry of a contemporary Romanian poet （the author of the paper himself）, in the line of a tradition starting with Poe＇s Philosophy of Composition （1846）, passing through the avant-garde and ending, for the moment, in Andy Warhol＇s self-promotion. The analysis from the inside and the honest reflection of the interplay between poetry, music, and contemporary popular culture might lead to a better understanding of the poetry made at the end of the 20th century--beginning of the 21 st century. The corpus analyzed is a series of poems written between 1994 and the present day, under the generic title of ditty, published in several books （between which a bilingual pamphlet, Ditties/Cfntecelce）, 1998）, and the paper speaks about their genesis, their poetics, and hopes to help the process of their interpretation, as well as to bring a new interpretation of the poetry/music relationship

The Influence of Sino-Japanese Poetry on the British-American Imagist Movement

This paper, adopting the French Influential Approach, investigates the influence of the English version of Sino-Japanese poetry on the British-American Imagist Movement and finds that the influence existed in several aspects such as subject, style, syntax, meter, and aesthetics, which highlight the impact of translation on intercultural communication.

German Poetry in African Languages： The Translation of Selected German Poems From an Intercultural Perspective

The article deals with the translation of German poetry into Wolof and is based on Tamsir Annes＇s translation of German poems under the title Tdere-Woy yi/Das Buch der Lieder. My purpose in this paper is to answer the question of how elements of the vocabulary of sciences （literature and philosophy） as well as cultural specific items are rendered in the Wolof target text. Therefore, in this work, I explore methods and strategies of translation like borrowings, paraphrases, and analyze furthermore some differences noticeable in the translation of some poems at the cultural level. These analysis-steps enable the investigation of, contextually, the central issue of ＂cultural translatability＂ and the reception of translation of European poetry into African languages in general and German poetry into Wolof in particular. The article also focuses on the importance of the reception of German poetry in Wolof as a means of intercultural communication between German and Wolof-speaking countries but as means to develop African languages like Wolof in which the translation of the selected poems has been operated.

A Study on Imitating Activities ,ofHanshan Poems by Chan Buddhist Monks in SONG Dynasty

Although we have no clear picture of the life of Hanshan, a legendary TANG monk and in Collected Poems of Hanshan （Hanshan Sho＇i）, we can find either unclear ideas regarding his major thoughts or different ideologies from Confucianism, Buddhism, and Daoism. Hanshan poetry was broadly read by people belonging to various social statuses during the SONG Dynasty. His poetry was also frequently cited in Chan Buddhist literature of the period. Furthermore, SONG Chan Buddhist monks invited Hanshan into their own genealogy and regarded him as a ＂San Sheng＂ （a Free Sage）. Many Chan Buddhist monks of the SONG Dynasty used Hanshan poetry in various Chan Buddhist texts. Numerous Chan Buddhist monks even wrote so-called ＂ni Hanshan shi＂, which imitated Hanshan poetry as a kind of personal literary creation. It is understandable that when a monk imitated Hanshan poetry, he would simultaneously be both the reader and the creator of Hanshan poetry, and as we understand that every writer produces their works through their own cultural outlook, a newly-formed correlation occurred naturally between the original poetry and imitated poetry through the SONG Chan Buddhist monk＇s version. By observing this correlation, this paper will deeply analyze the dissemination and acceptance of Hanshan poetry, within Chan Buddhist society in the SONG Dynasty, as based on Chan Buddhist literature, in order to learn more about image creation and the recreation of Hanshan during the period

Culture Through Prism of Engaged Poetry

The paper is actually a literary research on （re）constructing cultural image of post-yugoslavian society, formed through literary sources, i.e., poetry. Using examples of award-winning young authors--Bojan Krivokapic, Mirko Bozic, and Sima Majic, different types of so-called engaged poetry are indicated. This kind of poetry is used to subtly, critically, or in a very subversive way relate to the existing world, but also a new postmodern identity is formed through specific and carefully chosen poetic lexis, deprived of any kind of structure or limitation. The poetry of mentioned authors is used as a provisory example in order to indicate that post-war period （as well as postmodern time） changes the perception of identity, from nationally and politically oriented structure to individual and subversive, conventions-free comprehension of Oneself. Although the three authors are very different in style and expression, what brings them together is tendency to escape conventional and traditional cultural images in order to emphasize the importance of Being Different, but Equally Rightful.

Yuan Kejia＇s Poetics and the western influence

Yuan Kejia＇s poetics is the theory about the modernization of the new poetry. Some of his specific views on ＂the poetry and non poems＂, ＂the reality and the poetry＂, ＂the experience and the poetry＂, ＂the logic of the imagination＂, and ＂the drama doctrine＂ and other problems and the poetics texts are influenced by the western poetry, poetics or the literary theories. But it is not the summary of the Chinese theories of the western poetry or the Chinese version of the western poetry or the literary theories, but an attempt to ＂use all the cultural and academic achievements to come close to the literature and understand the literature＂, to develop the Chinese noetics.

