A Manifesto of a Poetic Revolution——Poetic Thoughts in Preface to Lyrical Ballads

Preface to Lyrical Ballads is full of poetic thoughts of Wordsworth and Coleridge.It is a manifesto of a poetic revolution,and it opens a new chapter for the English poetry.Such issues on poetry are addressed as its origin,functions,subject matters,lan-guage,imagination,and roles and qualities of poets.

On the Central Position of“Chanting to Express One's Qing and Xing”in Classical Chinese Lyrical Poetics

“Chanting to express one's qing(emotions)and xing(natural inclination)”holds a central position in a series of lyrical theories in Chinese classical poetics.Based on the philosophy of emotions and dispositions,this concept marks the development from the expression of aspirations and emotions in general and collective poetics prevalent in the pre-Qin period to the lyrical theory of individual poetics.The poetry of literati in the Han and Wei dynasties originated from the view of“expressing aspirations”and gave rise to the view of“springing from emotions.”During the Southern and Northern dynasties,poetic thought centered on qing and xing began to be established,and people often associated poetry with“chanting to express one's qing and xing”in addition to the concepts of“expressing aspirations”and“springing from emotions.”The poetics of the Tang Dynasty absorbed the view of“Introduction to Mao's Version of The Book of Odes”on the ballads and court hymns composed in the decline of the Zhou Dynasty and the theory of qing and xing from the Southern and Northern dynasties.Its fundamental assertion regarding poetry is“chanting to express one's qing and xing,”and it endowed the traditional theory of qing and xing with an emphasis on individuality and a reverence for natural aesthetics.Despite advocating the didactic purpose,the poetics of the Tang Dynasty essentially aligned with the ballads composed in the decline of the Zhou Dynasty,“chanting to express one's qing and xing.”In the Song Dynasty,the theory of qing and xing was combined with individual ethical essence,serving as the ideological foundation of the emphasis on reason in Song poetry.In the Ming and Qing dynasties,poets still followed the traditional theory of qing and xing,considering qing and xing as the foundation of poetry.Among them,the school of“expressing one's inner self”emphasized the natural expression of individuality and valued inspiration and innovation.

Research on the Lyrical and Narrative Traditions in Chinese Literature through the Nineteen Ancient Poems

In ancient Chinese literature,poetry is the primary vehicle for lyrical expression.Although they have been traditionally deemed pure lyrical works,the nineteen ancient poems contain narrative elements that have been explored in prior research endeavors.An examination of these poems from the perspective that Chinese literature is characterized by the complementary interplay of lyrical and narrative traditions can help develop a more nuanced understanding of Chinese literary works.Moreover,it can deepen the perception that Chinese literary history is not dominated by the lyrical tradition but is defined by the intricate harmony and mutual enrichment between the lyrical and narrative traditions.

LYRIC在人肝癌组织中的表达及其临床意义

目的:检测LYRIC分子在肝癌和癌旁组织中的表达,探讨LYRIC分子与肝癌患者临床病理特征的关系及其对预后判断的指导意义。方法:收集2005年1月至2013年12月沈阳军区总医院和中国医科大学附属盛京医院的87例肝癌患者肝癌及其癌旁组织切除标本,采用Real-time PCR和免疫组织化学染色等方法从基因和蛋白水平检测肝癌患者的癌组织及相应的癌旁组织中LYRIC分子的表达,结合患者病理指标、病理分型和预后随访资料分析LYRIC分子表达的临床意义。结果:在基因水平检测发现,LYRIC基因在56例肝癌组织中表达高于癌旁组织,高表达率为64.7%(56/87);在蛋白水平检测发现,LYRIC蛋白在87例肝癌组织中均表达,且在肝癌组织中的表达显著高于癌旁组织(2.16±0.87 vs 1.63±0.88,P=0.000 1)。在肝癌组织中LYRIC分子的高、低表达可较好地预测肝癌患者的预后情况,LYRIC分子高表达患者预后较差(Log-rank10.236,P=0.001);多因素分析提示,LYRIC高表达(HR=2.19)、转移(HR=2.44)及肿瘤分期(HR=2.01)是影响肝癌总体生存期的独立危险因素,而与肿瘤直径及是否有病毒感染无关。结论:LYRIC分子在肝癌组织中高表达,且其表达水平与肝癌的临床分期、转移能力和临床预后密切相关,是肝癌潜在的预后判断指标。

