scholarly journals Analysis of the Russian Translation of the “Shijing” Song “Longing for the Husband”

2021 ◽  
Vol 5 (1) ◽  
pp. 56-61
Author(s):  
Zhao Xiao-bing
Keyword(s):  
19Th Century ◽  
English Translation ◽  
Russian Translation ◽  
Chinese Literature ◽  
Folk Song ◽  
Modern Chinese ◽  
Poetic Translation ◽  
The 19Th Century ◽  
Significant Milestone ◽  
Individual Style

Translating into Russian and studying “Shijing” (“The Book of Poetry”) is a significant milestone in Russian-Chinese literature exchange which was initiated in the 19th century when Wang Xili school was founded. In the USSR, V. Alexeev school was established, in which one of the most famous translators was A. Shtukin. His Russian translation of “Shijing” is considered the first and the most complete one. The object of research in this article is Russian translation of the song in “Wang kingdom's songs” “Longing for the Husband”| by A. Shtukin. “Longing for the Husband” is the brightest folk song in “Gofen” (“Characters of Kingdoms”) in Shijing. In this article, the analysis of the graceful and most poetic translation of “Longing for the Husband” by A. Shchukin is carried out by commenting the poem, analyzing the translation of the original into modern Chinese by Cheng Junying and Jiang Jianyuan and comparing Russian and English translation. The author attempted to make a secondary improved translation of the original poem on the basis of A. Shtukin’s translation preserving the original rhythm and rhyme wherever possible. The secondary translation is closer to the original poem, it preserves and delivers the genuine resplendence of the poem. It also preserves A. Shtukin’s amphibrach and his individual style which has a lot of tune and distinguished style of classical Russian poetry. The author only introduces some lexical adjustments due to which it will be easier for a Russian reader to understand the poem.

scholarly journals Corpus-based methods in stylistic studies: reshitel’nyi/reshitel’no in Fedor Dostoevskii’s individual style

2021 ◽  
Vol 18 (2) ◽  
pp. 400-416
Author(s):  
Ekaterina V. Sharapova ◽  
Keyword(s):  
19Th Century ◽  
Lexical Item ◽  
Russian Language ◽  
Literary Texts ◽  
Semantic Structure ◽  
Writing Style ◽  
Lexical Function ◽  
The 19Th Century ◽  
Individual Style ◽  
National Corpus

The article discusses the idiolectic features of the adjective reshitel’nyi and the adverb reshitel’no in Fedor Dostoevskii’s writing style. Conceived as one lexical item, reshitel’nyi and reshitel’no have a semantic structure that includes three blocks of meanings: quality/mode of action; discursive meaning; intensity (corresponding to the lexical function Magn). The dictionary definitions suggest that all of them were common to reshitel’nyi/reshitel’no in Russian language of the 19th century. Ноwever, a corpus-based study shows that reshitel’nyi/reshitel’no in discursive or intensifying use is one of Dostoevskii’s idiolectic patterns. The study comprises 1219 contexts from Dostoevskii’s five great novels and from Leo Tolstoy’s, Mikhail Saltykov Shchedrin’s, Ivan Turgenev’s and Ivan Goncharov’s literary texts accessible in the Russian National Corpus. The analysis reveals the closeness of intensification tо discursive meanings up to nondistinction. Almost half of the contexts extracted from Dostoevsky’s texts are discursive or intensifying uses of reshitel’nyi/reshitel’no. This share is much smaller for the texts of other authors (12%, 22%, 15% and 14% respectively). The article considers some types of contexts and constructions that refer to discursive or intensifying uses of reshitel’nyi/reshitel’no in Dostoesvskii’s literary texts.

