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 ambiguit...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.展开更多
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 Chine...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.展开更多
The mood is intended to send poetry lyric and a form of expressive, while the Chinese have a long attention of the ＂mood＂ to convey tradition and from the east, we can see the nation＇ s awareness of thinking, orien...The mood is intended to send poetry lyric and a form of expressive, while the Chinese have a long attention of the ＂mood＂ to convey tradition and from the east, we can see the nation＇ s awareness of thinking, oriental poet emphasis of things＇ teaser, expression of mood. Therefore, secondary school teachers in the resolution of the ＂Chinese New Standard＂ in Chinese classical poetry pay attention to poetry with the main objective unity, and the traditional interpretation of metaphor Fu poetry ＂mood.＂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
This paper intends to study Ezra Pound＇s early poetics and his modemist poetry through a close research of the Eastern elements in the shaping process of his poetics and the significance and influence of his poetic t...This paper intends to study Ezra Pound＇s early poetics and his modemist poetry through a close research of the Eastern elements in the shaping process of his poetics and the significance and influence of his poetic thoughts on the American New Poetry Movement. In order to clarify the essence of Pound＇s early poetics under the influence of Chinese classical poems, the paper starts from the discussion of the influence of Cathay （1915） and his translation of Cathay; then it provides a detailed analysis of the relationship between Chinese classical poems and Pound＇s creation; and finally it has given an analysis of ＂In a Station of the Metro＂. Pound absorbed different poetic concepts from all of them and transformed his poetry from the conventional Romanticism to the innovative Modemism. What Pound innovated in the poetry composition is of great importance if the new era wishes to shake off the banality and out-of-date tradition in literature. Pound changed a whole generation of poets and set a good example for those who desire to write in a new way展开更多
This paper tries to explore Wordsworth＇s poetics through a discussion of his important poetic conception of＂poetic spontaneity＂ or ＂All good poetry is the spontaneous overflow of powerful feelings＂. Wordsworth＇s...This paper tries to explore Wordsworth＇s poetics through a discussion of his important poetic conception of＂poetic spontaneity＂ or ＂All good poetry is the spontaneous overflow of powerful feelings＂. Wordsworth＇s poetic point ＂All good poetry is the spontaneous overflow of powerful feelings＂ is stated in his important work The Preface to Lyrical Ballads （1801）, and this theoretical point is actually validated by many good poems of his own. This paper demonstrates the significance of the theoretical point by a close examination of The Preface and its textual meanings. And then it presents an understanding of the theory through a detailed analysis of his masterpiece Tintern Abbey （1798） and I Wandered lonely as a cloud （1804）. It also demonstrates the importance and influence of his ＂poetic spontaneity＂ by comparing it with the Neo-classicalism in the 18th century and the Modernism in the 20th century.展开更多
Robert Burns wrote about 700 poems and songs. But the first poem that was translated into Chinese is ＂A Red, Red Rose＂. It was collected into a book compiled in 1908 which was published in 1911. It was retranslated ...Robert Burns wrote about 700 poems and songs. But the first poem that was translated into Chinese is ＂A Red, Red Rose＂. It was collected into a book compiled in 1908 which was published in 1911. It was retranslated many times at different times, mostly by people who were both poets and translators at the same time. And almost all the translators were famous poets such as Su Manshu, Yuan Shuipai, Wang Zuoliang, Yuan Kejia, and Guo Moruo. These translators had their own unique taste and typical features. This article will present a survey of translation history and at the same time give some comments on different versions.展开更多
This study examines the humanistic influence of ancient and Renaissance art in Camillo Camilli＇s Imprese of 1586. Camillo Camilli （ca. 1560-1615--his exact birth date is unknown） was an Italian poet of the sixteent...This study examines the humanistic influence of ancient and Renaissance art in Camillo Camilli＇s Imprese of 1586. Camillo Camilli （ca. 1560-1615--his exact birth date is unknown） was an Italian poet of the sixteenth-century. His family came from Monte San Savino, Siena, and records mention that he died on July 13, 1615, in Ragusa. While personal documentation on Camilli＇s life is scarce there are substantial sources about his literary career as a translator, compiler and poet. Camilli wrote extensively. There are the five canti on Erminia e Tancredi which were collated with Tarquo Tasso＇s （1544-1595） unfinished poems, and his commentaries for Ludovico Ariosto＇s Orlando Furioso in 1584 