All times, there have been translators who endeavored to convey the original meaning of the poet by their own understandings and ways of expression. Therefore, different translators might have different translation fo...All times, there have been translators who endeavored to convey the original meaning of the poet by their own understandings and ways of expression. Therefore, different translators might have different translation for the same poem. Some pay more attention to the form while others to the meaning.展开更多
Chinese poetry has a very long and remarkable history.It is one of the most important representatives of China's ancient civilization of 5000 years.Chinese poetry utilizes quite a large number of methods in order ...Chinese poetry has a very long and remarkable history.It is one of the most important representatives of China's ancient civilization of 5000 years.Chinese poetry utilizes quite a large number of methods in order to be more melodious and charming.Reduplicated words,as a figure of speech,are one of the most frequently used form among them.Reduplicated words as an active rhetorical device can add more flavor and taste to poems.They have the advantages of expressing the stylistic beauty effectively in form,sound and sense,thus push the article to its topmost aesthetic beauty.This paper,from a stylistic perspective,first discusses and argues the translatability of reduplicated words and then the importance to maintain the style of reduplicated words.After that it tries hard to put forward some favorable ways of dealing with the translation of reduplicated words so that reduplicated words in classical Chinese poetry can be appropriately translated without damage to the original style and flavor.展开更多
Bowen Wang Trinity College Dublin,Dublin,From ut pictura poesis to intermediality,the close,interactive,and complicated relationship between poetry and painting has been an inevitable subject under discussion througho...Bowen Wang Trinity College Dublin,Dublin,From ut pictura poesis to intermediality,the close,interactive,and complicated relationship between poetry and painting has been an inevitable subject under discussion throughout the historiography of literature and fine art.Different approaches and interpretations to/on their sisterhood could come to a broad spectrum of interartistic ideas and practices.William Blake,an English Romantic poet,painter,and printmaker,links word and image by his invention of relief etching,or more understandably,the illuminated painting which juxtaposes his verse with in-text illustrations simultaneously on the same page.His technical strategy has already implied a dynamic and dialectical interrelation between word and image,like the treatment of earlier medieval manuscripts,yet in a more innovative rather than decorative manner.This article,therefore,through a comparative analysis of both Blake’s verbal and visual representations,will first attempt to clarify two distinct modes of combining poetic language with visualisation vis-à-vis form and content,and then critically investigate how this word-image interaction can be used to reflect the poet’s Romantic thought about sociocultural changes and provide new possibilities of reading,interpretation,and aesthetic complexity in that specific epoch.展开更多
Andrei Tarkovsky＇s cinematic signature bespeaks of a metaphysical dimension which is inseparable of an unwavering dialogue between poetic word and image. In three of his movies--Mirror （1975）, Stalker （1979） and ...Andrei Tarkovsky＇s cinematic signature bespeaks of a metaphysical dimension which is inseparable of an unwavering dialogue between poetic word and image. In three of his movies--Mirror （1975）, Stalker （1979） and Nostalghia （1983）---the Russian director helps to build this dimension with the insertion of his father＇s Arsenii poems. Although these poems may develop a pivotal dynamic in Mirror, even when they may seem to have a marginal existence, such as they do in Stalker and Nostalghia, their function is far from assuming a decorative status. Anchored in Tarkovsky＇s notion of organic movie in mind, as he developed it in his book Sculpting in Time, and in William Desmond＇s concept of in-betweeness, as he conceived it in Art, Origins, Otherness--Between Philosophy and Art, this article challenges the notion of structural relevance, and shows how the alleged marginal presence of Arseni＇s words contribute to create a space of metaphysical in-betweeness that lies at the core of the movie＇s spiritual dimension展开更多
文摘All times, there have been translators who endeavored to convey the original meaning of the poet by their own understandings and ways of expression. Therefore, different translators might have different translation for the same poem. Some pay more attention to the form while others to the meaning.
文摘Chinese poetry has a very long and remarkable history.It is one of the most important representatives of China's ancient civilization of 5000 years.Chinese poetry utilizes quite a large number of methods in order to be more melodious and charming.Reduplicated words,as a figure of speech,are one of the most frequently used form among them.Reduplicated words as an active rhetorical device can add more flavor and taste to poems.They have the advantages of expressing the stylistic beauty effectively in form,sound and sense,thus push the article to its topmost aesthetic beauty.This paper,from a stylistic perspective,first discusses and argues the translatability of reduplicated words and then the importance to maintain the style of reduplicated words.After that it tries hard to put forward some favorable ways of dealing with the translation of reduplicated words so that reduplicated words in classical Chinese poetry can be appropriately translated without damage to the original style and flavor.
文摘Bowen Wang Trinity College Dublin,Dublin,From ut pictura poesis to intermediality,the close,interactive,and complicated relationship between poetry and painting has been an inevitable subject under discussion throughout the historiography of literature and fine art.Different approaches and interpretations to/on their sisterhood could come to a broad spectrum of interartistic ideas and practices.William Blake,an English Romantic poet,painter,and printmaker,links word and image by his invention of relief etching,or more understandably,the illuminated painting which juxtaposes his verse with in-text illustrations simultaneously on the same page.His technical strategy has already implied a dynamic and dialectical interrelation between word and image,like the treatment of earlier medieval manuscripts,yet in a more innovative rather than decorative manner.This article,therefore,through a comparative analysis of both Blake’s verbal and visual representations,will first attempt to clarify two distinct modes of combining poetic language with visualisation vis-à-vis form and content,and then critically investigate how this word-image interaction can be used to reflect the poet’s Romantic thought about sociocultural changes and provide new possibilities of reading,interpretation,and aesthetic complexity in that specific epoch.
文摘Andrei Tarkovsky＇s cinematic signature bespeaks of a metaphysical dimension which is inseparable of an unwavering dialogue between poetic word and image. In three of his movies--Mirror （1975）, Stalker （1979） and Nostalghia （1983）---the Russian director helps to build this dimension with the insertion of his father＇s Arsenii poems. Although these poems may develop a pivotal dynamic in Mirror, even when they may seem to have a marginal existence, such as they do in Stalker and Nostalghia, their function is far from assuming a decorative status. Anchored in Tarkovsky＇s notion of organic movie in mind, as he developed it in his book Sculpting in Time, and in William Desmond＇s concept of in-betweeness, as he conceived it in Art, Origins, Otherness--Between Philosophy and Art, this article challenges the notion of structural relevance, and shows how the alleged marginal presence of Arseni＇s words contribute to create a space of metaphysical in-betweeness that lies at the core of the movie＇s spiritual dimension
