On Functional Discourse Analysis Applied in Translation of Chinese Tea Poetry

In this article,the author aims to analyze some English translations of ancient Chinese tea poems in a functional linguistic point of view based mainly on Halliday's functional linguistic theory.First of all,there is a general introduction of Halliday's functional linguistic theory,secondly we will look into the features of ancient Chinese tea poetry,such as the grammar,the language and the context,and then the author picks out two typical examples for detail analyzing,at last there is a brief conclusion of the whole article.

Yijing and Sense-Grammar as Possible Fields for Innovation of Modern English-Language Poetry,with Discussions on the Influence of Chinese Poetry on Ezra Pound and Imagism

尽管庞德和他的同伴们从中国传统诗歌中学到了不少东西,并且因此推动英语诗歌取得了巨大的创新成就,他们还是忽视了中国诗学中的许多精华,这限制了他们在创新方面的进一步发展。中国传统诗学中极有可能进一步推动英语诗歌发展的两个概念是：＂意境＂与＂会意语法＂。＂意境＂乃是由一群巧妙构思的意象所构成的一种五维诗意世界,而不是单个意象或者几个叠置意象,也不是几个按照时间顺序松散连接的意象。＂会意语法＂所反映的是人们在日常生活以及常识的基础上所形成的一种超越语法局限的对语言的理解能力。＂会意语法＂是创作好诗的关键所在,尤其是创作有深厚蕴涵的意境的诗歌的关键所在。

From the Poem ‘Blue,blue is the Grass’ to Explore the impact of Chinese Classical Poetry on Ezra Pound

Blue,blue is the grass,Ezra Pound's version of a classical Chinese poetry,has enjoyed great popularity in the English reading public since its coming out in 1915.Through his translation Pound brought freshness into English poetry on the one hand,and disseminated Chinese culture on the other.And these verses happened to be a great stimulus as the Renaissance from the Greeks to the imagist poetry movement.This paper aims at a penetrating analysis of the impact of Chinese classical poetry on imagist poet Ezra Pound.

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.

Noun-Inspiring Theme in Poetic Translation—On Noun Translation Governed by Theme of Classical Chinese Poetry

The presence of poetic noun is very common in classical Chinese poetry. And the absence of preposition and conjunction leading to noun juxtaposition is one of the poetic aesthetic features. At present, most researches of poetic translatio on n base individual impression and perception, fail to comprehend the nouns of source text in categorization, and critical analysis on the translated nouns is not interpretable and verifiable. This paper, taking a perspective of poetic theme relevance, categorizes the poetic noun from the indicative, descriptive and symbolic dimensions, proposes a poetic translation strategy called"aesthetic reproduction of poetic theme", and proves its necessity and rationality.

The Application of Wang Rongpei's Translation Strategies in Translating Chinese Ancient Poetry

Professor Wang Rongpei has put forward the translation principle—"faithful in meaning and vivid in description"and put it into use. Through a series of analysis and contrast of different versions, this essay would prove the rationality of Professor Wang Rongpei's translation principle.

On the Translation of “Gold”&“Jade” in Chinese Poetry

Poetry is a precious part of traditional Chinese civilization.In the times of globalization,an increasing number of for eigners become interested in Chinese poetry.Hence,translating Chinese poetry into English and other languages is an arduous task for translators.Cultural image is a special cultural phenomenon in ancient Chinese poetry.Its proper translation will have a direct impact on the transmission of the artistic conception of poem,affecting the target-language readers’appreciation of the po em.In poetry,the images"gold"and"jade"whose cultural connotations have covered many areas such as politics,etiquette,reli gion,belief,custom,esthetical consciousness and so on,are indispensable parts of poetry translation.Therefore,this essay will anal yse the translation of images"gold"and"jade"in poetry under the cross-cultural perspective.

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.

On the Untranslatability of Classical Chinese Poetry

China is one of the countries which has the longest history and brilliant development of poetry.Among the translation of literature works,the translation of poetry has the most difficulty,which has reached common agreement in the field of translation.Particularly,the translation of Classical Chinese poetry arouses widely discussion,that is if it translatable or untranslatable.

Nature as Harmony： The Foundation of Chinese Poetry

This paper argues for the very foundation of Chinese poetry, that is, nature itself. To this end, I have chosen three well-known poets, Wang Wei （706-761） in Tang Dynasty （618-907）, Su Shi （1037-1101） and Zhou Dunyi （1017-1073） in Northern Song Dynasty （960-1127）. All three poets were also high ranking governmental officials. They were leaders of high personal integrity.