小鼠3D3／LYRIC基因重组质粒构建及蛋白表达和定位

目的构建小鼠3D3/LYRIC真核表达载体并证实融合蛋白在细胞内的表达及定位。方法提取小鼠乳腺上皮细胞系C127的mRNA,反转录为cDNA。PCR扩增m3D3/LYRIC全长编码基因,亚克隆至pEGFP-C1表达载体中。将构建的重组质粒测序并转染到腺样囊性癌细胞系ACC-2中,提取细胞蛋白进行Western blot检测。利用免疫荧光显微镜观察pEGFP-m3D3/LYRIC在腺样囊性癌ACC-2细胞内的定位。结果 m3D3/LYRIC全长基因序列克隆到真核表达载体pEGFP-C1中,酶切鉴定片段大小为1 740 bp。Western blot检测到融合蛋白GFP-m3D3/LYRIC表达,分子量约为91 kDa。pEGFP-C1-m3D3/LYRIC主要在细胞质内定位,在细胞核内未见表达。结论成功构建了m3D3/LYRIC全长基因真核表达载体,pEGFP-m3D3/LYRIC蛋白主要定位于细胞质内。

A Preliminary Study of Yeats' Lyrics of Sublimation

Yeats' lyrics of sublimation is one of his major concerns in his later years. Sublimation for Yeats is essentially the transmutation and elevation of bitterness and tragic facts of being into happiness, into tranquility of mind, then into the emotionless emotion, as Yeats names it as "innocence". The process of sublimation enriches the creativity of Yeats as artist when he is confronted with severity of aging spiritually and physically.

The "Marrow-bone" Wisdom-Yeats' Lyrics of Transcendence

The lyrics of transcendence by William Butler Yeats is to a greatextent a comprehensive interpretation of Yeats' views on poet ics and life.According to Yeats,transcendence is essentially a cold,lofty wisdom with which human beings could transcend their innate limitations,incompleteness as well as the secularities of existence,therefore achieving the mastery over one's fate.The thematic study of Yeats' lyrics of transcendence offers an unique approach to Yeats' philosophy in art and life.

Between Loss and Gain: Translating the Taiwan Residents Praise Ballads on the Pescadores into English

The“praise ballad”is a specific type of local folk literature handed down from generation to generation in traditional agricultural and fishing societies by means of chanting in the local vernacular dialect.It was composed and sung to express the villagers’emotions,thoughts and feelings.The content of the praise ballads sung on the Pescadores is largely and tightly connected to the hardship of fishing life because the Pescadores are surrounded by the salt waters and savaged by the Northeast monsoons.When the author of a praise ballad narrates his/her personal feeling or mood towards a particular living condition,he/she appeals to an intense emotion regarding the daunting adversity of fishing on the open seas,which is called“begging the sea”in the local Taiwan Residents dialect.Although praise ballads play a decisive role in the promotion of Penghu cultural tourism,the unique folk chansons are facing a vital predicament,namely,they are being forgotten by the people of our time and have been gradually sinking into absolute oblivion.Based on Hung Min-Tsung’s authoritative work on and collection of local Penghu praise ballads,the research seeks to examine the“loss”and“gain”in the English translations of some representative local praise ballads collected in Hung’s book.Can the original message and flavor of a praise ballad be fully retained in a Taiwan Residents-English translation via the mediation of the Chinese language?Can a Taiwan Residents-Chinese-English translational grand tour manage to faithfully render the original beauty,charm and humor of the Pescadorean songs of the old times?What can be regained and what are lost in the English translation?These are the questions the paper endeavors to investigate.

GAN-GLS:Generative Lyric Steganography Based on Generative Adversarial Networks

Steganography based on generative adversarial networks(GANs)has become a hot topic among researchers.Due to GANs being unsuitable for text fields with discrete characteristics,researchers have proposed GANbased steganography methods that are less dependent on text.In this paper,we propose a new method of generative lyrics steganography based on GANs,called GAN-GLS.The proposed method uses the GAN model and the largescale lyrics corpus to construct and train a lyrics generator.In this method,the GAN uses a previously generated line of a lyric as the input sentence in order to generate the next line of the lyric.Using a strategy based on the penalty mechanism in training,the GAN model generates non-repetitive and diverse lyrics.The secret information is then processed according to the data characteristics of the generated lyrics in order to hide information.Unlike other text generation-based linguistic steganographic methods,our method changes the way that multiple generated candidate items are selected as the candidate groups in order to encode the conditional probability distribution.The experimental results demonstrate that our method can generate highquality lyrics as stego-texts.Moreover,compared with other similar methods,the proposed method achieves good performance in terms of imperceptibility,embedding rate,effectiveness,extraction success rate and security.

