KAJIAN FEMINITAS PUTRI HARISBAYA DALAM WAWACAN BABAD SUMEDANG KARYA ABDUR’ROCHMAN

The studi was aimed at (1) finding out citra or image of Princess Harisbaya in the Sundanese classical poetry Wawacan Babad Sumedang written by Abdur’raochman; (2) finding out a femininity study of Princess Harisbaya in the Wawacan Babad Sumedang written by Abdur’raochman. The study was a analytical description. The study used and applied qualitative methodology principles. To gain the data, literary and documentation study on Wawacan Babad Sumedang were conducted. The steps of collecting data were reading of the texts accurately, making note of relevant data, identifying and classifying the data, making data tabulation and descripton. In analyzing the structure, AJ Greimas theory was adobted. The result of the study showed that Wawacan Babad Sumedang decripting citra and habits of Princess Harisbaya and her stories.

'Jian Bei Pian': Lao She's Forgotten Wartime Epic Poem

<p>This thesis is the first English-language critical study of Chinese author Lao She’s(1899-1966) wartime epic ballad Jian bei pian and includes the ballad’s first translation into English. The thesis addresses a gap in knowledge about his work, a gap previously covered by simplistic labelling of it as patriotic propaganda. Lao She’s reputation in the West largely rests on his modern fiction, although his literary output covered many genres, generating at different times in his life the full range of reactions in China between popular acclaim and violent censure. Much of his writing, done during periods of intense cultural and political upheaval in China, reflected the events through which he lived. Jian bei pian, his poetic record of a journey through northern China during the Second Sino-Japanese War, is unique, both of its time and outside of its time, yet it has received relatively little attention from critics in China or in the West. Recent Chinese studies on Jian bei pian have highlighted the poem’s patriotic elements, retrospectively interpreting it as an endorsement of China’s Communist Party and deeming it part of his wartime nation-building literature. In the West Jian bei pian has been almost completely ignored, apart from observations which similarly focus on its imputed status as patriotic propaganda and condemn or dismiss it for that reason. This thesis evaluates the evidence for and against Jian bei pian’s significance and effectiveness as wartime propaganda by examining the poem through frameworks of nation building theory. Textual analysis of Jian bei pian’s images of China, its narrative treatment of China’s history, and of culturally significant periods and sites, finds that the patriotic rhetoric is inconsistent. This finding echoes recent work of some Western scholars who have observed contradictions and insecurities in Lao She’s pre-war and wartime fiction that undermined his ability to convey a patriotic message. In rejecting Jian bei pian as nation-building, the thesis argues that Lao She’s writing of the poem was primarily driven by personal factors. Against the background of his recorded views, expressed motives and comments on the circumstances in which the poem was written, further textual analysis focuses on Jian bei pian’s diverse features reflecting the influence of traditional and classical elements of Chinese culture. This analysis of the poem’s composition, in both form and subject matter, highlights the importance of China’s classical poetry for Lao She, and suggests that Jian bei pian, in its travelogue depictions of a China where geography is overlaid with a sense of its history, literature and art, may belong in China’s classical jiyoushi (poems about travel) tradition – aspects of Jian bei pian recently noted by a few Chinese scholars but previously overlooked in the West.</p>

'Jian Bei Pian': Lao She's Forgotten Wartime Epic Poem

<p>This thesis is the first English-language critical study of Chinese author Lao She’s(1899-1966) wartime epic ballad Jian bei pian and includes the ballad’s first translation into English. The thesis addresses a gap in knowledge about his work, a gap previously covered by simplistic labelling of it as patriotic propaganda. Lao She’s reputation in the West largely rests on his modern fiction, although his literary output covered many genres, generating at different times in his life the full range of reactions in China between popular acclaim and violent censure. Much of his writing, done during periods of intense cultural and political upheaval in China, reflected the events through which he lived. Jian bei pian, his poetic record of a journey through northern China during the Second Sino-Japanese War, is unique, both of its time and outside of its time, yet it has received relatively little attention from critics in China or in the West. Recent Chinese studies on Jian bei pian have highlighted the poem’s patriotic elements, retrospectively interpreting it as an endorsement of China’s Communist Party and deeming it part of his wartime nation-building literature. In the West Jian bei pian has been almost completely ignored, apart from observations which similarly focus on its imputed status as patriotic propaganda and condemn or dismiss it for that reason. This thesis evaluates the evidence for and against Jian bei pian’s significance and effectiveness as wartime propaganda by examining the poem through frameworks of nation building theory. Textual analysis of Jian bei pian’s images of China, its narrative treatment of China’s history, and of culturally significant periods and sites, finds that the patriotic rhetoric is inconsistent. This finding echoes recent work of some Western scholars who have observed contradictions and insecurities in Lao She’s pre-war and wartime fiction that undermined his ability to convey a patriotic message. In rejecting Jian bei pian as nation-building, the thesis argues that Lao She’s writing of the poem was primarily driven by personal factors. Against the background of his recorded views, expressed motives and comments on the circumstances in which the poem was written, further textual analysis focuses on Jian bei pian’s diverse features reflecting the influence of traditional and classical elements of Chinese culture. This analysis of the poem’s composition, in both form and subject matter, highlights the importance of China’s classical poetry for Lao She, and suggests that Jian bei pian, in its travelogue depictions of a China where geography is overlaid with a sense of its history, literature and art, may belong in China’s classical jiyoushi (poems about travel) tradition – aspects of Jian bei pian recently noted by a few Chinese scholars but previously overlooked in the West.</p>