Melody- Usul - Poetic Prosodic Meter Relations in Ottoman-Turkish Music

Language, literature, customs and traditions, music and art are cultural items that were transmitted from generation to generation throughout history. In this context, literature is an important source of music culture that takes inspiration from the customs and traditions of a society. Prosodic meter is echoed in form, usul and general structure in works composed from the divan literature and almost lives in the work. In the same way, when examples of folk literature composed by composers and performed by poets and a^lks are examined, it is observed that there are parallels between literary features and form, structure and rhythmic features. The aim of this paper is to reveal the integral link between Melody-Usul and Meter in Ottoman Turkish Music

（Re）Ciphering Nations： Greece as a Constructed Illegibility in Odysseas Elytis＇s Poetry

In their attempt to construct their identity in opposition to European one, non-Western new nations with alphabets such as Greek, Hebrew, or Cyrillic, used them as a way of emphasizing difference, and thus provide symbolic spaces for the newborn nations. The illegibility of these alphabets for Western people, along with the ancient prestige of at least Hebrew and Greek, fostered the illusion of temporal continuity and provided legitimacy to their atomization projects. Odysseas Elytis （1911-1996）, Nobel Prize for Literature winner in 1979 and the last national poet of Greece, blends this old tendency in Greek culture and the broader claim of modern European poets for the essential autonomy of art and literature. His efforts to reinforce the walls separating Greece from Latin-Western culture by reinforcing the illegibility of both Greek and poetic idioms, aim at constructing a more essential Greece, founded on aesthetics, language, and writing instead of politics, institutions, or geographic borders. In this paper engaging mainly in the fields of literary and postcolonial studies, the author intends to analyze the mechanisms by which language, writing, or literature can be used to （re）cipher once again the already exclusive concept of nation, and thus to undermine every possibility of deciphering and translatability. He concludes that in “conceptually colonized” nations such as Greece, this process implies and anticolonial movement still caught nevertheless in a colonial discursivity.

A Study on the Untranslatability of Classical Chinese Poems and Untranslatability Compensation

Classical Chinese poems（CCP） is regarded as the inheritance and treasure of Chinese culture. CCP translation, on one hand, makes us have access to explore the linguistic charming and the cultural value of classical Chinese poems; on the other hand, it provides an opportunity to transmit Chinese classical culture into western culture. While translatability of CCP translation, coupled with its untranslatability is considered a contentious topic in translation circle. Admittedly, in the process of CCP translation, some problems or barriers turn out to be our stumbling stone. But generally speaking, most of the poetry are translatable and untranslatability can be transformed into translatability with certain strategies. This thesis have compared the similarities and differences between Chinese and western poems to analyze the reasons why CCP can or cannot be translated and lays much emphasis on untranslatability as well as the compensation of untranslatability. Lastly, foreignization and domestication are recommended as two strategies in CCP translation when untranslatability occurs.

Transforming Greek Epic Iliad into Taiwan Residents Environmental Theater： Golden Bough＇s Troy, Troy... Taiwan

With an analysis on Golden Bough Theater＇s Troy, Troy... Taiwan, this article will investigate how they de-contextualize Greek Epic Iliad with an eclectic collage of the tropes of Greek epic, the techniques of environmental theater and Taiwan Residents local opera, and the aesthetics of Taiwan Residents indigenous rituals and Pili Puppetry. It will discuss how the performers transform Greek epic into a Taiwan Residents allegory in search of Taiwan Residents cultural roots and identities. Furthermore, in the cultural encounter between the East and the West, multiple folds of significance will be explored through their hybridized performance genres and rituals as well as symbolic interaction in various performance venues with different historical and cultural legacies.

From Cultural Memory to Poetic Memory： Ancient Greek Practices of History Beyond the ＂Great Divide＂

In a recent comparative confrontation between the Peloponnesian war and the Polynesian war, the anthropologist Marshall Sahlins asked for the agents of history： individuals？ communities？ the social classes？ the economic structures？ the social structures？ Actually, for the American anthropologist, ＂no history without culture.＂ But the question is to focus on the different discursive forms which transforms the events of history in historiography, in a （referential and not fictional） story; these different （often poetic） forms of historiography shape a collective and cultural memory. The Greek case is particularly significant under that point of view as far as historiography is always situated between oral tradition and written tradition （Jack Goody）, between poetic forms and forms of prose, with an important political, social, religious, and ideological impact.