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.

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.

Comparative Aesthetics of Chinese and Western Visual Poetry Based on the Multimodal Theories

Although the Chinese visual poetry and western visual poetry have a lot of differences,the similarity of visual poetry is the combination of poetry and painting.This research will apply the method of comparative analysis and multimodal theories,aiming to provide a new view to evaluate Chinese and western poetry,so as to promote the aesthetic experiences of Chinese and western culture for public.The research finds that Chinese and western poetry can be analyzed from the perspective of framework of visual-image analysis based on multimodal theories,which is composed of three major meanings:representation,interaction and composition.The comparative aesthetics based on the multimodal theories is of great significance to the appreciation and enjoyment of Chinese and western visual poetry.

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.

Word-Image Intertwining:William Blake’s Illuminated Poetry and the Aesthetics of Compositeness

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.

On the Untranslatability of Poetry

Quite a number of scholars from western to eastern have been arguing about the question of translatability and untranslatability of poetry. Robert Frost, the well-known American poet once said,"Poetry is what gets lost in translation."Even though, practice of translating poetry has never ceased. This paper argues that poetry is untranslatable from the aesthetic point of view. Poetry's language function is to convey the aesthetic effect, thus the purpose of rendering poetry is to reach the aesthetic effect. However, aesthetic effect is based on its language form; the inerasable differences between languages determine that the translation of poetry is impossible, which tends to change language form of one language to another.

A Reception Aesthetic View of Three English Versions of CHUN XIAO

Chun Xiao, a famous Tang poetry, written by Meng Haoran, has been translated by some great translators. In translating poems, what is important is not only the transferring of the intended meaning of the source language into target language, but keeping its literariness, i.e. the style of the original text. Three English versions are selected to make a comparative study from the perspective of reception aesthetics in terms of lexicon, rhyme and syntax.

Communities and the Poetic Imaginary：A Folklore Essay on the Poetry of the Wild Project

Poetry of the Wild is an ongoing artistic and literary project that according to originator Ana Flores＇ conception, invites the public ＂out for a walk＂ to freshly experience their world through word, sound, and image. Inspired by birdhouse design, these unique configurations of ＂poetry boxes＂, combining art and poetry are located in various communal open spaces. Each new project solicits a public response from us all to become catalysts for exploring our environs and questioning how a sense of place informs our consciousness. A folkloristic perspective shapes this discussion about the many variations of this collaborative and public project of poetry boxes, installed on trails, in parks, along rivers, and in library stacks over the past ten years. The primary concerns of folklore interpretation such as tradition, identity, cultural creativity, performance, and narrative analysis, are just a few of the dynamics that can be teased out from investigating a project with such interesting cultural parameters. In this context, cultural sustainability and poetic sensibility deepen our understanding of sense of place, environmental aesthetics, shrine markers, and the scope of individual and communal creative action.

A Study on the Translation Aesthetics in Cathay based on Pound's Translation Theory of Recreation

This article expounds on Ezra Pound's translation anthology,Cathay by elaborating how he recreated classic Chinese poetry in modem English with his own translation aesthetics and theory.As both translation practice and recreation,Cathay exerts profound impact on global literatures and translations,conveying enlightenment to cultural exchanges between different civilizations.Based on Pound's translation theory,this article intends to unfold the aesthetics in Cathay including the beauty of exotic oriental culture,emotions that travels across time and space,and concise imagery through his recreation of connotations,themes,and text forms.Distinguishing from the precedents,Pound has made breakthroughs in the translation process,form,and criteria,valuing the translator's subjectivity.Nowadays,as overseas Chinese learners are increasingly keen in the Chinese culture,Pound's re-conceptualization of translation and cultural understanding can serve as rich references to cross-cultural exchanges and mutual learnings.