Teaching Exploration of Ma Shuilong’s Ancient Chinese Poetry Art Songs – “Spring Silkworms are Dead,” “Loneliness,” and “Falling Flowers”

Ma Shuilong was a famous composer in Taiwan, both at home and abroad. In 1986, the publication of his concerto, Bangdi, made him the first Chinese composer to have a full performance at the Lincoln Arts Center in New York. In the field of vocal music production, “Ma Shuilong Songs Collection” reflected the mutual infiltration and integration of Chinese and Western elements, especially the combination of modern techniques and classical poetry so that Chinese ancient poetry art songs would emit unique artistic conception. In view of his three works, this article elaborates the oriental connotation in their creation through the study of the poetries involved and further extracts the characteristics of the creation and singing of ancient poetry art songs in order to provide significant references for the teaching of Chinese art songs.

Persons in Linguistics of the Ural-Volga Region: Halil Açıköz

The work is devoted to the description of the life of the Turkish linguist H. Çıkgöz. For the first time in the history of Turkish science his scientific interests were directed to the Finno-Ugric peoples of the Ural-Volga region of Russia – the Mari and Udmurts. Methods. The work is written in the genre of an essay, many episodes of which are due to the author’s memories of the scientist. Results. The presented material can be used in the compilation of bio-bibliographic indexes and databases in the field of the study of the Turkic and Finno-Ugric languages of the Ural-Volga region. Discussion. As a scientist H. Açıkgöz had a wide range of scientific interests and systemic knowledge in various fields: in the field of modern linguistics and written monuments, medieval classical poetry and art in general. In Turkey he was a lecturer at Istanbul University, known as a philologist in his true sense. In Tatarstan he was known as a Türkologist, but few had any idea of the true scope of his scientific interests. In Mari El and Udmurtia they did not have time to recognize him, with the exception of a narrow circle of scientists. This work is useful in that it sheds light on his activities in the field of Finno-Ugric studies, which still remain in the shadows. A wide circle of scholars, both in Russia and abroad, still do not know that H. Açıkgöz was engaged in theoretical and practical study of the Finno-Ugric languages, compilation of the Mari-Turkish dictionary and translation of the dictionary of Tatar and Bashkir borrowings in the Mari language of N.I. Isanbaev.

Analysis on the Translation of Mao Zedong’s 2nd Poem in “送瘟神 ‘sòng wēn shén’” by Arthur Cooper in the Light of “Three Beauties” Theory

Based on “Three Beauties” theory of Xu Yuanchong, this paper conducts an analysis on Arthur Cooper’s translation of “送瘟神”(2nd poem) from three aspects: the beauty of sense, sound and form, finding that, because of his lack of empathy for the original poem, Cooper fails to convey the connotation of the original poem, the rhythm and the form of the translated poem do not match Chinese classical poetry, with three beauties having not been achieved. Thus, the author proposes that, in order to better spread the culture of Chinese classical poetry and convey China’s core spirit to the world, China should focus on cultivating the domestic talents who have a deep understanding about Chinese culture, who are proficient not only in Chinese classical poetry, but also in classical poetry translation.

Review on the Child in Modern Iraqi Poetry

The image of the child in its various shades is one of the common images in Arabic poems from the pre-Islamic era to the modern era, but it did not receive the attention of scholars, and it was not studied in depth showing its connotations and symbols. Hence came my study entitled "The Child in Contemporary Iraqi Poetry", which is an attempt to clarify the symbols of the word (the child) and what it indicates according to the context in which they are mentioned, as well as the statement of the aesthetic aspects of how to employ these symbols through the selection of poetic texts of modern poets in which the image of the child was mentioned Where this image was linked to the intellectual and political framework of the trends of Iraqi poets to create with it multiple connotations that were in harmony with the successive conflicts and revolutions that the poet employed to express intellectual, political and artistic positions. Modern Iraqi poetry by this expression means what many poets wrote in a non-traditional or traditional (classical) poetry curriculum in the literature of their languages. It appeared in Arabic literature at the end of the first half of the twentieth century, especially at the hands of Al-Rihani, Al-Sayyab, the angels and the Arab diaspora in a number of European countries that they went to settle in, especially Italy, France, Britain and then the American states. One of the most prominent differences raised by this trend was what was raised about (authenticity and contemporary) in his book and its production, over decades of years, which lasted about a century.