On the Translated Subtitles of Chinese Films from the Perspective of Reception Aesthetics

The subtitle translation not only needs to consider the audience’s horizon of expectation and acceptability,but also has to achieve the significance of spreading Chinese culture to foreigners.This paper explores the rules,principles and methods of the subtitle translation of Chinese films from the perspective of reception aesthetics.

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.

Topics of Truth,Kindness and Aesthetics in Chinese Education1

The ideal goal to cultivate creative talents who "seek truth","strive for kindness" and "adore aesthetics " and are equipped with "perfect personality" should be achieved,which is expected to reach brand-new circumstances of "humans development and construction of completeness" and must and should explore "Truth","Kindness" and "Aesthetics" in Chinese education.This article is meant to explore "truth" of Chinese(language,article,literature) in the intellectual education from cognitive science and to promote students to get into quality of exploration;they should explore "kindness" in the moral education in Chinese(language,article,literature) from ethics,which is to urge wakefulness of students' moral consciousness;in addition,"aesthetics" in Chinese(language,article,literature) from aesthetic education is to spur students to construct free soul.

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.

Chinese Costumes and the Spirit of Chinese Aesthetics

The aesthetics of Chinese costume is the crystallization of traditional Chinese artistry and at the same time is not without dregs, such as the suppression of its subjectivity, restraint of human body and segregation of different social classes. In contemporary China, Chinese costume keeps changing with the aesthetic needs of the time. Under such circumstances, filtration, screening and sublation have become the basic methods to inherit and carry forward the essence of traditional Chinese costume. It is contemporary Chinese people's due responsibility to demonstrate the spirit of Chinese aesthetics via dressing, take the initiative to spread such a spirit, and showcase the unique charm of Chinese aesthetics by the light of nature.

Fractal Analyses Reveal the Origin of Aesthetics in Chinese Calligraphy

Chinese calligraphy is a thousand-year-old writing art. The question of how Chinese calligraphy artworks convey emotion has cast its spell over people for millennia. Calligraphers' joys and sorrows were expressed in the complexity of the character strokes, style variations and general layouts. Determining how Chinese calligraphy aesthetic patterns emerged from the general layout of artworks is a challenging objective for researchers. Here we investigate the statistical fluctuation structure of Chinese calligraphy characters sizes using characters obtained from the calligraphy artwork "Preface to the Poems Collected from the Orchid Pavilion" which was praised as the best running script under heaven. We found that the character size distribution is a stretched exponential distribution. Moreover, the variations in the local correlation features in character size fluctuations can accurately reflect expressions of the calligrapher's complex feelings. The fractal dimensions of character size fluctuations are close to the Fibonacci sequence. The Fibonacci number is first discovered in the Chinese calligraphy artworks, which inspires the aesthetics of Chinese calligraphy artworks and maybe also provides an approach to creating Chinese calligraphy artworks in multiple genres.

Sensing the Poetic Habitat - A Study of Middle School Chinese Teaching from the Perspectives of Life Aesthetics

The concept of life aesthetics reflects an individual’s cry for life and pursuit of beauty,inspiring individuals to discover their spiritual home,sense their poetic habitat,and enjoy the beauty of life flowing from their fingertips.Chinese education,viewed through the lens of life aesthetics,is founded on the natural characteristics of life,stimulating the aesthetic sense of individual life through the allure of language,and teaching students to view life through the aesthetic lens as well as from an understanding of life’s essence.Teachers and students are required to take an aesthetic view of life as theoretical guidance,based on core Chinese literacy,with textbook contents serving as carriers and classroom instruction as the position,closely connected to students’actual lives,in order to help stimulate aesthetic experience among students,improve their aesthetic ability through aesthetic activities,and thus establish a correct view of life.

On the Integration of Translation Aesthetics and Pragmatics from the Perspective of Relevance Theory

The paper will devote to explore the deeper integration of translation aesthetics and pragmatics from the perspective of the relevance theory in an effort to contribute to the advance of traditional Chinese discourse on translation.