Traditions of Russian Folklore in P. A. Vyazemsky’s Poems “Another Troika” and “In Memory of the Painter Orlovsky”

2020 ◽  
pp. 56-65
Author(s):  
Сейран Акопович Джанумов
Keyword(s):  
19Th Century ◽  
Folk Songs ◽  
Folk Song ◽  
National Character ◽  
Literary Critic ◽  
Nature Poetry ◽  
Image Structure ◽  
Functionally Diverse ◽  
The 19Th Century ◽  
The Relationship

Статья посвящена проблеме взаимоотношений литературы и фольклора на материале двух стихотворений русского поэта, литературного критика XIX в. П. А. Вяземского (1792-1878) « Еще тройка» (1834) и «Памяти живописца Орловского» (между 1832 и 1837), в которых слиты воедино народно-песенная образность, традиционные фольклорные мотивы и проникновенный лиризм. Отмечается, что обращение Вяземского к фольклору глубоко органично и вполне закономерно для него, неразрывно соединено с его пониманием народности литературы, поэзии природной, самобытной, а не заимствованной. Делается вывод, что связь рассмотренных в статье стихотворений Вяземского с устным народным творчеством нашла выражение в широком и функционально разнообразном использовании поэтики народных песен, пословиц и поговорок, а также мифологических персонажей русского фольклора. Применяя фольклорные образы и мотивы, Вяземский меньше всего заботится о соблюдении местного, национального колорита, так называемого couleur locale (фр.). Введение поэтических формул русского фольклора всегда обусловлено идейно-художественным замыслом, содержанием и образным строем стихотворения. Именно органичная, нерасторжимая и глубокая связь творчества Вяземского с русской национальной стихией, литературными и народнопоэтическими традициями обеспечила его произведениям непреходящую ценность и эстетическую значимость. The article considers the problem of the relationship between literature and folklore based on two poems by the 19th-century Russian poet and literary critic P. A. Vyazemsky (1792-1878), “Another Troika” (1834) and “In Memory of the Painter Orlovsky” (between 1832 and 1837). The poems merge folk song imagery, traditional folk motifs and heartfelt lyricism. The author notes that Vyazemsky’s appeal to folklore is deeply organic and quite natural for him, inextricably linked with his understanding of the national character of literature, nature poetry, and originality. The author demonstrates that the connection of Vyazemsky’s poems with oral folk art manifests itself in an extensive and functionally diverse use of the poetics of folk songs, proverbs and sayings, as well as in references to mythological characters of Russian folklore. Using folk images and motifs, Vyazemsky downplays the depiction of local, national color (so-called “couleur locale”). The introduction of poetic formulas of Russian folklore is due to the poet’s ideological and artistic design and corresponds to the poem’s content and image structure. It is the organic, indissoluble and deep connection of Vyazemsky’s poetry with the Russian national element - literary and folk poetic traditions - that provides his works with enduring value and aesthetic significance.

scholarly journals Transformations of a Ukrainian song in Hungarian territories during the first half of the 19th century

2021 ◽  
pp. 420-451
Author(s):  
Zsófia Kalavszky
Keyword(s):  
19Th Century ◽  
Folk Song ◽  
Napoleonic Wars ◽  
German Translation ◽  
Hungarian Literature ◽  
German Speaking ◽  
The Creation ◽  
The 19Th Century ◽  
Hungarian Version

In my study I examine through what channels the Ukrainian song “Ïhav kozak za Dunaj” reached Czech and Hungarian territories through German mediation at the beginning of the 19th century. In the German-speaking territories, the Ukrainian song was spreading in German almost like a folk song. “Schöne Minka”, a Christophor Tiedge’s adaptation of the Ukrainian song, which differs significantly from the original, probably reached the territory of the Czech Crown and later the Kingdom of Hungary in the 1810s with the soldiers participating in the Napoleonic wars. A decade later, another version of the Ukrainian song much closer to the original appeared in the Czech and Hungarian territories. In Czech this version was published by František Čelakovský in 1822, and we owe the creation of the Hungarian version to Count Ferenc Teleki. Teleki did not work with Russian or Ukrainian sources, he translated the Ukrainian song into Hungarian with the help of a German translation. This text mediating between Ukrainian and Hungarian is Theodor Körner’s translation “Russisches Lied”. At the same time, Teleki’s translation is especially exciting for Russian and Hungarian literature since it shows surprising correspondences with Wilhelm Küchelbecker’s text “Der Kosak und das Mädchen” (1814), which is also a translation of the Ukrainian song.

scholarly journals A Propos the Failed First Publication of the Russian Translation of Shu Jing

