An Analysis of the English Translation of Li Bai's Poems
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Research on Li Bai and His Poetry Works from the Perspective of Tourism Jihong Xu Ma'anshan Teacher's College, Anhui, Ma'anshan, 243041, China Abstract
Advances in Social Science, Education and Humanities Research (ASSEHR), volume 300 2018 International Workshop on Education Reform and Social Sciences (ERSS 2018) Research on Li Bai and His Poetry Works from the Perspective of Tourism Jihong Xu Ma'anshan Teacher's College, Anhui, Ma'anshan, 243041, China Abstract. Li Bai is a great poet and traveler in China. He leaves China precious tourism resources. His tourism poetry works enrich China tourism culture, Li Bai is an outstanding tourism aesthetics master. His poetry aesthetic artistic conception is far-reaching. Li Bai and his poetry works are comprehensively arranged and deeply studied from the perspective of tourism, thereby providing an important basis for developing tourism resources and enriching cultural connotation of tourism products in various regions, and further promoting inheritance and development of China tourism culture. Keywords: Li Bai; tourism resources; tourism culture; tourism aesthetics. 1. Introduction Li Bai is a great romantic poet of China, who 'traveled many famous mountains for his life'. He 'studied immortals in his fifteenth year and never stopped immortal trips'. He 'went to far places with sword' at the age of 25. Li Bai stayed in Dangtu of Anhui at the age of 60 till his death. Li Bai traveled all year round since 15 years old. His steps were radiated to the whole China. Li Bai was repeatedly frustrated in his political career and failed to realize his political ambition especially from 44 to 55 years old. Therefore, he mainly focused on travelling during the period. Such a long and extensive travel is rare among ancient Chinese literati, which also enabled him to transcend his status as a poet. -
Kūnqǔ in Practice: a Case Study
KŪNQǓ IN PRACTICE: A CASE STUDY A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THEATRE OCTOBER 2019 By Ju-Hua Wei Dissertation Committee: Elizabeth A. Wichmann-Walczak, Chairperson Lurana Donnels O’Malley Kirstin A. Pauka Cathryn H. Clayton Shana J. Brown Keywords: kunqu, kunju, opera, performance, text, music, creation, practice, Wei Liangfu © 2019, Ju-Hua Wei ii ACKNOWLEDGEMENTS I wish to express my gratitude to the individuals who helped me in completion of my dissertation and on my journey of exploring the world of theatre and music: Shén Fúqìng 沈福庆 (1933-2013), for being a thoughtful teacher and a father figure. He taught me the spirit of jīngjù and demonstrated the ultimate fine art of jīngjù music and singing. He was an inspiration to all of us who learned from him. And to his spouse, Zhāng Qìnglán 张庆兰, for her motherly love during my jīngjù research in Nánjīng 南京. Sūn Jiàn’ān 孙建安, for being a great mentor to me, bringing me along on all occasions, introducing me to the production team which initiated the project for my dissertation, attending the kūnqǔ performances in which he was involved, meeting his kūnqǔ expert friends, listening to his music lessons, and more; anything which he thought might benefit my understanding of all aspects of kūnqǔ. I am grateful for all his support and his profound knowledge of kūnqǔ music composition. Wichmann-Walczak, Elizabeth, for her years of endeavor producing jīngjù productions in the US. -
The Reception and Translation of Classical Chinese Poetry in English
NCUE Journal of Humanities Vol. 6, pp. 47-64 September, 2012 The Reception and Translation of Classical Chinese Poetry in English Chia-hui Liao∗ Abstract Translation and reception are inseparable. Translation helps disseminate foreign literature in the target system. An evident example is Ezra Pound’s translation based on the 8th-century Chinese poet Li Bo’s “The River-Merchant’s Wife,” which has been anthologised in Anglophone literature. Through a diachronic survey of the translation of classical Chinese poetry in English, the current paper places emphasis on the interaction between the translation and the target socio-cultural context. It attempts to stress that translation occurs in a context—a translated work is not autonomous and isolated from the literary, cultural, social, and political activities of the receiving end. Keywords: poetry translation, context, reception, target system, publishing phenomenon ∗ Adjunct Lecturer, Department of English, National Changhua University of Education. Received December 30, 2011; accepted March 21, 2012; last revised May 13, 2012. 47 國立彰化師範大學文學院學報 第六期,頁 47-64 二○一二年九月 中詩英譯與接受現象 廖佳慧∗ 摘要 研究翻譯作品,必得研究其在譯入環境中的接受反應。透過翻譯,外國文學在 目的系統中廣宣流布。龐德的〈河商之妻〉(譯寫自李白的〈長干行〉)即一代表實 例,至今仍被納入英美文學選集中。藉由中詩英譯的歷時調查,本文側重譯作與譯 入文境間的互動,審視前者與後者的社會文化間的關係。本文強調翻譯行為的發生 與接受一方的時代背景相互作用。譯作不會憑空出現,亦不會在目的環境中形成封 閉的狀態,而是與文學、文化、社會與政治等活動彼此交流、影響。 關鍵字:詩詞翻譯、文境、接受反應、目的/譯入系統、出版現象 ∗ 國立彰化師範大學英語系兼任講師。 到稿日期:2011 年 12 月 30 日;確定刊登日期:2012 年 3 月 21 日;最後修訂日期:2012 年 5 月 13 日。 48 The Reception and Translation of Classical Chinese Poetry in English Writing does not happen in a vacuum, it happens in a context and the process of translating texts form one cultural system into another is not a neutral, innocent, transparent activity. -
