SYSTEMS OF NURSERY MANAGEMENT OF THE REPUBLIC OF KAZAKHSTAN

The article outlines the ways for the development of horticulture in the Republic of Kazakhstan, provides data on the study of apple, pear, cherry and plum rootstocks. The results of many years of research in order to optimize scion-rootstock combinations suitable for setting up intensive plantings are analyzed. The original plants isolated as a result of such observations should be propagated without disturbing productivity and genetic stability, and mother planting and field repositories should be established with the resulting planting material of the highest quality categories. To obtain basic seedlings, it is necessary, first of all, to use seedlings of the Sievers apple tree (Malus siversi) and the Niedzwetzky apple tree (Malus niedzwetzkyana), growing in the forests of the northern Tien Shan, and for the pear, seedlings of low-growing rootstocks of the East Asian group: Xiang Li, Tszy Li, Yue li, Bai li, Chang bai li, because the seeds of pome crops are free from harmful viruses. Before harvesting stone fruit seeds, it is necessary to test trees, since a harmful viral infection is transmitted with pollen.

What Does Tang Poetry Mean to Contemporary Chinese Writers?

Examining how contemporary poets raised in China are looking at classical Chinese poetry from the Tang—in particular, the poetry and the figure of Li Bai 李白 (701–762)—this article questions the epistemological divide, common to scholarship, between premodern and modern Chinese poetry. The texts come from Shenqing shi 深情史 (Histories of Affection) by Liu Liduo 劉麗朵 (1979–); The Banished Immortal, Chinese-American poet and novelist Ha Jin's 哈金 (1956–) biography of Li Bai; the book-length poem-sequence Tang 唐, by Yi Sha 伊沙 (1966–); and poet Xi Chuan's 西川 (1963–) scholarly book Tang shi de dufa 唐詩的讀法 (Reading Tang Poetry). The author contends not only that these writers' dealings with Tang poetry make it part of a still-living tradition but also that such engagement offers a way to understand the dynamic, rather than static, canonicity of Tang poetry.

Periphrases as a form of thinking

We attempt to consider the reproduction of the meaning of the word HOME in the periphrastic constructions used in the Russian translations of the poem by the Chinese poet Li Bai. Based on analysis of six translations of the poem “Quiet Night Thought” we prove that periphrastic unit is not only used instead of the name of the object, but with the name of the object. We establish that in the translations of the poem by the Chinese author, the periphrastic names representing the concept of HOME reflect the form of thinking due to the semantics read at the nonverbal level. The periphrastic unit HOME is an analogue of the microcosm and macrocosm, transmitting neutral interpretations, which allows the periphrase to convey a relatively complete descriptive meaning, since by its semantics it strives to form a single semantic concept of the concept of “home”. We substantiate that cultural information is not included in the semantic minimum of the sign and may be irrelevant in practice, but the periphrase, as a secondary sign, always has connotations that are especially important in the reflective flow of speech, when the factor of un-derstanding a written translated text is not only decoding of the written text, but also the interpretation of the communicative settings of information of the original text creator.

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

<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>

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”

<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>

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

<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>

TẤN CÔNG LIM-LEE VÀO CÁC GIAO THỨC DH-KE TRÊN GF(p)

Bài báo trình bày tấn công theo phương pháp của Lim-Lee lên các giao thức DH-KE trên GF(p) như là: tấn công giao thức HARN, giao thức PHAN, Giao thức Liu-Li. Bài báo cũng đưa ra điều kiện đủ để chống lại tấn công Lim-Lee.

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

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.