scholarly journals Translation of Classics by JX Native Literati of Song Dynasty from the Perspective of Translation Aesthetics

2018 ◽  
Vol 8 (7) ◽  
pp. 860
Author(s):  
Yuying Li ◽  
Yuming Zhang
Keyword(s):  
Song Dynasty ◽  
Chinese Culture ◽  
Classical Literature ◽  
Aesthetic Value ◽  
The Song Dynasty ◽  
Large Numbers ◽  
Tang And Song Dynasties ◽  
National Power ◽  
Ancient Times ◽  
The Aesthetic

With the significant growth of China's comprehensive national power, Chinese culture should not only "bring in" but also "go out". Chinese culture is extensive and profound, and classical literature has reached its peak in the Tang and Song dynasties. Jiangxi has been full of natural resources and outstanding people since ancient times, especially in the Song dynasty, when people of talent came forth in large numbers and created brilliant heritage of classic literary works for their offspring. Therefore, study on the translation of classics by JX native literati of Song Dynasty has very important academic value, application value and popularization meaning. Based on the modern translation aesthetics theory, this paper discusses how English translation of Chinese classics represents the beauty and the aesthetic value of the original from the perspective of rhetorical devices, form, images, and emotion respectively, in the hope to carry forward Chinese classics and Chinese culture.

scholarly journals On the Norm Memes in English Translation of Classics—A Case Study of the Translation of the Works by Jiangxi Native Literati in the Song Dynasty

2018 ◽  
Vol 8 (6) ◽  
pp. 629
Author(s):  
Yuying Li ◽  
Wandi Hu
Keyword(s):  
English Translation ◽  
Song Dynasty ◽  
Chinese Culture ◽  
Jiangxi Province ◽  
Translation Strategies ◽  
The Song Dynasty ◽  
Professional Norms ◽  
Tang And Song Dynasties ◽  
Chinese Classic

With the convening of the 19th NCCPC and at the call of “Building stronger cultural confidence and helping socialist culture to flourish.” the going global of Chinese cultural classics has gained increasing importance. Jiangxi Province is the birthplace of literati and scholars throughout the ages, especially in the Song Dynasty. Among the Eight Great Literati of the Tang and Song Dynasties three were JX natives. Therefore, the study on the English translation of the classic works by them would be of great academic and practical values as well as significance for popularization. Taking Chesterman’s Translation Memetics as the guidance and from the aspects of Expectancy Norms and Professional Norms, the study analyses and explores the translation strategies and skills of Chinese classic, in the hope to contribute the author’s pygmy to the translation and spread of traditional Chinese culture.

A National Flower’s Symbolic Value During the Tang and Song Dynasties in China

2018 ◽  
Vol 21 (1) ◽  
pp. 46-59 ◽  
Author(s):  
Wang Ying
Keyword(s):  
Song Dynasty ◽  
Tree Peony ◽  
The Song Dynasty ◽  
Tang Poetry ◽  
Su Shi ◽  
Tang And Song Dynasties ◽  
Li Bai ◽  
Symbolic Value ◽  
Northern Climate ◽  
Plum Tree

The concept of a national flower was an important part of the culture and poetry of the imperial courts of the Tang and Song dynasties. Li Bai and other poets in the Tang period used the tree peony as an icon of the imperial concubine Yang Yuhuan’s beauty. Later Tang poetry, however, also includes undertones of disquiet, using this flower-image as a sign of unhappiness at the state of the country. With the advent of the Song dynasty, the poetic focus exalts the plum blossom, a very different kind of flower than the tree peony. I argue that this reflects the Song dynasty’s different mentality. Writers of this age emphasized refinement, rationality, and introspection. For example, Lin Bu felt wedded to his plum tree. Su Shi developed a theory of the plum blossom’s character. The shift in government from North to South may have also contributed to the shift. The tree peony suited the northern climate; the plum tree thrived in the South.