2021 ◽  
Vol 25 (2) ◽  
pp. 320-327
Author(s):  
Lidiya V. Stezhenskaya
Keyword(s):  
19Th Century ◽  
Russian Translation ◽  
Chinese Language ◽  
Teaching Material ◽  
Historical Documents ◽  
Ancient Text ◽  
Early Medieval ◽  
Canonical Text ◽  
The 19Th Century ◽  
First Time

The Book of Historical Documents (Shu jing) is an ancient Chinese written monument, a collection of addresses of the ruler to the subjects and of the subjects to the rulers. The philosophical meaning of Shu jing is that it mentions or refers to the issues of a broad ideological order. These brief references either gave life to philosophical ideas, or later, after appropriate interpretation, were used by the philosophers to authoritatively confirm their thoughts. The first complete Russian translation of Shu jing was done by Archimandrite Daniil (Dmitriy Petrovich Sivillov, 1789-1871) in the early 40s of the 19th century. The translation was undertaken, first and primarily, as a teaching material assigned to students of the Chinese Language Cathedra at the Kazan Imperial University. This cathedra was first one established in Russia and the second one in Europe. Archimandrite Daniel was its first head in 1837-1844. Unfortunately, the translator have never had a chance to publish his work. Sivillov for the first time in Russian and European Sinology used a purely Chinese commented edition of The Book . The canonical text used by Sivillov and later his followers was considered and understood through the prism of modern Neoconfucianism, which, in comparison with ancient and early medieval Confucianism, reinterpreted and significantly enriched the philosophical meaning of the Shu jing . In some points of understanding of the Neoconfucian interpretation of the ancient text, Archimandrite Daniil was not only ahead of, but also more successful than his later colleagues. The text of the previously unpublished Shu jing Chapter III Da Yu mo Russian translation by archimandrite Daniil is attached.

scholarly journals Gender and Superstition in Modern Chinese Literature

Religions ◽  
2019 ◽  
Vol 10 (10) ◽  
pp. 588
Author(s):  
Gal Gvili
Keyword(s):  
Short Story ◽  
Chinese Literature ◽  
Modern Chinese Literature ◽  
Modern China ◽  
Lu Xun ◽  
Modern Chinese ◽  
New Perspective ◽  
Literary Methods ◽  
The 19Th Century ◽  
Modern Era

This article offers a new perspective on the study of the discourse on superstition (mixin) in modern China. Drawing upon recent work on the import of the concept “superstition” to the colonial world during the 19th century, the article intervenes in the current study of the circulation of discursive constructs in area studies. This intervention is done in two ways: first, I identify how in the modern era missionaries and Western empires collaborated in linking anti-superstition thought to discourses on women’s liberation. Couched in promises of civilizational progress to cultures who free their women from backward superstitions, this historical connection between empire, gender and modern knowledge urges us to reorient our understanding of superstition merely as the ultimate other of “religion” or “science.” Second, in order to explore the nuances of the connection between gender and superstition, I turn to an archive that is currently understudied in the research on superstition in China. I propose that we mine modern Chinese literature by using literary methods. I demonstrate this proposal by reading China’s first feminist manifesto, The Women’s Bell by Jin Tianhe and the short story Medicine by Lu Xun.

scholarly journals Jan Baudouin de Courtenay, Hugo Schuchardt, Nikolaj Marr e un’enigmatica iscrizione georgiana

2018 ◽  
Author(s):  
Vittorio Tomelleri
Keyword(s):  
19Th Century ◽  
Russian Translation ◽  
Italian Translation ◽  
Short Statement ◽  
The Many ◽  
The 19Th Century

Around the end of the 19th century, a philologically and linguistically rather insignificant inscription on a cross, written in Old Georgian script, drew the attention of the Polish linguist Jan Baudouin de Courtenay, who, however, was not able to identify neither the language nor the alphabet. After having drafted in his own hand several copies of the inscription, he submitted them to scholars and orientalists all around Europe, without getting a univocal or satisfying answer; he then consulted in Petersburg the Georgian philologist Nikolay Marr, who provided a transcription of the Georgian text in the modern (civil) alphabet and a Russian translation. The present paper describes and discusses how surprised and disappointed were the linguist Hugo Schuchardt and Nikolay Marr himself about Baudouin de Courtenay’s not impeccable publication of the Old Georgian inscription and, above all, the fact that he had introduced the edition with a detailed enumeration of the many failed attempts at deciphering the mysterious alphabet. In the appendix the short statement by Nikolay Marr, written in Russian, is reprinted with an Italian translation by Margarita Blinova.