Commentary on My Translation of You Can You Will from Jauss' Perspective of Reception Aesthetics

Drawing upon the theory of reception aesthetics, this dissertation aims to discuss the translator's translation of You Can YouWill. Beginning with preliminary background information, e.g. the source book and writer, the translator further introduces theories andprevious related research, including Christian work. There are two representatives of reception theory; the translator stresses Jauss' per-spective of reception aesthetics, detailing his two key notions: the reader's decisive role and horizon of expectation. These notions shiftthe focus from the writer and text to the reader, which is a proven method to make the translation more acceptable to readers. Based onthe translation brief, target readers are Christians. During the translation process, the translator keeps key notions of reception aestheticstop-of-mind and strives to produce a version suitable for Christian readers. Some strategies, e.g. domestication and footnoting, are em-ployed to discuss the translation of biblical terms, Christian expressions, verses or stories from the Bible, metaphors and cultural items.In addition to these strategies, all translation is in accordance with CUV when encountering Bible-related text, due to CUV's authorityamong all versions of the Bible. Lastly, the translator provides conclusive remarks based on analysis as well as suggestions for further re-search. Limitations of this study are also mentioned.

A preliminary study on the key factors contributing to the attractive lips of Chinese children

Objective:To explore the aesthetic characteristics of the Chinese children lips.Methods: Frontal and profile photographs of 653 healthy children were categorized as the attractive and the unattractive by three laypersons and objectively measured for comparison.Results: The attractive group tended to be smaller in the upper paramedian red lip height,the lower paramedian red lip height,the midline upper red lip height,the central bow angle,and the lip angle,while greater in the Cupid’s bow width.Conclusions:Thinner lips seemed to be more attractive than full ones among Chinese children.

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.

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.

Research on Improving Artistry of Exhibitions in History Museums in China

Chinese civilization,with its long and continuous history and rich cultural heritage,plays a central role in China’s dialogue with other civilizations.Therefore,it is necessary to collect and refine the defining symbols and best elements of Chinese culture and showcase them to the world;develop discourse and narrative systems with Chinese characteristics,better tell China’s stories,and make China’s voice heard.This effort can help Chinese civilization shine globally,interact with other civilizations,and promote its communication and influence worldwide.In China,history museums,as physical carriers of Chinese civilization,are an important component in developing Chinese discourse and narrative systems and an important channel to better tell China’s stories and make China’s voice heard.Improving the artistry of museum exhibitions caters to the public’s growing demand for a more enriching cultural experience and substantially promotes Chinese culture on a global scale.With the communication of Chinese civilization as the main focal point,this study investigated the current issues related to the artistry of history museum exhibitions in China and defined the artistry of history museum exhibitions and their connotations.Based on an in-depth analysis of the artistry of historical museum exhibitions within China,this paper enumerated the areas where improvements could be made to enhance exhibition artistry,intending to promote the communication of Chinese civilization.

A Brief View of Practice Ontology Aesthetics in the Context of Contemporary China

In recent years, Practice Ontology Aesthetics takes shape in academic discussion and argument. The introduction of Practice Ontology Aesthetics occurred in the course of introspection of Practice Aesthetics in modem China, in which the existence dimension in Marxist concept of practice was of great significance to breaking the theoretical limitation of present Practice Aesthetics. Therefore, in terms of the distinctive context of Chinese contemporary aesthetics, the introduction of Practice Ontology Aesthetics from the theoretical perspective of Marxist existentialism offers a possible way to break the current aesthetics and represents a multiple academic pursuit of Marxist, Chinese and modem aesthetics.

Naturalistic,Harmonious,and Emotional:An Aesthetic Study of Plants of Chinese Gardens in the Qing Dynasty

The Qing Dynasty was the mature period of traditional Chinese gardens,and the construction of royal gardens reached its peak.Using the method of image and text analysis,the landscape features of different seasons in the Chinese gardens were probed,the layout of its spatial elements and the method of plant landscaping was analyzed,and the artistic characteristics of the gardens in the Qing Dynasty was studied.The aesthetic conception of the gardens have been discussed from the following aspects,the integration of time and space,the harmonious relationship between the garden elements and the fusion of scenery and feelings.