Discourse Analysis of the Lyrics of the Song “Touch of Love”

This article tries to make an analysis of the song"Touch of Love"sung by Jacky Cheung,the king of pop singer in Hong Kong,from three aspects:person system,mood system and cohesion system based on the theory of systematic-functional grammar so as to deepen the understanding of the lyrics of this English song and improve their connoisseurship of English songs by the features embodied in the process of the discourse analysis of this piece of the song.

三首宋词中意向的简要分析(英文)

In the history of Chinese literature,Tz's of Song Dynasty abounds in lyrics infused with sentimental gracefulness,whose most distinctive feature is the employment of rich and varied imagery.This paper is to analyze the imagery of three Tz'u lyrics of profound lamentation so as to show how the extraordinary manipulation of imagery makes the three lyrics the master pieces of their kind.

An Analysis of John Denver's Songs

John Denver is one of the most famous singers who are fond of country music. His songs have surpassed time and space successfully. Nowadays the style of his songs still influences people of the world, which has a bearing on the connotation and extension of the style of his songs. It is worthwhile to analyse his songs from which people can comprehense his style further and seek out more about the culture and the ideology of Americans since 1970s.

The Grammatical Features of Song Lyrics of Bruno Mars——On Examples of4 Number-one Singles on the Billboard Hot 100

Music,as an informal variety of language,is an indispensable component of culture,which has permeated into every corner of society,with an extreme intimate tie with people’s everyday life.Song lyrics,the carrier of music,are the representation of the style of this language variety,music.Once song lyrics are written,not matched with the melody,they acquire the independent value of literature.As a result,stylistic features of song lyrics are certainly different from those features of poetry,prose,novel,etc.Therefore,it is of necessity and importance to study the stylistic features of song lyrics.Bruno Mars,as a singer and songwriter,is now regarded as one of the most successful solo artists in all over the world.He participates in the creation of his songs.This paper,from the point of stylistics,aims at the analysis of the grammatical features of the pop songs of Bruno Mars on examples of 4 number-one singles on th e Billboard Hot 100.

Robert Burns' Love and Hatred

Robert Burns is the very pioneer of the English Romantic poetry.As the starter of the poetry of 18th century in British,Burns wrote a large number of famous poems.In Burns' love poetry,he wrote the lovers' feelings deliberately;In the political poems,Burns depicted the gentlemen' s hypocrisy with much humor and satire.The author will take the themes of the poetry of Robert Burns as the standing point to study them systematically.

Positive Romanticism and Ode to the West Wind

There are not as many British positive romanticism research as romanticism research.The positive romanticism possesses distinguished characteristics in different cultures.The English positive romanticism pushed the romanticism literature to the highest among which Shelley's Ode to the West Wind is one of the best works.Through mainly analysis on the background of Ode to the West Wind,and the features of positive romanticism,my research finally drew an conclusion that Ode to the West Wind adopts a variety of ways to analyze the subjectivism,the political lyricism,idealism.This thesis also illustrates the features of human's appreciations for the nature.

The Reflection of “Three Beauties” Principle in the English Translation of Song Lyric “Jiang Cheng Zi. Ji Meng” By Xu Yuanchong

Professor Xu Yuanchong‘s"three beauties"principle has become the guideline in the field of the classical Chinese poetry translation. But the"three beauties"are not easy to coexist in a translation work and very often one has to be sacrificed for the other. How the"three beauties"being realized and combined together in the translation has been discussed. It reveals that there is a perfect integration of the"three beauties"in Professor Xu's English translation of Song Lyric"Jiang Cheng Zi. Ji Meng".

Implementation and experiments for interactive lyrics transcreation system

The evolution of the Internet has enabled us to enjoy the music created in various countries.But still,it is often difficult to understand the lyrics written in foreign languages.Professional translators have published many international songs with lyrics that fit the melody so that the ordinary people can enjoy the lyrics of such international songs.This paper discusses lyrics transcreation into the Japanese language.Also,the paper presents an interactive visual lyrics transcreation system and describes the details of its implementation.This system allows users to select temporary lyrics from a set of tentative translations and then freely modify the lyrics with a real-time visualization mechanism.We also propose a lyrics translation algorithm that solves an essential problem of lyrics translation into Japanese.In this study,we interviewed two experts regarding problems with lyrics translation and received reviews of our presented system.We also conducted preliminary experiments with 19 participants to determine the best combination of user interface components for our system.We performed additional user experiments inviting 12 participants to compare lyrics transcreation using the presented system to manual lyrics transcreation.Lyrics transcreation by the presented system brought better results against those of manual transcreation.