and for Tasso＇s Gerusalemme Liberata in 1585. Under the influence of Tasso＇s writings and his involvement in the commentary of Gerusalemme Liberata （1585）, Camilli started formulating his concetto （conceit） of what an impresa is （badge, device or insignia）. The focus of this essay is on Camilli＇s Imprese for the Academies. The whole collection of the lmprese consists of three volumes. The frontispiece to each volume depicts three different stage settings filled with classical ornamentation and bearing in the center of the lintel the impresa or insignia of Francesco Ziletti＇s printing company--a starfish surrounded by stars and bound by a ribbon. Camilli selected this image to announce through the imprese the significance of these famous men （uominifamosi） of the academy, granting them immortality and honor for their cultural and intellectual accomplishments.展开更多
Rejection and denunciation of the poetics of ＂yanzhi＂ （literally ＂expressing one＇s thought or ideals＂） was once a marker of Chinese literature＇s modem transformation. However, right from the beginning of May F...Rejection and denunciation of the poetics of ＂yanzhi＂ （literally ＂expressing one＇s thought or ideals＂） was once a marker of Chinese literature＇s modem transformation. However, right from the beginning of May Fourth new literature, the poetics of ＂yanzhi＂ was not only not cast out of the aesthetic canon of modem Chinese literature but was, on the contrary, legitimately transmitted via Western discourse. Whether modem Chinese writers were expressing enlightenment ideas of saving the nation or voicing their personal feelings for their country and their people, they remained convinced that ＂zhi＂ was ＂feelings＂ writ large and ＂feelings＂ were a lesser form of ＂zhi.＂ Specifically, the school stressing the idea that ＂literature expresses thought＂ advocated utilitarian literary creation and returned to the traditional Chinese poetics of ＂yanzhi＂ by replacing ＂feelings＂ with ＂zhi.＂ Those stressing the idea that ＂literature expresses feelings＂ advocated writing with genuine emotion; they went on to express ＂zhi＂ via ＂feelings,＂ thus returning to the traditional Chinese way of thought. Both the theory and practice of modem Chinese literature have a strange ＂Western＂ tint. Nevertheless, this literature＇s essential character of ＂reinterpreting the ＇dao＇ （way）＂ and sophisticated ＂expression of thought＂ or ＂yanzhi＂ indicate its value identification withtraditional culture rather than the simple abandonment of ＂tradition＂ in pursuit of ＂the West.＂展开更多
文摘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.
文摘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.
文摘The mood is intended to send poetry lyric and a form of expressive, while the Chinese have a long attention of the ＂mood＂ to convey tradition and from the east, we can see the nation＇ s awareness of thinking, oriental poet emphasis of things＇ teaser, expression of mood. Therefore, secondary school teachers in the resolution of the ＂Chinese New Standard＂ in Chinese classical poetry pay attention to poetry with the main objective unity, and the traditional interpretation of metaphor Fu poetry ＂mood.＂
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.
文摘This paper intends to study Ezra Pound＇s early poetics and his modemist poetry through a close research of the Eastern elements in the shaping process of his poetics and the significance and influence of his poetic thoughts on the American New Poetry Movement. In order to clarify the essence of Pound＇s early poetics under the influence of Chinese classical poems, the paper starts from the discussion of the influence of Cathay （1915） and his translation of Cathay; then it provides a detailed analysis of the relationship between Chinese classical poems and Pound＇s creation; and finally it has given an analysis of ＂In a Station of the Metro＂. Pound absorbed different poetic concepts from all of them and transformed his poetry from the conventional Romanticism to the innovative Modemism. What Pound innovated in the poetry composition is of great importance if the new era wishes to shake off the banality and out-of-date tradition in literature. Pound changed a whole generation of poets and set a good example for those who desire to write in a new way
文摘This paper tries to explore Wordsworth＇s poetics through a discussion of his important poetic conception of＂poetic spontaneity＂ or ＂All good poetry is the spontaneous overflow of powerful feelings＂. Wordsworth＇s poetic point ＂All good poetry is the spontaneous overflow of powerful feelings＂ is stated in his important work The Preface to Lyrical Ballads （1801）, and this theoretical point is actually validated by many good poems of his own. This paper demonstrates the significance of the theoretical point by a close examination of The Preface and its textual meanings. And then it presents an understanding of the theory through a detailed analysis of his masterpiece Tintern Abbey （1798） and I Wandered lonely as a cloud （1804）. It also demonstrates the importance and influence of his ＂poetic spontaneity＂ by comparing it with the Neo-classicalism in the 18th century and the Modernism in the 20th century.