A brief analysis of the classical poetry Chinese-English translation： From the perspective of ＂Beauty in three aspects＂

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.

On the Present Situation and Trend of Vietnamese Chinese Poetry Research

Based on the analysis of the historical background and current situation of the study of Vietnamese Chinese poetry, this paper analyzes the achievements and shortcomings of the existing research. It is found that although there are a large number of authors and achievements in the study of Vietnamese Chinese poetry in the past 40 years, it still stays in the low level of work elaboration and literature review, and lacks of theoretical and systematic research. The main purpose of this article is to analyze the current situation of Vietnamese Chinese poetry research, and to explore the new path and method of Chinese scholars’ research on Vietnamese Chinese poetry through comparative analysis of domestic and foreign research results.

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.

A Study of Robert Morrison’s Translation of Chinese Poetry

The translation activities of Robert Morrison,the first protestant missionary to China,exert a profound impact on the following missionaries of their missionary efforts and Chinese Studies.Morrison’s translations of Chinese poetry,mainly cited as examples of certain cultural context,are scattered in various publications,and are not yet systematically studied.This paper aims to integrate and analyze Morrison’s translations of Chinese poetry,summarize their linguistic features,thereby providing insight into the studies on translation of the early missionary sinologues in China.

A Stylistic Perspective on Translation of Reduplicated Words in Classical Chinese Poetry

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.

A Comparative Study of the Cultural Connotations in Chinese and British Landscape Pastoral Poetry

This article is a comparative study of Chinese landscape pastoral poetry and British landscape pastoral poetry,focusing on their cultural connotations.Many Chinese and British poets take the theme of pastoral landscape as their creative content.By describing the natural scenery of the field,the life and work of the farmers and etc.,the poems eulogize the simplicity and purity of rural world,the happiness and unsophisticated life of farmers and also certain emotion of the poets.This kind of poetry is very prevalent among readers.However,due to the heterogeneity of Chinese and British culture,the landscape pastoral poetry created by Chinese and British poets has the same theme and description objects,but there are also marked differences in their content,artistic expression,writing techniques and the creation form that attracted lots of scholars to study.However,there have been few such studies in the differences about Chinese and British landscape pastoral poetry.To this extent,hopefully,this article may be scholastically significant in studying on the difference of their cultural connotations.

A Tentative Study of Translation Evaluation System of Chinese Classical Poetry Form: From the Perspective of Functional Linguistics

Chinese classical poetry is the special form of literature. The translated texts of various qualities hinder the foreign read-ers from appreciating of CCP and even from correctly understanding of the Chinese unique culture, which presents obstacles to thetransmission of Chinese great culture. Tentatively establishing an evaluation system of CCP from the perspective of functional lin-guistics,based on three meta-functions proposed by Halliday, by applying the translation evaluation system, the quality of six trans-lated versions of 清明, a poem by Du Mu are assessed. By this case study, it is intended to prove the feasibility and practicability ofthis translation evaluation system, and then provide the suggestions on bettering the translated versions.

Evocation (Gan-Xing) in Aesthetics and Atmospheric Beauty in Ancient Chinese Poetry

In recent years,“aesthetics of atmospheres,”a concept introduced from Western aesthetics,has emerged in aesthetic studies,offering a new perspective to examine ancient Chinese poetry.In poetry,atmospheric beauty is neither fixed nor rationalized;rather,it is pervasive and ubiquitous,much like a mist.Atmosphere is something spatial but primarily something emotional.Atmosphere creation is the products of a poet’s emotional expression evoked by external objects;thus,evocation(gan-xing)is a catalyst for creating atmospheres.At its core,evocation is the process by which a poet is emotionally stimulated at the sight of external objects and generates a desire to express such emotions.In this process,the poet is connected with the outside world through senses such as sight and hearing and is presented with abundant physical images.When these physical images are incorporated into poems,they become atmospheric agents.In poetry,atmospheres represent the unity of emotions and intentions.They are a poet’s situational aesthetic experiences.The statement,“If there is no self in poetry,how can we possibly have poetry”holds significant theoretical importance in aesthetics.Synesthesia plays a crucial role during the creation of atmospheric beauty in poetry.By employing synesthesia,a poet can greatly enhance the tension in poetic language,extending the poetic beauty beyond a singular sensory experience,and creating rich atmospheres that blend sensations such as sound,color,and taste.