scholarly journals A STUDY OF SADNESS METAPHOR IN LI BAI’S POETRY AND ITS ENGLISH TRANSLATION FROM THE PERSPECTIVE OF IMAGE SCHEMA

2020 ◽  
Vol 1 (2) ◽  
Author(s):  
Huang Shanshan ◽  
Wang Feng
Keyword(s):  
English Translation ◽  
Tang Dynasty ◽  
Cognitive Linguistics ◽  
Effective Strategies ◽  
Great Poet ◽  
The Tang Dynasty ◽  
Li Bai ◽  
Image Schema ◽  
Object Of Study ◽  
The Relationship

<p>Li Bai, a great poet in the Tang Dynasty, is known for his romantic poetic style, but sadness metaphor is not rare in his poems. Therefore, this paper takes sadness metaphor in Li’s poetry as the object of study to explore its metaphorical meanings from the perspective of cognitive linguistics. From that, we can find that image schema is frequently used as the source domain to describe the abstract sadness. Based on this, the authors focus on the relationship between sadness metaphor and image schema and then discuss the English translation of sadness metaphor, trying to find out the characteristics and effective strategies of translating sadness metaphor in Li Bai’s poems.</p><p> </p><p><strong> Article visualizations:</strong></p><p><img src="/-counters-/edu_01/0693/a.php" alt="Hit counter" /></p>

scholarly journals A COGNITIVE STUDY OF METAPHOR TRANSLATION IN “TRAVELLING FAR AWAY FROM MT. JINGMEN”

2020 ◽  
Vol 4 (2) ◽  
Author(s):  
Shanshan Huang ◽  
Feng Wang
Keyword(s):  
Tang Dynasty ◽  
Conceptual Metaphor ◽  
Schema Theory ◽  
Conceptual Metaphor Theory ◽  
Metaphor Theory ◽  
English Translations ◽  
The Tang Dynasty ◽  
Li Bai ◽  
Image Schema ◽  
Cognitive Study

<p>“<em>Travelling Far Away from Mt. Jingmen</em>” (渡荆门送别) is written by Li Bai, a famous poet of the Tang Dynasty, on his way out of Sichuan. As a masterpiece of Li Bai’s poetry, the poem is full of imagination, making people unconsciously indulge in it. Since half lines of the poem are related to metaphors, this paper makes a detailed study of the metaphors in the poem and their English translations based on Conceptual Metaphor Theory and Image Schema Theory, and points out some characteristics of metaphor translation in the poem.</p><p> </p><p><strong> Article visualizations:</strong></p><p><img src="/-counters-/edu_01/0666/a.php" alt="Hit counter" /></p>

scholarly journals The Echo of ‘After-Poetry’: Hans Bethge and the Chinese Lyric

2020 ◽  
Vol 17 (2) ◽  
pp. 303-317
Author(s):  
Ben Hutchinson
Keyword(s):  
Tang Dynasty ◽  
Chinese Poetry ◽  
The West ◽  
The Tang Dynasty ◽  
Li Bai ◽  
Modern Europe ◽  
Lied Von Der Erde ◽  
Poetic Creation

The publication, in 1908, of Hans Bethge's Die chinesische Flöte marked a highpoint in the reception of Chinese poetry in modern Europe. Bethge's ‘Nachdichtungen’ (‘after-poems’) of poems from the Tang dynasty through to the late 1800s were extraordinarily popular, and were almost immediately immortalized by Gustav Mahler's decision to use a selection from them as the text for Das Lied von der Erde (1909). Yet Bethge could not read Chinese, and so based his poems on existing translations by figures including Judith Gautier, whose Livre de Jade had appeared in 1867. This article situates Bethge's reception of Chinese poetry – and in particular, that of Li-Tai-Po (Li Bai) – within the context of European chinoiserie, notably by concentrating on his engagement with a recurring imagery of lyrics and Lieder. Although he was deaf to the music of Chinese, Bethge was extremely sensitive to the ways in which Li-Tai-Po's self-conscious reflections on poetic creation underlay his ‘after-poems’ or Nachdichtungen, deriving his impetus from images of the rebirth of prose – songs, birdsong, lyrics, Lieder – as poetry. The very form of the ‘lyric’ emerges as predicated on its function as echo: the call of the Chinese flute elicits the response of the European willow. That this is necessarily a comparative process – between Asia and Europe, between China, France, and Germany – suggests its resonance as an example of the West-Eastern lyric.