Edward Burne-Jones’s The Mirror of Venus: Physical and Intangible Female Beauty

The Pre-Raphaelite painter Edward Burne-Jones(1833-1898)conceived the subject of The Mirror of Venus between 1865 and 1867.He painted two versions:a small version in gouache and oil and a larger version in oil on canvas.In composing this subject Burne-Jones was inspired by the poetic and chromatic description of a lyrical stanza on“The Hill of Venus”in the long epic poem Earthly Paradise,written by his close friend and collaborator William Morris.1 This study comprises three parts:Burne-Jones’s history of the paintings,his iconographical sources,and an iconological interpretation of The Mirror of Venus.

A Glimpse of Hong Kong ＂Chineseness＂： Pre-existing Tunes as the Redemption of a Cultural Identity

When the umbrellas were held up against the tear gas attack in the protest on September 28, 2014, the hot issue raised by the marathon-like Yellow Umbrella Movement was not only the matter of politics but also a coincidence created for the Hong Kong locals to face, or to be faced with an already moot cliche： How the Hongkongese can redef＇me and redeem their almost lost socio-cultural identity, particularly under the increasingly hegemonic influences and the socio-cultural invasion of the mainland after the 1997 Handover. My present paper is not intended to discuss the topic of identity on the platform of politics, or the postcolonial studies such as transculturation or cultural hybridty. But instead, I am far more interested in locating such issue on the aesthetic dimension of collective memory, which is revealed in two local contemporary Hong Kong compositions. In the process of shaping and reshaping a form of＂HongKongeseness＂ in which the composers tend to create and the local listeners tend to experience, albeit transient, can appear in every nuance of the sonic metaphor embedded in the pre-existing indigenous tunes of a self-contained compositional work.

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.

Mastering Metaphors: A Possible Path to Understand Modern Poetry

Understanding modern poetry is a big problem for average readers because of all kinds of rhetorical devices filled with them,especially metaphors,which are hard for the readers to understand clearly.Thus,grasping metaphors would provide a possible solution to enhance the understanding of modern poetry.Based on the motivation to better understand modern poetry,the paper explores the 11 mechanisms of metaphors in modern poetry with examples in detail,i.e.,blending,mapping,frame shifting,image schema,conceptual integration,contextual grounding,inter-subjectivity,embodied cognition,recursiveness,juxtaposition,shape-moulding,by borrowing some concepts from Cognitive Linguistics,literary studies,and Rhetorics,which can be adopted as means and methods to understand modern poems.

NOISY SOUNDS! It's a Listening Affair:Jazz Aesthetic, Improvisation, and Womanism in M. NourbeSe Philip's She Tries Her Tongue, Her Silence Softly Breaks

Black writers adapted jazz music to“say the unsayable”or employed the“jazz aesthetic,”which includes improvisation,citation,and variation as a stylistic device to distance their literature from European forms of narration.These elements can also be found in M.NourbeSe Philipp poetry collection She Tries Her Tongue,Her Silence Sofily Breaks(1988)which rigorously challenges the way language and words are perceived.Philip denounces the Western ideology of non-ambiguity,dichotomies,and narration altogether by engaging the reader as jazz musicians engage their audience.What role did music play in the Black resistance?What is the“jazz aesthetic”and how is it incorporated into Black diasporic literature?How does jazz music create community and how did Black female musicians speak up in a rather hypermasculine jazz universe?How does Philip incorporate the jazz aesthetic,improvisation,and womanist thoughts in her poems?And what is the intention of noise,dissonance,and(musical)violence?

从“风骨兴寄”到“淡泊情思”——唐朝时期审美意识流变

审美意识一直是古代文学及艺术领域的终极问题之一。中国古代的审美意识主要是从古代的文学、绘画、艺术等多方面体现出来的。唐朝作为中国历史上国力极为鼎盛的时期,胸襟气度、疆域拓展、文学艺术发展等都呈现了独树一帜的风貌。历史上的唐朝时间跨度大,审美意识也随着政治历史等的变化呈现出流变的过程。从初唐时对隋的“风骨兴寄”审美意识的继承和发扬,再到国力强盛的盛唐时期文人的浪漫之音,直至晚唐时期凄清淡泊、禅宗意象的情怀,都昭示了时代的变迁给士人们带来的精神上的变化,同时也体现着我国古代审美意识的变迁。探寻这种审美意识流变的过程,正是探索中国古代哲学发展和审美发展的重要途径之一。