Seasonal Mythologies in the Lyrics of Cowboy Junkies

In many of his most memorable ballads, Cowboy Junkies lyricist and lead guitarist Michael Timmins combines imagery of seasonal change, of the year, notably of Winter, with religious and mythological references to create richly textured metaphors and analogies of love, loss and anguish. Some of the band’s songs which display these symbolic networks and thematic linkages which we Will consider here are “Winter’s Song,” “’Cause Cheap is How I Feel,” “Crescent Moon,” “First Recollection,” “Sad to See the Season Go,” “Good Friday” and “Ring on the Sill.” We will show that Timmins succeeds not only in rendering vivid tableaux of life in a world where Winter dominates the seasonal round, but also in making those exterior visions, in effect, objective correlatives of the inner lives of the characters of his ballads.

The Joumey of the Magi： A Lyric Monologue for First and Second Voices and Three-in-One Character（s）

Although T. S. Eliot＇s ＂The Journey of the Magi＂ is a religious poem in the profoundest sense, the title of my paper is intended to give only a sly wink at Trinitarianism. My real object is to explain how Eliot contrived to manufacture a poem which, at fu＇st glance, resembles a dramatic monologue （generally understood as a poem for one voice----that of a historical/fictional/mythological character addressing a silent listener, group of listeners or reader）, yet which is slowly revealed as a lyrical monologue （for the poet＇s own voice） which yet--and this quite intentionally----contains considerably more than mere echoes of another two speakers： namely a Magus and the biblical translator and, most famously, sermon writer Archbishop Launcelot Andrewes （1555-1626） court preacher to James 1 and Charles 1 of England. I wish to show how Eliot, in writing what is ultimately confessional verse, goes out of his way to hoodwink the reader by allowing the first two of his ＂{The} Three Voices of Poetry＂ （1957） to overlap with and then incorporate the third. His own descriptions of these voices are （i） lyric, defined as ＂the poet talking to himself＂, （ii） that of the single speakerwho gives a （dramatic） monologuel ＂addressing an {imaginary} audience in an assumed voice＂ and （iii） that of the verse dramatist ＂who attempts to create a dramatic character speaking in verse when he {i.e. the author} is saying.., only what he can say within the limits of one imaginary character addressing another imaginary character＂ yet adding ＂some bit of himself that the author gives to a character may be the germ from which that character starts＂ （Eliot, 1957, pp. 38, 40）. The basis of my argument is that such an act of＂giving of the self＇ as the raw material for the creation of a dramatic monologue persona as well as a character designed for the stage had been part and parcel of Eliot＇s modus operandi up to and including ＂Prufrock＂ and The Waste Land; further, that in ＂The Journey of the Magi＂ and his later commentary upon it he fmally comes out and admits the fact, and in far clearer a manner than he does when defining the Objective Correlative in his essays on Hamlet. Far from attempting to erase the sense of selfhood from his poetry, I believe that Eliot, consciously or not, ended up by demonstrating to those who worshipped the Romantics and their cult of personality just how difficult it was to express the purely subjective self in poetry.

The Body Posture and Space of Du Fu＇s Writings of Illness

The aim of this paper is to use a new vision in interpreting Du Fu＇s disease poem in order to build a more profound interpretation in the tradition of Chinese Lyricism. As the illness experiences are irreplaceable and the disease poems expressing clear self-image of the poet, we attempt to explore the unique illness experiences to uncover the lyrical self＇ in Du Fu＇s poems. The perception of the world of the poets suffering from illness would be different from the past while they were healthy, and thus they were experiencing a new sense of ＂space＂ through replacing the ordinary sense of space. This paper is divided into three parts： the first part is to interpret the new sense of space that is exhibiting features of anxiety caused by the state of imprisoned and the lost of mobility in life that is experienced by Du Fu＇s while he was sick. The second part of this study attempts to switch the perspective of Du Fu＇s disease poems that constructed a new sense of space by the action of＂ascending＂ in order to inspect whether the patient was able to overcome his anxiety while standing on a higher plane. The third part of this paper is to study the posture of＂lying＂, examining Du Fu expression of space while suffering from illness and had to stay at a lower position, and his perception of the space while suffering from chronic illness.