In the mid- 1980s, in Italy the first symptoms of a crisis in the traditional party system, later known as the prima repubblica or ＂first republic＂, began to emerge. The ＂Tangentopoli＂ scandal was still to come, b...In the mid- 1980s, in Italy the first symptoms of a crisis in the traditional party system, later known as the prima repubblica or ＂first republic＂, began to emerge. The ＂Tangentopoli＂ scandal was still to come, but the seed of anti-politics started to grow in collective mentality. Italian singers-songwriters, the so-called ＂cantautori＂ （a portmanteau of cantare, to sing, and autori, authors）, were interested in these developments; their songs commented on elements that played a crucial role, few years later, in the irreversible crisis of the ＂prima repubblica＂： the overwhelming power of political parties, the ＂consociativismo＂ （secret power agreements between the government and the opposition）, the corruption, the growing and pervasive role of mass media Through the songs of singers-songwriters, the present essay traces the season of the scandal of ＂Tangentopoli＂, stopping at 1994, the year of the victory of＂Forza Italia＂, the new political party founded by Silvio Berlusconi展开更多
Christopher Janaway＇s recent book on Plato＇s critique of the arts discusses, among other things, Book 10 of the Republic. This paper claims that his comments upon passages in Republic 10 overl Plato＇s ook the Ion a...Christopher Janaway＇s recent book on Plato＇s critique of the arts discusses, among other things, Book 10 of the Republic. This paper claims that his comments upon passages in Republic 10 overl Plato＇s ook the Ion and status of the Republic as itself a work of dramatic mimesis, ignore the dialectical form of the work, and miss that in various dialogues, Plato evinces a high view of poetry and the arts and even envisions a techne poietike. The paper defends these claims by constructing a three-stage argument that Plato holds a high view of poetry： （1） It first sketches an outline of a reading of the Ion as a dialogue that, despite being aporetic, nevertheless points ahead to a Socratic philosophizing that is craft-like and open to divine inspiration, and not only recognizes the value of poetry but also sometimes composes poetry; （2） Then, it discusses Socrates＇ use, in his conversational strategies in the Republic, of the techne of rhetoric described in the Phaedrus; and finally, （3） It considers four arguments against mimetic poetry in Republic 10 （598b8-606d7）, and sketches an interpretation of them that takes issue with Janaway＇s. It argues that they are meant to invite readers to a higher dialectical standpoint, from which might come into view the value of mimetic poetry to a community guided by a Basilike techne展开更多
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 ...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.展开更多
文摘In the mid- 1980s, in Italy the first symptoms of a crisis in the traditional party system, later known as the prima repubblica or ＂first republic＂, began to emerge. The ＂Tangentopoli＂ scandal was still to come, but the seed of anti-politics started to grow in collective mentality. Italian singers-songwriters, the so-called ＂cantautori＂ （a portmanteau of cantare, to sing, and autori, authors）, were interested in these developments; their songs commented on elements that played a crucial role, few years later, in the irreversible crisis of the ＂prima repubblica＂： the overwhelming power of political parties, the ＂consociativismo＂ （secret power agreements between the government and the opposition）, the corruption, the growing and pervasive role of mass media Through the songs of singers-songwriters, the present essay traces the season of the scandal of ＂Tangentopoli＂, stopping at 1994, the year of the victory of＂Forza Italia＂, the new political party founded by Silvio Berlusconi
文摘Christopher Janaway＇s recent book on Plato＇s critique of the arts discusses, among other things, Book 10 of the Republic. This paper claims that his comments upon passages in Republic 10 overl Plato＇s ook the Ion and status of the Republic as itself a work of dramatic mimesis, ignore the dialectical form of the work, and miss that in various dialogues, Plato evinces a high view of poetry and the arts and even envisions a techne poietike. The paper defends these claims by constructing a three-stage argument that Plato holds a high view of poetry： （1） It first sketches an outline of a reading of the Ion as a dialogue that, despite being aporetic, nevertheless points ahead to a Socratic philosophizing that is craft-like and open to divine inspiration, and not only recognizes the value of poetry but also sometimes composes poetry; （2） Then, it discusses Socrates＇ use, in his conversational strategies in the Republic, of the techne of rhetoric described in the Phaedrus; and finally, （3） It considers four arguments against mimetic poetry in Republic 10 （598b8-606d7）, and sketches an interpretation of them that takes issue with Janaway＇s. It argues that they are meant to invite readers to a higher dialectical standpoint, from which might come into view the value of mimetic poetry to a community guided by a Basilike techne
文摘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.