No Dream, No Future： A Study on Aesthetic Dimensions of＂Chinese Dream＂ and the Task of Literary Critics

This article believes that ＂Chinese Dream＂ has three dimensions： First, ＂Chinese Dream＂ is the inevitable demands of Chinese reconstruction and it is the deepest desire of Chinese nation since the Chinese modern history. Second, the modernism of socialism with Chinese feature is the process of Chinese modernism. Third, the third theoretical dimension, 1 believe, is the ideal of socialism. I would like to take the film ＂Lost＂ and ＂Peking Monk＂ as examples and analyze the specific form of expression. This article is going to indicate in the end that ＂the revolution of aesthetics＂ and the assignments of critics, which can be recognized as the intuitive ability, could merge the historical affair and the human nature, which literature comprise, together and deliver deeper analyses and appraise The mission of critics is not only to distinctly emerge the aesthetic form of the literal works, but also analyze and seize the ＂aesthetic form＂ of them, that is to say, their mission is to find the aesthetic meanings of aesthetic expression from commonage in order to achieve the goal of leading and stimulating people ensuing the consciousness and liberation of culture. That is the most important mission and responsibility of Marxist literal criticism and literal critics. This is a rather tough task and refers to the new understanding and attitude to the relative questions of literature and culture. In the eyes of some self-complacent intellectuals, the responsibility for literature and critics is the ＂aesthetic entertainment＂ and ＂spiritual redemption＂. The significance of Marxist Aesthetics lies in that it upgrades the general ＂literal principle＂ and ＂aesthetic principle＂ in to a level of social development and national deliverance, and also it regards whether the literature having the function of cultural libration as the more pivotal content. The assignment for the critics and litterateurs is to engage and promote the production and promulgate for this significance, the cultural consciousness and liberation.

Investigation on the Concept of Local Aesthetic Experience in Chinese Context

Aesthetic anthropology is a new paradigm of the modem aesthetic research of China. Professor Wang Jie and his research team put forward the concept of local aesthetic experience in the process of research. The concept is used to summarize and refer to the existing way and existing form of non-westem mainstream culture in aesthetic dimension under global context. Local aesthetic experience converges many important problems in the research on aesthetic anthropology

Charm and Beauty——A Comparison of Two Aesthetic Categories in Chinese and Western Paintings

Aesthetics in China is different from that in the West which is centered on the logical approach to the concept of "beauty," and is highly typified by chewing, tasting, and pondering, a process full of intuition and contemplation. Instead of "beauty," "charm" is the central category in Chinese painting, presenting a different aesthetic system from that in the western world.

Four Dimensions to Construct China＇s Modem Discourse of Aesthetics Based on China＇s Aesthetic Development in 20th Century

Contemporary Chinese scholars proposed that China should construct modem Chinese aesthetic discourse system, therefore, we should attach great importance to China＇s own aesthetic development in 20th century and learn experience from it. There are four dimensions of learning. First, we should seek the origin of methods from Marxism. Second, the study should deeply rooted in Chinese traditional culture. Third, we should refer to ancient and modem Western aesthetic theories. Last but not the least, all the scholars should be encouraged to express their views freely and equally. The four dimensions, which plays an important role in constructing China＇s modem discourse of aesthetics, derived from the conclusion and experience of China＇s modem aesthetic development in 20th century.

Appreciation and Analysis of Traditional Chinese Painting＇s Freehand Brushwork Aesthetic Characteristics

Traditional Chinese painting possesses its own unique artistic style in the world＇ s art circle. Compared with the western painting, the freehand brushwork characteristics are very significant in traditional Chinese painting. In traditional Chinese painting, top priority is given to the expression of the creator＇s subjective interests, but not to the external colors and similar appearances. The masters in the world of traditional Chinese painting have always attached high importance to expressing the spirits with forms or appearance since the ancient times. In traditional Chinese painting, ＂similarity in form or appearance＂ and ＂similarity in spirit＂ are always dialectically unified with consciousness and unconsciousness, so that the art form with the ＂freehand brushwork＂ aesthetic characteristics is produced and significantly features Chinese spirit and oriental style. Also, the realm of art to express spirit with appearance is always pursued in traditional Chinese painting, and this is totally different from the ＂express appearance with appearance＂ in the western paintings. Moreover, expression is always stressed in traditional Chinese painting so as to express the feeling world of human using the ＂freehand brnshwork＂ aesthetics as the creation method. The ＂freehand brushwork＂ aesthetic characteristics of traditional Chinese painting are branded with a profound Zhuangzi philosophy.