A Study on Peach Blooms Painted With Blood From the Perspective of Foreignization

This research analyzes the drama, Peach Blooms Painted with Blood, as translated by Xu Yuanchong in light of Lawrence Venuti’s foreignization translation theory. The four elements influencing the foreignization translation method: purpose of the translator, type of text, poetics, and ideology are introduced, defined, analyzed, and illustrated in the translations by employing foreignization translation in linguistic, religious, and sociocultural contexts based on the five cultural contexts put forward by Eugene A. Nida. Following discussion of Nida’s contexts, the cases are analyzed through comparison and contrast of the connotations, implications, and situations existing between Chinese and Western cultures with the aim of enhancing the understanding of classical Chinese poetry and prose, thus enabling translators to interpret and advance Chinese classical works in a more effective way.

The lyric oeuvre of Afanasy Fet and Chinese idyllic poems

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.

Pound, E. (2019). Cathay. A critical edition. Ed. by T. Billings. New York: Fordham U. P.

The new edition of E. Pound's poetic collection Cathay, first published in 1915, shows the idea of world literature to be as real as it is problematic. Thanks to T. Billings, the editor behind the publication, the book offers the most exhaustive description of the process whereby the translations were created: it involved not only Pound and Fenollosa, but also K. Mori and N. Ariga, who represent the Japanese tradition of reading classical Chinese poetry. The volume contains almost all of Pound's Chinese translations produced in the 1910s, his essay ‘Chinese Poetry,' as well as an impressive scholarly corpus: articles on the significance of these translations in the era of close relations between China and the West, extracts from Fenollosa's notebooks deciphered by Billings, and the original Chinese poems, each supplied with comments. The reconstruction of the process by which word-for-word translations were created puts Pound's translation effort into a new perspective.

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

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.

Developing a Learning Module 唐诗 (Tangshi)

Poetry is a critical element of literature which must be studied. The language in poetry is a parable language and difficult to understand because the language is rarely used in everyday life. Similarly, classical Chinese poetry preserves ancient Mandarin （文言文） [Wén yán wén] which was used in the past in China. This study is based on the findings of students’ difficulties in understanding the meaning of classical Chinese poetry. The research aimed to develop a learning medium in the form of a famous Chinese classical poetry learning module during the Tang Dynasty. There are three classical Chinese poems in this module, namely, the 静夜思 [ Jìngyè sī] by 李白 [Li Bai]; 春晓 [Chūnxiao] by ̌ 孟浩然 [Meng Haoran]; and 春夜 喜雨 [Chūnyè x ̌iyu] by ̌ 杜甫 [Du Fu], which are accompanied with an explanation of the poetry, learning activities, formative assignments, and evaluation. This study uses the Five Phases of Instructional Design Model developed by Cennamo and Kalk (2005). The results of this study indicate that the module is excellent and suitable for learning. Keywords: learning module, 唐诗 (Tangshi), literature Study, R&D

Sublime in classical Chinese poetry

In this paper we have reflected on various examples of sublime in the rich heritage of classical Chinese poetry, from the VIIth c. BC, to he XIIth c., which express sublime, first as a personal experience and emotion, but also this tradition had collective experiences. In the introductory parts we presented the categories, which the Chinese authors developed and applied in interpreting art, in particular poetry. Then we analysed poetry examples in which the sublime has important, or crucial role, starting with the two anthologies, and then including individual authors. In these examples we find sublime poetic experiences of sublime, related to experiences of natural environment, personal life, other persons, and in examples of love poetry.

Fighting COVID-19 in East Asia: The role of classical Chinese poetry

In the face of the COVID-19 pandemic, new global challenges have been presented to all affected countries, underlining the importance of international communication and co-operation. This study examines a particular linguistic means, classical Chinese poetry, used successfully by China, Japan and South Korea to facilitate their intercultural relationships. Specifically, poetic texts were pasted onto boxes of COVID-19 prevention supplies. An analysis of these texts in the context of the pandemic points to their role in establishing an ‘expressive tie’ between the countries (Hwang, Kwang-kuo. 1987. Face and favor: the Chinese power game. American Journal of Sociology. University of Chicago Press 92(4). 944–974) and demonstrating emotional resonance in the midst of mixed-tied intercultural relationships. The texts also helped to conceal the requirement of reciprocity, while highlighting morality of a country for its favour-giving behaviour. Through practicing reciprocity in a culturally appropriate way, the three countries were able to promote their national image (i.e. national face). The findings provide insights into East Asian ways of managing intercultural relationships, that can be applied to navigate international co-operation for future challenges.