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 meta...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.展开更多
Traditionally,there is a complete rejection of the city within poetry.Nevertheless,as urbanization sped up,cities eventually became the center of culture.In modernistcity poems,the speaker takes up the role of“flaneu...Traditionally,there is a complete rejection of the city within poetry.Nevertheless,as urbanization sped up,cities eventually became the center of culture.In modernistcity poems,the speaker takes up the role of“flaneur”and conveys the poet’s reflections on urban life and urban people.By analyzing the characteristics and development of this image in modernist poetry,we can gain a deeper understanding of modernist poetry and urban life.展开更多
With regard to the artistic features of classical Chinese gardens,its ubiquitous poetic scenery is represented through the aspects of spatial sequence,landscape layout,hill piling and waterways dredging,plant configur...With regard to the artistic features of classical Chinese gardens,its ubiquitous poetic scenery is represented through the aspects of spatial sequence,landscape layout,hill piling and waterways dredging,plant configuration,architecture creation as well as various elements in classical garden.Emphasis is given to the close relationship between it and the traditional Chinese poetry and drawing,as it is resulted from the cultural feature of artistic classical garden and as art-and conception-centered as poetry and drawing.The connotation of conception is also analyzed,that is,inter-dependence,imaginary-real design,and correlation.Moreover,reality-and conception-centered methods in classical Chinese gardens are also introduced along with other conception creating methods such as configuration,view borrowing,empathy and symbolism.On this basis,discussion about key elements in conception creation in modern landscape design is carried out while emphasizing the understanding of environment,practice,experience,and method,so as to demonstrate the sense of place and create spatial artistic beauty through wider means.展开更多
This article is concerned with didactic hoaxes that are con structed to discredit their targets; the underlying question is whether a poetry hoax can do this. I compare the Sokal hoax with the Ern Malley hoax: in the ...This article is concerned with didactic hoaxes that are con structed to discredit their targets; the underlying question is whether a poetry hoax can do this. I compare the Sokal hoax with the Ern Malley hoax: in the first case (USA, 1996), an NYU physicist, Alan Sokal, wrote a bogus article claiming that the laws of physics should be seen as social constru cts; in the second case (Australia, 1943) two poets, James McAuley and Harold Stewart, concocted th e poems of an imaginary modernist, Ern Malley. In both cases the hoaxers realized their aim: Social Text, the magazine that published Sokal’s article, and Angry Penquins, the magazine th at celebrated the poems of Ern Malley, looked foolish. However, while the physics that Sokal used was bogus, what McAuley and Stewart had intentionally tried to write as bad poetry now reads as lively, comic and inventive. The poetry of ″Ern Malley″ now generates more interest than th e genuine poetry of McAuley and Stewart. Thus, while Malley is a hoax-poet, it doesn’t seem that th e hoaxers succeeded in writing hoax-poetry.展开更多
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 sym...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.展开更多
Amharic folk literature is a time-honoured tradition dating back to the imperial songs of the 14th and 15th centuries. One of these subgenres is Amharic folk poetry which is permeated with the political, social, econo...Amharic folk literature is a time-honoured tradition dating back to the imperial songs of the 14th and 15th centuries. One of these subgenres is Amharic folk poetry which is permeated with the political, social, economic, and cultural legacies of successive Ethiopian governments that rise and demise. The image of these governments was determined by their integrity, vision, and responsiveness to the aspirations of the populace. This study was designed to determine the popular image of the imperial governments of Menelik II and Haile Selasse I as reflected in Amharic folk poetry. Without prejudice to some odes which invariably idealise the vision of these monarchs, the politically-inspired Amharic folk poetry is found to be critical of the feudal status quo thus perpetuating its negative images. This underpins the partial unpopularity of Menilik and Haile Selasse. However, these critical gestures would by no means undermine their monumental contributions to the reunification, modernization, and survival of Ethiopia. Thus, the contemporary Amharic folk-poetry is neither iconoclastic nor idealistic but an impassioned allegory of the nation-state.展开更多
As ＂the greatest poet in the 20th century＂, Yeats is always a hot topic among academic community. The question whether Yeats is the ＂last romantic＂ or the first Modernist remains controversial for a long time in a...As ＂the greatest poet in the 20th century＂, Yeats is always a hot topic among academic community. The question whether Yeats is the ＂last romantic＂ or the first Modernist remains controversial for a long time in academic field. Whether critics term Yeats a modernist or not, they generally agree that the poems produced in his late creative period are definitively modernist works. This paper targets Yeats＇s realization of poetic modernization through his mask theory applied in ＂Crazy Jane＂ poems. It discusses the poetic movement in the beginning of the 20th century, the poetic theory Yeats proposed and instances Yeats＇s mask theory as the manifestation of his poetic modernization. The author argues that with his innovation in verse writing particularly demonstrated by application of mask theory in ＂Crazy Jane＂ poems, Yeats unquestionably played a very important role in Anglo-American modernist poetry.展开更多
文摘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.
