scholarly journals The Study on the manner of writing poetry and the aesthetic effect in the Oh chengqudang's classical Chinese poetry

2014 ◽  
Vol 63 (null) ◽  
pp. 127-147
Author(s):  
Hwasong Ryu
Keyword(s):  
Chinese Poetry ◽  
Classical Chinese ◽  
Classical Chinese Poetry ◽  
The Aesthetic

scholarly journals An Analysis of the Aesthetic Features in the English Versions of Li Bai’s “Hard Is the Journey (Ⅰ)” from the Perspective of “Eight Beauties Criteria”

2019 ◽  
pp. 42-47
Author(s):  
Ying Ting ◽  
Wang Feng ◽  
Ma Yan
Keyword(s):  
Chinese Culture ◽  
Translation Theory ◽  
Chinese Poetry ◽  
Unique Position ◽  
Translation Practice ◽  
Chinese Characteristics ◽  
Poetry Translation ◽  
Classical Chinese ◽  
Classical Chinese Poetry ◽  
The Aesthetic

The combination of translation theory and aesthetics has a unique position in the translation theories with Chinese characteristics. It is better to learn poetry or to translate poetry from the perspective of beauty. Dr. Wang Feng’s “Harmony-Guided Three-Level Poetry Translation Criteria” is one of the latest poetry translation theories in China, which provides a more comprehensive and effective perspective for poetry translation. This paper, taking several English versions of Li Bai’s “Hard Is the Journey (Ⅰ)” as the object, explores how the "Eight Beauties Criteria" in Dr. Wang Feng’s “Harmony-Guided Three-Level Poetry Translation Criteria” can be applied in translation practice. It proves the practical value of "Eight Beauties Criteria" in the translation practice of classical Chinese poetry in better carrying forward its aesthetic thoughts and aesthetic charm, and better helping Chinese culture to go out.

Semiotics East and West: an aesthetic-semiotic approach to translating the iconicity of classical Chinese poetry

Semiotica ◽  
2021 ◽  
Vol 0 (0) ◽  
Author(s):  
Guangxu Zhao
Keyword(s):  
Twentieth Century ◽  
Translation Studies ◽  
Theory And Practice ◽  
Translation Theory ◽  
Chinese Poetry ◽  
Semiotic Approach ◽  
Classical Chinese ◽  
Classical Chinese Poetry ◽  
Set Up ◽  
The Sacrifice

Abstract For some Western translators before the twentieth century, domestication was their strategy to translate the classical Chinese poetry into English. But the consequence of this strategy was the sacrifice of the ideogrammic nature of these poems. The translators in the twentieth century, especially the Imagist poets and translators in the 1930s, overcame the problems of their predecessors and their translation theory and practice was close to that of the contemporary semiotic translators. But both Imagist translators and contemporary semiotic translators have the problem of indifference to the feeling of the original in their translations. For the problem of translating the classical Chinese poetry by the Westerners before the twentieth century and the Imagist poets and translators of the twentieth century, see Zhao and Flotow 2018. This paper attempts to set up an aesthetic-semiotic approach to the translation of the iconicity of classical Chinese poetry on the basis of the examination of both Eastern and Western translation studies.

Translating iconicities of classical Chinese poetry

Semiotica ◽  
2018 ◽  
Vol 2018 (224) ◽  
pp. 19-44
Author(s):  
Guangxu Zhao ◽  
Luise von Flotow
Keyword(s):  
Ezra Pound ◽  
Point Of View ◽  
Target Language ◽  
Chinese Characters ◽  
Chinese Poetry ◽  
Princeton University ◽  
Amy Lowell ◽  
Classical Chinese ◽  
Classical Chinese Poetry ◽  
History Of

Abstract In the history of translating classical Chinese poetry, there are two kinds of translators. The first kind translate classical Chinese poetry “by way of intellectual, directional devices” (Yip, Wai-lim. 1969. Ezra Pound’s Cathay. Princeton, NJ: Princeton University Press: 16). What these translators are concerned with most is the coherence of their translations. They give little attention to the ideogrammic nature of Chinese characters. I call them traditional translators. These translators include those in the history of translating classical Chinese poetry from its beginning to the first decade of the twentieth century, although there are still some who translate classical Chinese poetry in this way later. The second kind of translator is highly interested in the images created by ideogrammic Chinese characters and tries to convey them in target language. We call them modernist translators. These translators are represented by some American modernist poets such as Ezra Pound, Amy Lowell, Florence Ayscough, etc. From the point of view of iconicity, modernist translators’ contribution lies in their concern with the iconic characteristics of Chinese characters. But they did not give enough attention to syntactical iconicity and textual iconicity in classical Chinese poetry.

The lyric oeuvre of Afanasy Fet and Chinese idyllic poems

2021 ◽  
pp. 222-232
Author(s):  
Zh. Lu
Keyword(s):  
Chinese Culture ◽  
Human Life ◽  
Lyric Poetry ◽  
Chinese Poetry ◽  
Classical Chinese ◽  
Classical Chinese Poetry ◽  
Man And Nature ◽  
Chinese Texts ◽  
The Ancient Chinese ◽  
Light And Shadow

There are compelling similarities between Afanasy Fet’s lyric poetry and classical Chinese lyric poetry. This connection is traced in the article with specific examples. Fet, carried away by the ideas of Schopenhauer, argued that thepoetic feeling lives in every person and can be called the sixth and highest feeling. In classical Chinese poetry, the Confucian concept of ‘the sense of things,’ the Taoist formula ‘words and forms’ and the idea of the unity of man and nature played an important role. With characteristic fixation of subtle changes of light and shadow, with the transmission of flushed feelings, Fet’s oeuvre reminds the readers of the ancient Chinese lyric poetry. Like classic Chinese texts, Fet’s poems are textbooks where the idea of the unity of man and nature is developed. In both Chinese poetry and Fet’s works, human life goes into natural life, gaining eternity in the nature. As a result, although Fet was not familiar with Chinese culture, the intuitions that fed his work surprisingly coincided with pictorial techniques as a way of conveying emotion in classical Chinese poetry, separated from him by many centuries.

The Poetics of Discontinuity: East-West Correspondences in Lyric Poetry

PMLA ◽  
1979 ◽  
Vol 94 (2) ◽  
pp. 261-274 ◽  
Author(s):  
Pauline Yu
Keyword(s):  
Lyric Poetry ◽  
The Other ◽  
First Person ◽  
Chinese Poetry ◽  
T'ang Dynasty ◽  
Classical Chinese ◽  
Classical Chinese Poetry ◽  
Characteristic Methods ◽  
East West ◽  
Metaphorical Interpretation

AbstractThis article discusses some characteristic methods and structures shared by modern Western and classical Chinese poetry, focusing on the works of Georg Trakl and major poets of the T’ang dynasty. Among the similarities examined are the preference for concrete imagery over abstract, discursive statement; the paratactical juxtaposition of images, which leaves their logical, temporal, and grammatical relationships unspecified and often ambiguous; and the tendency for images to become “ciphers” that suggest, but do not support, metaphorical interpretation. There is also a reluctance to obtrude a first-person speaker onto the scene, and this has led some critics to label Symbolist-post-Symbolist and Chinese poetry “impersonal”; this essay argues, however, that the hidden subjectivity of even the most “impersonal” poem should not be overlooked. Nevertheless, the omission of subject does frequently increase ambiguities among the other elements of a work and contributes to the “poetics of discontinuity” common to the two traditions.

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