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 essa...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.展开更多
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 ...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.展开更多
Nie Gannu 聂绀弩 （1903-86）, essayist and poet, had begun his literary career as an avid advocate of the New Culture and New Literature Movement of the early twentieth century; but later in life, he became well-known...Nie Gannu 聂绀弩 （1903-86）, essayist and poet, had begun his literary career as an avid advocate of the New Culture and New Literature Movement of the early twentieth century; but later in life, he became well-known for his classical-style poetry. This paper examines the paradox of old and new in Nie Gannu＇s writings by juxtaposing classical-style with new-style poetry for a comparative analysis. In contrast to new-style poetry, classical-style poetry with its prosodic requirements and formal conventions has a strong technical aspect. Nie Gannu＇s preference for the regulated verse in the seven-syllable line is a deliberate embrace of this technical aspect of classical-style poetry： On the one hand, the absorption in poetic skills and craftsmanship was therapeutic for him in the traumatic years of the socialist revolution; on the other, the restraint of the form and the use of parallel couplet afforded him linguistic resources unavailable in the new-style poetry, so that he was able to express emotional complexity, ambivalence, and an irony that is, in his own words, ＂both there and not quite there.＂ Nie Gannu＇s case demonstrates the importance of understanding the new and old verse forms in each other＇s context. Rather than considering the mapping of modern Chinese poetry as following a linear line of progression from classical-style to new-style, this paper proposes a spatial model of configuring the relationship of the two major verse forms in modern times, as mutually defining and constricting.展开更多
文摘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.
基金the research result of the key project "A Study of the Poetic Genes in Chinese Aesthetics"(No.19AZW001),funded by the National Social Science Fund of China.
文摘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.
文摘Nie Gannu 聂绀弩 （1903-86）, essayist and poet, had begun his literary career as an avid advocate of the New Culture and New Literature Movement of the early twentieth century; but later in life, he became well-known for his classical-style poetry. This paper examines the paradox of old and new in Nie Gannu＇s writings by juxtaposing classical-style with new-style poetry for a comparative analysis. In contrast to new-style poetry, classical-style poetry with its prosodic requirements and formal conventions has a strong technical aspect. Nie Gannu＇s preference for the regulated verse in the seven-syllable line is a deliberate embrace of this technical aspect of classical-style poetry： On the one hand, the absorption in poetic skills and craftsmanship was therapeutic for him in the traumatic years of the socialist revolution; on the other, the restraint of the form and the use of parallel couplet afforded him linguistic resources unavailable in the new-style poetry, so that he was able to express emotional complexity, ambivalence, and an irony that is, in his own words, ＂both there and not quite there.＂ Nie Gannu＇s case demonstrates the importance of understanding the new and old verse forms in each other＇s context. Rather than considering the mapping of modern Chinese poetry as following a linear line of progression from classical-style to new-style, this paper proposes a spatial model of configuring the relationship of the two major verse forms in modern times, as mutually defining and constricting.