Communicating Civilization Through Rituals: Mount Tai Pilgrimages in Song China, 960-1279

2015 ◽  
Vol 1 (2) ◽  
pp. 335-362
Author(s):  
Lifeng Han
Keyword(s):  
Cultural Identity ◽  
Song Dynasty ◽  
Chinese Culture ◽  
Eleventh Century ◽  
Historical Context ◽  
Symbolic Capital ◽  
Hegemonic Discourse ◽  
The Song Dynasty ◽  
Imperial State ◽  
Mass Identification

This paper examines the imperialfeng封 andshan禪 ritual at Mount Tai in 1008 and its connection with popular pilgrimages among the Mount Tai cult. It aims to demonstrate how ritual can be used as a tool of the imperial state in communicating its political and cultural agenda.Placing the imperial pilgrimage within its historical context at the turn of the eleventh century, it can be understood as an effort to secure mass identification with the state and its authority. More importantly, it could be used to establish ownership of Chinese civilization by the Song dynasty (960-1279) in its competition with the Khitan, who had long adopted Chinese institutions and ideology. Various strategies were deployed by the throne to communicate the imperial symbolism of the mountain. The mountain, therefore, had become valuable symbolic capital. Through the composition of temple inscriptions, the literati were able to redefine the popular ritual practices of the Mount Tai cult and brought them into a hegemonic discourse on the mountain. This facilitated the construction of an imperial cultural identity accessible to all social groups and allowed an abstract concept of Chinese culture to be communicated through the fabric of society.

Family and Lineage in Late Imperial China

2020 ◽  
Author(s):  
David Faure ◽  
Xi He
Keyword(s):  
Song Dynasty ◽  
Filial Piety ◽  
Chinese People ◽  
Ruling Elite ◽  
Late Imperial China ◽  
Late Imperial ◽  
The Song Dynasty ◽  
The Family ◽  
Ancient Times ◽  
Standard Practices

Like all peoples, Chinese people value their families. Unlike many other peoples, they see them in the wider context of their lineages, that is to say, in terms of descent lines traced from their ancestors. Although it is sometimes said that such ideas about the family and lineage had early origins, in early times only the families of the ruling elite (the “great clans”) traced their descent lines. For the majority of Chinese people, the tracing of descent beyond the family began no earlier than the Song dynasty, from about the 10th century. The practice spread together with ritual changes that governed sacrifice to ancestors. Again, while beliefs in the efficacy of ancestors to bring about good or bad fortune had been present from ancient times, it was in the Song that standard practices were established on how and what commoner families could sacrifice to their ancestors. Those practices were proposed by scholars and officials in opposition to Daoist and, especially, Buddhist practices that had been prevalent. It took several centuries for the alternative, neo-Confucian rituals to take hold, and even then, they supplemented rather than replaced the practices that the neo-Confucians opposed. In this process, the fundamental principles that underpinned both family and lineage, the ideals of filial piety and of cohabitation and property-sharing, the subordination of women to men, even the manner by which ancestors themselves may be tracked and the properties held for sacrificing to them, took many turns that combined secular, utilitarian purposes and a deeply religious view of the connections between ancestors and their descendants.

scholarly journals On Chinese Tai Chi Culture: Contemporary Values and International Communication

2016 ◽  
Vol 12 (10) ◽  
pp. 273
Author(s):  
Zhiyuan Lin
Keyword(s):  
Chinese Culture ◽  
Tai Chi ◽  
Economic Value ◽  
International Communication ◽  
Theory And Practice ◽  
Aesthetic Value ◽  
Fast Pace ◽  
The Aesthetic ◽  
Academic Communication ◽  
Governmental Cooperation

As one indispensable part of traditional Chinese culture, Tai Chi has a long history with more than five thousand years. Today as society is developing in such a fast pace, Tai Chi is also displaying its unique contemporary values, mainly including the aesthetic value, the medical value, the economic value, the psychological value and the interpersonal value. Tai Chi is not only a type of martial arts, but it also represents a philosophical viewpoint, a rewarding way to keep health, a medical treatment of various diseases, an unconventional life attitude. However, Tai Chi not only belongs to Chinese people, but to all people in the world. To promote the international communication of Tai Chi culture, five effective approaches are to be followed, mainly in terms of academic communication, governmental cooperation, non-governmental cooperation, combination of theory and practice, and development of Tai Chi cultural industry.

scholarly journals A Brief Analysis of The Influence of Chinese Culture Ceramic on Rococo Art of The West

