Translation of Contemporary Expression of Traditional Culture of Ci Fu "Luo Shen Fu" and Traditional Dance of "Luo Shen Water Fu"

Henan TV’s "Traditional Culture Series" has pushed the contemporary expression of Chinese traditional culture to a climax. Especially with the rejuvenation of domestic traditional culture, the dance "Luo Shen Water Fu" re-creates the traditional poetry "Luo Shen Fu" in five aspects: the creator's perspective, art form, expression technique, character image and creative power. The new expression of modern form has produced a strong contemporary traditional cultural effect. Through a case analysis of this successful act of traditional culture, the article analyzes the translation techniques of contemporary expressions of traditional culture, and provides useful enlightenment for stimulating the creative vitality of traditional culture and boosting the future trend of traditional Chinese culture.

The Feelings of The Womam in Present Day Poems

Poems are composed by many from ancient time till date, those who are having interest, great vocabulary and its timely and proper use are sustained and became famous in this field. In poems of this great people the events happened in their own life or witnessed by them will be the core of their poems. In this order, this poem is also the one which is expressing the feelings of the woman. The important relationship in the whole world and which one make us proud is “MOTHER”. This poem shed light on the feelings of the mother, the atrocities imposed on her in the name of family values or duty of mother and the husband’s doubts about her morality. Also, this is explaining about the sexual harassments of the working woman and their mindset, infant suffering, and the one still in home without marriage due to religion, cast, creed, and financial difficulties. In short this is detailing all the sufferings of a woman in non-traditional poetry form.

The Analysis of Function and Poetry Content of Traditional Marriage in Seusina Village Community, Sikka Regency

This study aims to analyze the function and poetry content of traditional marriage in Seusina Village community, Kewapante District, Sikka Regency, NTT Province. Traditional poetry as an oral tradition contains teachings and values of life that are passed down from generation to generation. The method used in this research is descriptive qualitative with content analysis. Sources of data in the study were informants who met certain criteria and the data in the study were traditional old utterances in the form of word strands that form lines and stanzas. The data validation used the method of triangulation technique, namely by comparing the results of observations in the traditional wedding ceremony of the Seusina Village community. The results showed that the traditional marriage poetry of the Seusina Village community functions as a means of education (didactic) and a means of teaching about good and bad things (morality). The contents of the traditional marriage poetry of the Seusina Village community include strengthening the values of politeness, generosity, patience, and tenacity.

Surprise, Event and the Metonymic Subject

A well-worn platitude holds that surprise (admiration for the Greeks, but closer to astonishment for their successors) is the starting point of philosophy (while carefully distinguishing philosophical surprise from the routine kind). Surprise also functions as an important concept in aesthetics. Russian formalism elucidates it through the concepts of ostranenie and defamiliarization. Roman Jakobson in 1919 began a heuristically rich analysis that reveals the role of metonymy in prose and new poetry — in contrast to the centrality of metaphor in traditional poetry. This reassessment of the role of contiguity (as well as of randomness and arbitrariness) as opposed to similarity (or, stated another way, syntax vs. paradigmatics) has found some resonance in (mainly, but not exclusively, French) thinking about the concept of event. After its introduction in Gilles Deleuze’s The Logic of Sense (1969), the real apotheosis of the event unfolds among different thinkers (Derrida, Badiou, neo-phenomenologists) who glorify the unexpectedness, unforeseeableness, ineffability and causelessness of the event. The article shows that this kind of event theorizing (with its inherent optimism and joyous enthusiasm for new horizons and possibilities) is bound to the type of event within which that thinking took shape, the “revolution” (as it conceived itself) of May 1968. This “theory” cannot fully account for either certain previous events (the Holocaust) nor subsequent ones (such as 9/11 or the pandemic). Parallel with the thinking about the May 1968 event came reflections on subjectivity, or rather on the rapid alteration in its historical types during the 20th century accompanied by efforts to grasp what has taken the place once occupied by the subject. This new and elusive entity (referred to as advenant or “coming about” by Claude Romano) corresponds to the metonymic, contingent nature of current social and/or semantic reality itself.

Perubahan Wazan Syair “Ya Syi’ru” Karya Abu Al-Qasim Al-Syabi

The history of Arabic literature has revealed that the custom of the Arabs in general is to enjoy composing poetry. There are also various forms of traditional poetry, Absolute poetry and free poetry. To know the truth, damage and changes that occur in the poetry wazan needed ilmu Arūḍ science. In analyzing Arabic poetry, it cannot be done haphazardly, accuracy and skill in the ‘Arūd are needed. This needs to be considered because in order to get best analysis results. The purpose of this study is to describe the types of baḥr, zihāf and illat in the poetry ya syi'ru by Syabi, in accordance with the Arūḍ Science approach. this research uses descriptive qualitative method. Data collection techniques using literature study. the data in this study are words or sentences obtained from the poem entitled ya syi'ru. The data obtained are classified and analyzed by descriptive methods, according to the type of data obtained. The results showed that the type of baḥr used in the poems of ya syi'ru by Syabi is baḥr Majzu’ Kamil, Zihāf found in these poems is Iḍmar, zihāf jari majra illat (iḍmar). Zihāf who dominates in these verses is iḍmar. And the Illat found from the poem is illat tażyīl and tarfil. The most commonly found illat is illat tażyīl.

A new perspective on the Basque kopla zaharrak from the Moroccan ayyus

In this article I continue reading oral traditional poetry from a cognitive perspective. This time I use findings obtained empirically from my previous research on the living short improvisational poetic genre ayyu from Morocco (Gintsburg 2017, 2019a) and turn my attention to kopla zaharrak, another short oral improvisational poetic genre, which once existed in the Basque Country but is now extinct and almost forgotten. In order to better understand how this genre once functioned, I first apply to it the notions of frames, or topics or themes, and scripts, or possible scenarios manifested at least partly in form of formulaic language, which are triggered by them. The analysis reveals that on the cognitive level kopla zaharrak offer a structure similar to the ayyu, where the first two lines work as a frame and the last two lines as a script. In the second part of my research, I compare examples of kopla zaharrak and ayyus and conclude that, despite obvious cultural and linguistic differences, the way both traditions make use of images of the natural world and connect them to human situations has demonstrable similarities.