儿童诗美育的价值和实践路径

儿童诗作为诗教的重要资源,为儿童提供了影响深远的美育力量。深入了解诗歌美学和儿童思维的内在关联,是教师和成人创作者进行美育实践的重要途径。以往的研究和教学活动中,多停留于对这一文体的感性认识,对儿童诗的内在诗性还缺乏深入地理论探索,这影响到以诗来促进美育实践的有效性和方向性。儿童诗的审美核心是来自童心的“真”和“趣”,由此展现出儿童逻辑中的哲学意识和无功利的自由境界。同时,儿童思维和审美情趣也为成人重新观察生活提供了重要视角。因而诗教的实践者--成人审视回归自我的“真心”,以儿童视角为中介重新理解儿童,也将通过诗寻找到“成人--儿童”精神交流的有效路径。

“诗意”的音乐美学史意义钩沉

“诗意”最初诞生于早期德国浪漫主义的文学领域,用来概括早期现代文学的总体特征,最后发展成一个具有形而上学意义的哲学美学概念。由于赫尔德、蒂克等人将“诗意”与器乐的审美属性紧密地关联在一起,因此它逐渐具有了音乐美学史意义。“诗意”是18世纪末至19世纪末西方音乐美学发展中的一条主要理论线索,它不仅与器乐独立密切联系,而且深刻影响了浪漫主义时期的创作实践。站在“诗意”视角观察浪漫主义音乐美学,我们可以在器乐的形而上学、绝对音乐观念、标题音乐创作、器乐审美的超越性等问题上形成新的认识。

“心物相与”视域下的感物诗书写及其诗学质性

感物诗是在“气的宇宙观”下生成的独特文类。在“气的宇宙观”视域下,心、物同根同构又交相感应,成为呼吸相通的有机整体。秦汉以来随着“诗的时间”的发现,感物诗集中抒写时间体验,逐步积淀为体气与时气绾合的“叹逝”主题与四时结构模式;处身于大气场域中,受到阴阳之气浸润,“应物斯感”的抒情主体表现出被动性、身体性特点;时间的空间化、气氛之物的出场及浓郁化、处身于境的氛围体受,营造出感物诗的气氛美学。围绕“心物相与”生成的“叹逝”主题、身体化主体和气氛美学,感物诗鲜明地呈现了气类感应的有情世界这一独特的文学图景,同时又以其主题的固定化、模式的程式化、意象的类型化等质性特点,成为汉魏晋士人群体自觉的文学表征,具有重要的诗学与文化意义。

夏目漱石汉诗中的禅宗审美意蕴呈现及其原因研究

夏目漱石在创作汉诗时巧妙融入人生品味理念,自然天成禅宗美学意蕴,创造出日本本土化汉诗文的样态,借此实现中国传统文化在日本的语境转换。本稿在分析了夏目漱石汉诗文中的禅宗理念基础上,然后以具体示例重点阐释了其汉诗文中所蕴含的“物哀、幽玄”之禅宗意境、“动静”合璧之禅画意境、“道”之禅宗神韵等审美内涵。最后,从夏目漱石深厚的汉文学修养功底、艰辛坎坷的个人经历以及日本传统文化审美意识的影响等方面,详细分析了夏目漱石汉诗文中所蕴含的禅宗审美思想之来源。

从感物美学的角度重审“诗可以怨”观念

自从钱钟书先生的论文《诗可以怨》发表后,“诗可以怨”一直被看作是文学创作的主要动机。从感物美学角度,创作动机可以划分为自然风物触发与社会历史现实触发两种基本类型。研究发现,无论因何而触发,文学创作动机都不仅包括“诗可以怨”,而且还包括“诗可以乐”。由此可见,文论界普遍认同的“诗可以怨”是文学创作的主要动机这一观念其实是不全面的和有局限性的,文学创作的动机实际上是“多元情感并举”的。