文摘Traditionally,there is a complete rejection of the city within poetry.Nevertheless,as urbanization sped up,cities eventually became the center of culture.In modernistcity poems,the speaker takes up the role of“flaneur”and conveys the poet’s reflections on urban life and urban people.By analyzing the characteristics and development of this image in modernist poetry,we can gain a deeper understanding of modernist poetry and urban life.
基金Supported by Fundamental Research Funds for the Central Universities(SWJTU11BR154)~~
文摘With regard to the artistic features of classical Chinese gardens,its ubiquitous poetic scenery is represented through the aspects of spatial sequence,landscape layout,hill piling and waterways dredging,plant configuration,architecture creation as well as various elements in classical garden.Emphasis is given to the close relationship between it and the traditional Chinese poetry and drawing,as it is resulted from the cultural feature of artistic classical garden and as art-and conception-centered as poetry and drawing.The connotation of conception is also analyzed,that is,inter-dependence,imaginary-real design,and correlation.Moreover,reality-and conception-centered methods in classical Chinese gardens are also introduced along with other conception creating methods such as configuration,view borrowing,empathy and symbolism.On this basis,discussion about key elements in conception creation in modern landscape design is carried out while emphasizing the understanding of environment,practice,experience,and method,so as to demonstrate the sense of place and create spatial artistic beauty through wider means.
文摘This article is concerned with didactic hoaxes that are con structed to discredit their targets; the underlying question is whether a poetry hoax can do this. I compare the Sokal hoax with the Ern Malley hoax: in the first case (USA, 1996), an NYU physicist, Alan Sokal, wrote a bogus article claiming that the laws of physics should be seen as social constru cts; in the second case (Australia, 1943) two poets, James McAuley and Harold Stewart, concocted th e poems of an imaginary modernist, Ern Malley. In both cases the hoaxers realized their aim: Social Text, the magazine that published Sokal’s article, and Angry Penquins, the magazine th at celebrated the poems of Ern Malley, looked foolish. However, while the physics that Sokal used was bogus, what McAuley and Stewart had intentionally tried to write as bad poetry now reads as lively, comic and inventive. The poetry of ″Ern Malley″ now generates more interest than th e genuine poetry of McAuley and Stewart. Thus, while Malley is a hoax-poet, it doesn’t seem that th e hoaxers succeeded in writing hoax-poetry.
文摘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.
文摘Amharic folk literature is a time-honoured tradition dating back to the imperial songs of the 14th and 15th centuries. One of these subgenres is Amharic folk poetry which is permeated with the political, social, economic, and cultural legacies of successive Ethiopian governments that rise and demise. The image of these governments was determined by their integrity, vision, and responsiveness to the aspirations of the populace. This study was designed to determine the popular image of the imperial governments of Menelik II and Haile Selasse I as reflected in Amharic folk poetry. Without prejudice to some odes which invariably idealise the vision of these monarchs, the politically-inspired Amharic folk poetry is found to be critical of the feudal status quo thus perpetuating its negative images. This underpins the partial unpopularity of Menilik and Haile Selasse. However, these critical gestures would by no means undermine their monumental contributions to the reunification, modernization, and survival of Ethiopia. Thus, the contemporary Amharic folk-poetry is neither iconoclastic nor idealistic but an impassioned allegory of the nation-state.
文摘As ＂the greatest poet in the 20th century＂, Yeats is always a hot topic among academic community. The question whether Yeats is the ＂last romantic＂ or the first Modernist remains controversial for a long time in academic field. Whether critics term Yeats a modernist or not, they generally agree that the poems produced in his late creative period are definitively modernist works. This paper targets Yeats＇s realization of poetic modernization through his mask theory applied in ＂Crazy Jane＂ poems. It discusses the poetic movement in the beginning of the 20th century, the poetic theory Yeats proposed and instances Yeats＇s mask theory as the manifestation of his poetic modernization. The author argues that with his innovation in verse writing particularly demonstrated by application of mask theory in ＂Crazy Jane＂ poems, Yeats unquestionably played a very important role in Anglo-American modernist poetry.