Analysis on the Translation of Mao Zedong's 2Nd Poem in “送瘟神 'Sòng Wēn Shén'” by Arthur Cooper in the Light O
ISSN 1799-2591 Theory and Practice in Language Studies, Vol. 11, No. 8, pp. 910-916, August 2021 DOI: http://dx.doi.org/10.17507/tpls.1108.06 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 Pingli Lei Guangdong Baiyun University, Guangzhou 510450, Guangdong, China Yi Liu Guangdong Baiyun University, Guangzhou 510450, Guangdong, China Abstract—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. Index Terms—“Three Beauties” theory, “Song When Shen(2nd poem)” , Arthur Cooper, English translation of Chinese classical poetry I. INTRODUCTION China has a long history in poetry creation, however, the research on poetry translation started very late in China Even in the Tang and Song Dynasties, when poetry writing was popular and when culture was open, there did not appear any relevant translation researches. -
About English-Language Scholarship on Humor in Ancient Chinese Literature
CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 17 (2015) Issue 1 Article 10 About English-language Scholarship on Humor in Ancient Chinese Literature Peina Zhuang Sichuan University Lei Cheng Sichuan University & Southwest Jiaotong University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the American Studies Commons, Comparative Literature Commons, Education Commons, European Languages and Societies Commons, Feminist, Gender, and Sexuality Studies Commons, Other Arts and Humanities Commons, Other Film and Media Studies Commons, Reading and Language Commons, Rhetoric and Composition Commons, Social and Behavioral Sciences Commons, Television Commons, and the Theatre and Performance Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. -
On the Allusion Translation in Traditional Chinese Drama: a Case Study of the English Version of the Peony Pavilion
ISSN 1923-1555[Print] Studies in Literature and Language ISSN 1923-1563[Online] Vol. 22, No. 3, 2021, pp. 67-71 www.cscanada.net DOI:10.3968/12140 www.cscanada.org On the Allusion Translation in Traditional Chinese Drama: A Case Study of the English Version of The Peony Pavilion ZHOU Ying[a],*; CAO Yingchun[b] [a] Postgraduate, Foreign Languages College, Jiangxi Normal University, of life-energy. In the same way that the surgeon, operating Nanchang, China. on the heart, cannot neglect the body that surrounds it, so [b] Associate professor, Foreign Languages College, Jiangxi Normal University, Nanchang, China. the translator treats the text in isolation from the culture * Corresponding author. at his peril (Bassnett, 2005). It is common that Chinese Supported by the “Research on the Translation of Traditional Chinese classical dramas apply a large number of allusions, which Drama” granted by Jiangxi Province Humanity and Social Studies embody so many histories and cultures that readers feel Department (No.YY61008); Foreign Languages College, Jiangxi Normal difficult to understand and translators redouble efforts to University; Nanchang, Jiangxi, China. transcribe. Translations have been made with the intention Received 6 April 2021; accepted 11 May 2021 of influencing the development of a culture (Lefevere, Published online 26 June 2021 2003). Hence, the quality of allusion translation exerts an important impact on the spread of Chinese classical Abstract drama and translators need to take cultural background into consideration in the process of allusion translation. The allusions applied in traditional Chinese drama contain prolific cultural connotations, which aren’t familiar to Nevertheless, it is not an easy task since culture impacts English readers. -
The Improbable Literary Friendship of Du Fu and Li Bai
The Mandarin Moralist and the Reckless Rebel: the Improbable Literary Friendship of Du Fu and Li Bai Bryce Christensen Southern Utah University Western readers know something about improbable literary friendships: Who, after all, would ever have paired the poetic revolutionary Emily Dickinson and her friend-by-correspondence, the prosy pedestrian Thomas Wentworth Higginson? With good reason, one critic has called this “one of the oddest literary friendships in American history” (Russell 149). But then who, on the other side of the Atlantic, would have anticipated a friendship between the fiercely devout Christian Gerard Manley Hopkins and the agnostic Robert Bridges? "One wonders," writes one baffled critic, "on what the friendship subsisted, so little were Hopkins's profoundest feelings appreciated by Bridges" (Nixon 265). These are certainly literary friendships so unlikely as to leave readers marveling. However, for sheer improbability no literary