scholarly journals A STUDY ON THE TANG POETRY TRANSLATION IN THE PERSPECTIVE OF “HARMONY-GUIDED THREE-LEVEL POETRY TRANSLATION CRITERIA” - A CASE STUDY OF LI BAI’S “CLIMBING THE PHOENIX TERRACE IN JINLING”

2020 ◽  
Vol 3 (1) ◽  
Author(s):  
Ning Gao ◽  
Feng Wang
Keyword(s):  
Tang Dynasty ◽  
Tang Poetry ◽  
Poetry Translation ◽  
Classical Poetry ◽  
The Tang Dynasty ◽  
Li Bai ◽  
The Phoenix

<p>Tang poetry is the precious cultural heritages of the Chinese. Li Bai is one of the most outstanding poets in the Tang Dynasty and his poems have had a far-reaching impact on following generations. This paper attempts to use the “Har<em>mony-Guided Three-Level Poetry Translation Criteria</em>” put forward by Dr. Wang Feng, from the macro, middle and micro levels to analyze and compare four English versions of Li Bai’s “<em>Climbing the Phoenix Terrace in Jinling</em>”. Then, the authors retranslate the original poem and encourage researchers to pay more attention to the field of Tang poetry translation and promote the dissemination of Chinese classical poetry.</p><p> </p><p><strong> Article visualizations:</strong></p><p><img src="/-counters-/edu_01/0666/a.php" alt="Hit counter" /></p>

scholarly journals Historical Supernovae and Supernova Remnants

1996 ◽  
Vol 145 ◽  
pp. 323-331 ◽  
Author(s):  
Zhenru Wang
Keyword(s):  
Tang Dynasty ◽  
Supernova Remnants ◽  
Supernova Remnant ◽  
High Energy ◽  
X Rays ◽  
Supernovae And Supernova Remnants ◽  
X Ray ◽  
The Tang Dynasty ◽  
High Energy Emission ◽  
The Relationship

The oldest historical supernova (SN), recorded by ancient Chinese in 14th Century B.C. on pieces of tortoise shells or bones, is identified with the aid of modern space γ-ray observations. Hard X-rays with energy up to 20 keV were observed from IC 443 by the X-ray satellite Ginga. We infer from these observations the age of IC 443 is ∼ 1000 — 1400 yrs. The result supports the hypothesis that IC 443 is the remnant of the historical SN 837 that occurred during the Tang Dynasty. The association between the supernova remnant (SNR) CTB 80 and SN 1408 has been hotly debated for about ten years and is briefly reviewed and discussed here. A new picture is presented to explain this association. High energy emission from historical SNRs can persist in a multiphase interstellar medium (ISM). As a result, the study of the relationship between SNRs and ancient guest stars has gained new vitality.

scholarly journals The relationship between climate change and wars waged between nomadic and farming groups from the Western Han Dynasty to the Tang Dynasty period

2016 ◽  
Vol 12 (1) ◽  
pp. 137-150 ◽  
Author(s):  
Y. Su ◽  
L. Liu ◽  
X. Q. Fang ◽  
Y. N. Ma
Keyword(s):  
Climate Change ◽  
Tang Dynasty ◽  
Animal Husbandry ◽  
Solid Material ◽  
Han Dynasty ◽  
Regional Productivity ◽  
Western Han Dynasty ◽  
Northern Areas ◽  
The Tang Dynasty ◽  
The Relationship