scholarly journals Kolberg’s opinions on changes in the choice of instruments in 19th century folk music

2014 ◽  
Vol 11 (1) ◽  
pp. 6-12
Author(s):  
Zbigniew Jerzy Przerembski
Keyword(s):  
World War I ◽  
19Th Century ◽  
Folk Music ◽  
Well Being ◽  
Folk Song ◽  
Musical Background ◽  
Expressive Performance ◽  
Culture Heritage ◽  
The 19Th Century ◽  
Choice Of Instruments

Abstract In the second half of the 19th century, when Oskar Kolberg conducted his folkloristic and ethnographic work, folk song and music were still alive and, to a great extent, functioned in their natural culture context. However, already at that time, and especially in the last decades of the century, gradual changes were taking place within folk tradition. Those changes were brought about by industrialization and factors in the development of urban civilization, which varied in intensity depending on the region. Folk music was also influenced by those changes and they themselves were further fuelled by the final (third) Partition of Poland by Austria, Prussia and Russia, declared in 1795 and lasting till the end of World War I. Oskar Kolberg noticed and described changes in the musical landscape of villages and little towns of the former Polish Republic in the 19th century, as well as in the choice of instruments. To be quite precise, musical instruments are not featured as a separate subject of his research, but various references, though scattered, are quite numerous, and are presented against a social, cultural and musical background, which provides an opportunity to draw certain conclusions concerning folk music instrumental practice. However, changes in the makeup of folk music ensembles resulted in the disappearance of traditional instruments, which were being replaced by the newer, factory-produced ones. This process worried Kolberg and he noticed its symptoms also in a wider, European context, where bagpipes or dulcimers were being supplanted not only by “itinerant orchestras” but also by barrel organs or even violins. Writing about our country, Poland, he combined a positive opinion on the subject of improvised and expressive performance of folk violinists with a negative one on clarinet players and mechanical instruments. Summing up, the musical landscape of Polish villages and both small and larger towns was definitely influenced in the 19th century by the symptoms of phenomena which much later acquired a wider dimension and were defined as globalization and commercialization. Sensing them, Oskar Kolberg viewed the well-being of the traditional culture heritage with apprehension.

De l’Indochine a l’Afghanistan: des arts etrangers dans les bibliotheques Parisiennes

1993 ◽  
Vol 18 (2) ◽  
pp. 26-33
Author(s):  
Francis Macouin
Keyword(s):  
19Th Century ◽  
English Translation ◽  
17Th Century ◽  
Collège De France ◽  
The Arts ◽  
French Colonies ◽  
French Colonial ◽  
Oriental Studies ◽  
The 19Th Century ◽  
Indian Art

French interest in India and neighbouring regions dates back to the 17th century. Oriental studies developed as a distinct discipline through the 19th century, stimulated in France by French colonial activities in Indochina, and culminating at the end of the century in the emergence of Oriental art and archaeology as a subject in its own right. The Commission Archéologique de l’Indochine was established in 1898, and became the Ecole Francaise d’Extrême-Orient (EFEO) in 1901 with responsibility for listing and protecting antiquities in the French colonies; its library in Paris constitutes a major resource. France’s relationship with Afghanistan facilitated French archaeological activities in that country until 1975; archaeological finds enabled the Musée Guimet to extend its scope and to become a museum of Asiatic art, and its library became and remains the major library in Paris so far as Asian art is concerned. The library of the Ecole du Louvre supports courses on Asian art, while the Bibliothèque Nationale and such libraries as the Bibliothèque Forney also contain valuable collections. Photographic collections in some of these institutions have not been so well looked after as books, and their condition is a matter of concern. Unpublished archival materials are also held in some of the same institutions. The resources of a number of smaller, specialised institutes are currently being brought together in a new building under the name ‘Institute d’Asie du Collège de France’, while some other collections are being linked with the library of the EFEO to create a ‘Bibliothèque d’Asie’. Meanwhile it remains to be seen whether the new Bibliothèque Nationale des Arts will include the arts of Asia within its scope. No library in France has responsibility for modern Indian art. (An English translation follows the text in French).

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