Humaniora ◽  
2014 ◽  
Vol 5 (1) ◽  
pp. 281
Author(s):  
Temmy Temmy
Keyword(s):  
Song Dynasty ◽  
Chinese Culture ◽  
Art Appreciation ◽  
The West ◽  
Western Countries ◽  
The Song Dynasty ◽  
Ceramic Art ◽  
Aesthetic Style ◽  
The Impact ◽  
First Time

Chinese culture elements accepted for the first time by the Western countries was ceramic and silk. China's silk was found in ancient Greece during the Roman era and since then China has become the “Country of Silk”. Chinese ceramics came to the West a bit later. It was during the Song Dynasty that Western countries started accepting Chinese ceramics, and soon after that Chinese Ceramics had became a new surprise to the Western Countries and had China known as the “Country of Porcelain”. Porcelain as a cultural element is considered not only as material but also as a spirit. When the Europeans came to know the porcelain material, they had gradually been influenced by its spiritual content. Delicateness of ceramic slowly became a widely accepted aesthetic style, added with other factors that shaped the formation of the Rococo style that became very popular in Europe. This article used desk study to analyze and summarize the following three aspects: first, the impact of Chinese ceramic art on Western Rococo art, second, the art appreciation of Rococo art and third, to elaborate the influence of Chinese Ceramic and aesthetic in Western Countries.

Shi Jing culture of the song dynasty in China - song dynasty Ci in a musical context

2020 ◽  
Vol 2020 (10-4) ◽  
pp. 159-165
Author(s):  
Teng Yue
Keyword(s):  
Song Dynasty ◽  
Chinese Culture ◽  
Chinese History ◽  
Cultural Symbols ◽  
The Song Dynasty ◽  
Southern Song ◽  
Two Stages ◽  
Musical Context ◽  
Education Science ◽  
Culture Education

The song dynasty (960-1279) in Chinese history is divided into two stages: the Northern and southern song, and includes a total of eighteen emperors who reigned for a total of three hundred and nineteen years. The song dynasty attached great importance to literature and despised force. The song dynasty era is an era of prosperity for China’s commodity economy, culture, education, science. The song dynasty’s “Ci” genre is a kind of musical literature. The full name of the genre is “song dynasty Ci”, abbreviated as “Ci”. The song dynasty Ci are an integral treasure of Chinese culture and are cultural symbols of the era that cannot be ignored.

The Aesthetic Appreciation of the Epochal and National Character of Competitive Martial Art Routines

2011 ◽  
Vol 217-218 ◽  
pp. 1886-1890
Author(s):  
Wei Na Zheng
Keyword(s):  
Ethnic Groups ◽  
Martial Arts ◽  
Chinese Culture ◽  
Aesthetic Value ◽  
Current Time ◽  
Martial Art ◽  
Artistic Conception ◽  
Formal Program ◽  
The Aesthetic ◽  
Aesthetic Values

With the temporal aesthetics as the mainstream background, the aesthetics appreciation of competitive martial art routines reflects obviously the characteristic of aesthetic globalization, which is just as same as the aesthetic characteristic of the programs mainly based on skills. While the competitive martial arts also inherited the essence of Chinese traditional aesthetics，that’s to say, pursuing artistic conception and the beauty of skills. After 2008, in order to promote the Olympic process of competitive martial art routine, we must enhance the aesthetic values of it in the whole world. When facing the two distinct characteristics of competitive martial arts’ fixed routine—epochal spirit and nationality, whether we choose just one or both is worthy of thinking. Zhang Dainian, Cheng Yishan pointed out in the book the Debate of Chinese Culture and Culture Theory that culture has both the characteristics of epochal spirit and nationality and the relationship between the two characteristics is general and specific. Cultures of different ethnic groups in the same era have the same epochal characteristics, which is general. And different ethnic groups have their own national features in the same era, which is specific. With the changes of the needs of current time, the aesthetics of martial arts becomes more and more important and especially the aesthetics for the fixed routine of competitive martial arts should adhere to the Olympic motto, “higher, faster, stronger” and it should also attract more audience, make more people appreciate its beauty and embodies higher aesthetic value. Competitive martial arts was not a formal program in Beijing 2008 Olympic Games, however, it doesn’t mean that it will never enter the Olympics. This article analyzes the aesthetic situation from the perspectives of temporal spirit and nationality, searching further for a breakthrough of the development of competitive martial arts’ fixed routines.

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