Abstract. In ancient China, shifts in regional productivity of agriculture and animal husbandry, caused by climate change, either led to wars or peaceful relations between nomadic and farming groups. During the period spanning the Western Han Dynasty to the Tang Dynasty, 367 wars were waged between these groups. While 69 % of the wars were initiated by nomads, 62.4 % were won by the farming groups. On a centennial timescale, the battlegrounds were mostly in northern areas (at an average latitude of 38.92° N) during warm periods, moving southward (at an average latitude of 34.66° N) during cold periods. On a decadal timescale, warm climates corresponded to a high incidence of wars (a correlation coefficient of 0.293). While farming groups were inclined to initiate wars during dry and cold periods, their chances of achieving victory were reduced at such times. The main reasons for this are, first, that a warm climate provided a solid material foundation for nomadic and farming groups, contributing especially to enhanced productivity among the former. However, the overriding desire of nomadic groups to expand essential subsistence means led to wars. Second, during cold periods, farming groups moved to and settled in the south, while nomadic groups occupied the Central Plain. Thus, the locations of the battlefields also changed. While other factors also influenced these wars, climate change served as a backdrop, playing an indirect role in wars between these groups.

scholarly journals The term «Concept»

2020 ◽  
pp. 236-243
Author(s):  
Zh. M. Kakulya ◽  
D. D. Jantassova
Keyword(s):  
Scientific Knowledge ◽  
Cognitive Linguistics ◽  
Conceptual System ◽  
Language And Culture ◽  
Cultural Phenomenon ◽  
The World ◽  
Universal Definition ◽  
Object Of Study ◽  
Relationship Of ◽  
The Relationship

In recent years in the humanitarian field of scientific knowledge more and more attention has been paid to the relationship of language and culture, language and national mentality, language and national consciousness. In this connection, the object of study, the approaches and methods of describing and studying language are being reinterpreted. Researches pay more and more attention to such a category as a concept. Despite a widespread use of this concept in the field of scientific research, the term «concept» itself has not yet received an unambiguous interpretation. And this is due to the fact that researchers representing various branches of scientific knowledge, single out and consider decisive various features of this object. At present it should be recognized that it is a concept that is the key of cognitive linguistics. However, despite the fact that a concept can be considered established for modern cognitive science, the content of this concept varies significantly in the conceptions of various scientific schools and individual scientists. The fact is that a concept is a category of thinking that is not observable, and this gives a lot of room for its interpretation. Today the category of a concept appears in the studies of philosophers, logicians, psychologists, and cultural scientists, and it bears the traces of all these extra-linguistic interpretations. This term, although firmly established in modern linguistics, does not still have a single definition, although many well-known scholars are fruitfully studying a concept: N. D. Arutyunova, A. P. Babushkin, A. Vezhbitskaya, E. S. Kubryakova, S. E. Nikitina, V. N. Telia, R. M. Frumkin and others. Thus, it can be stated that the term of a concept in linguistics is both old and new at the same time. Back in 1928 famous scientist S. A. Askoldov published the article «Concept and Word», but until the middle of the last century, a concept was not perceived as a term in scientific literature. A concept is a cultural phenomenon of storing, developing and accumulating information, perhaps its universal definition is the shortest logical characteristic: a concept is a constructive concept of storing and accumulating information in the linguistic picture of the world. Thus, concepts represent the world in the head of a person, forming a conceptual system, and the signs of the human language encode the content of this system in a word.

The Concept of Famous Painting in the Tang Dynasty: The Case of Zhang Yanyuan’s Lidai minghua ji

2018 ◽  
Vol 6 (2) ◽  
pp. 191-222
Author(s):  
Xiaomeng Ning
Keyword(s):  
Tang Dynasty ◽  
Critical Reflection ◽  
Central Concept ◽  
New Approach ◽  
The Past ◽  
The Tang Dynasty ◽  
The Common ◽  
The Relationship ◽  
Common Understanding ◽  
Entire Text

AbstractThis essay offers a critical reflection on the central concept of “famous painting” as expounded in Zhang Yanyuan’s Lidai minghua ji (历代名画记, A Record of Famous Paintings of All Dynasties). Building upon the past scholarship, this essay will proceed in the following three steps. I propose to distinguish the concept of “famous painting” from the common understanding of painting. I argue that it is the former that plays a central role in the entire text of the Lidai minghua ji. As a result of this new approach, I will outline an intentional and discernable structure formed by the fifteen essays in the first three books. I proceed with discussing the relationship between famous paintings and famous painters so as to demonstrate Zhang Yanyuan’s implicit intention and considerations in selecting and evaluating painters and their works. Finally, I examine the basic formats of famous painting and further elucidate the historical dimension embedded within the concept of famous painting that constituted and changed the very idea under consideration.

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