文摘Robert Burns wrote about 700 poems and songs. But the first poem that was translated into Chinese is ＂A Red, Red Rose＂. It was collected into a book compiled in 1908 which was published in 1911. It was retranslated many times at different times, mostly by people who were both poets and translators at the same time. And almost all the translators were famous poets such as Su Manshu, Yuan Shuipai, Wang Zuoliang, Yuan Kejia, and Guo Moruo. These translators had their own unique taste and typical features. This article will present a survey of translation history and at the same time give some comments on different versions.
文摘This study examines the humanistic influence of ancient and Renaissance art in Camillo Camilli＇s Imprese of 1586. Camillo Camilli （ca. 1560-1615--his exact birth date is unknown） was an Italian poet of the sixteenth-century. His family came from Monte San Savino, Siena, and records mention that he died on July 13, 1615, in Ragusa. While personal documentation on Camilli＇s life is scarce there are substantial sources about his literary career as a translator, compiler and poet. Camilli wrote extensively. There are the five canti on Erminia e Tancredi which were collated with Tarquo Tasso＇s （1544-1595） unfinished poems, and his commentaries for Ludovico Ariosto＇s Orlando Furioso in 1584 and for Tasso＇s Gerusalemme Liberata in 1585. Under the influence of Tasso＇s writings and his involvement in the commentary of Gerusalemme Liberata （1585）, Camilli started formulating his concetto （conceit） of what an impresa is （badge, device or insignia）. The focus of this essay is on Camilli＇s Imprese for the Academies. The whole collection of the lmprese consists of three volumes. The frontispiece to each volume depicts three different stage settings filled with classical ornamentation and bearing in the center of the lintel the impresa or insignia of Francesco Ziletti＇s printing company--a starfish surrounded by stars and bound by a ribbon. Camilli selected this image to announce through the imprese the significance of these famous men （uominifamosi） of the academy, granting them immortality and honor for their cultural and intellectual accomplishments.
文摘Rejection and denunciation of the poetics of ＂yanzhi＂ （literally ＂expressing one＇s thought or ideals＂） was once a marker of Chinese literature＇s modem transformation. However, right from the beginning of May Fourth new literature, the poetics of ＂yanzhi＂ was not only not cast out of the aesthetic canon of modem Chinese literature but was, on the contrary, legitimately transmitted via Western discourse. Whether modem Chinese writers were expressing enlightenment ideas of saving the nation or voicing their personal feelings for their country and their people, they remained convinced that ＂zhi＂ was ＂feelings＂ writ large and ＂feelings＂ were a lesser form of ＂zhi.＂ Specifically, the school stressing the idea that ＂literature expresses thought＂ advocated utilitarian literary creation and returned to the traditional Chinese poetics of ＂yanzhi＂ by replacing ＂feelings＂ with ＂zhi.＂ Those stressing the idea that ＂literature expresses feelings＂ advocated writing with genuine emotion; they went on to express ＂zhi＂ via ＂feelings,＂ thus returning to the traditional Chinese way of thought. Both the theory and practice of modem Chinese literature have a strange ＂Western＂ tint. Nevertheless, this literature＇s essential character of ＂reinterpreting the ＇dao＇ （way）＂ and sophisticated ＂expression of thought＂ or ＂yanzhi＂ indicate its value identification withtraditional culture rather than the simple abandonment of ＂tradition＂ in pursuit of ＂the West.＂