friendship in the West can match the astonishingly unlikely yet remarkably strong friendship between the poet Du Fu and his contemporary Li Bai. The contrasts between these two are both numerous and striking. Yet the strength and duration of their friendship despite these contrasts, lends new meaning to the marvelous poetry written by both. For only rare poetry and even rarer love for the making of such poetry can account for a literary friendship that seems so unlikely as to defy ordinary expectations of the nature of friendship. In his famous examination of the nature of friendship in the Nicomachean Ethics, Aristotle acknowledges that many see in friendship “a kind of likeness and [therefore] say that like people are friends” (VIII.1). -
An Explanation of Gexing
Front. Lit. Stud. China 2010, 4(3): 442–461 DOI 10.1007/s11702-010-0107-5 RESEARCH ARTICLE XUE Tianwei, WANG Quan An Explanation of Gexing © Higher Education Press and Springer-Verlag 2010 Abstract Gexing 歌行 is a historical and robust prosodic style that flourished (not originated) in the Tang dynasty. Since ancient times, the understanding of the prosody of gexing has remained in debate, which focuses on the relationship between gexing and yuefu 乐府 (collection of ballad songs of the music bureau). The points-of-view held by all sides can be summarized as a “grand gexing” perspective (defining gexing in a broad sense) and four major “small gexing” perspectives (defining gexing in a narrow sense). The former is namely what Hu Yinglin 胡应麟 from Ming dynasty said, “gexing is a general term for seven-character ancient poems.” The first “small gexing” perspective distinguishes gexing from guti yuefu 古体乐府 (tradition yuefu); the second distinguishes it from xinti yuefu 新体乐府 (new yuefu poems with non-conventional themes); the third takes “the lyric title” as the requisite condition of gexing; and the fourth perspective adopts the criterion of “metricality” in distinguishing gexing from ancient poems. The “grand gexing” perspective is the only one that is able to reveal the core prosodic features of gexing and give specification to the intension and extension of gexing as a prosodic style. Keywords gexing, prosody, grand gexing, seven-character ancient poems Received January 25, 2010 XUE Tianwei ( ) College of Humanities, Xinjiang Normal University, Urumuqi 830054, China E-mail: [email protected] WANG Quan International School, University of International Business and Economics, Beijing 100029, China E-mail: [email protected] An Explanation of Gexing 443 The “Grand Gexing” Perspective and “Small Gexing” Perspective Gexing, namely the seven-character (both unified seven-character lines and mixed lines containing seven character ones) gexing, occupies an equal position with rhythm poems in Tang dynasty and even after that in the poetic world. -
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Advances in Social Science, Education and Humanities Research, volume 329 4th International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2019) A Study of Polysemy and Multi-translation in Tao Te Ching Yan Wang Fuzhou University of International Studies and Trade Fuzhou, China Abstract—Only 5000 words in Tao Te Ching have exhausted all the phenomena in the world. A statistic has been II. SELECTION OF THE TRANSLATED VERSIONS OF TAO made among these 5000 words. Many words are repetitive, TE CHING which shows that a word or a phase has more than one This study chooses the translation versions of Arthur meaning. It has achieved such a profound and magnificent Waley and Gu Zhengkun as the subjects of study. The reason connotation of Tao Te Ching. A thorough study of polysemy is is that they live in different times and represent two different an important prerequisite for the translation of Tao Te Ching to convey its essence well. Therefore, the article screened the cultures of the East and the West. Translation is essentially a polysemy in Tao Te Ching and found many words and phrases process of cultural transmission, and the attributes of culture have more than one meaning. The article chooses “shàng”, will not change with time and space. Therefore, the “xíng”, “shàn” and “qù”, which are polysemous and appear comparison between Chinese and Western versions can frequently, as research objects. It is of great significance to better reveal whether the cultural connotations contained in study the accurate translation of these representative words for Tao Te Ching can be reproduced in the translated version. -
Dissertation Section 1
Elegies for Empire The Poetics of Memory in the Late Work of Du Fu (712-770) Gregory M. Patterson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 ! 2013 Gregory M. Patterson All rights reserved ABSTRACT Elegies for Empire: The Poetics of Memory in the Late Work of Du Fu (712-770) Gregory M. Patterson This dissertation explores highly influential constructions of the past at a key turning point in Chinese history by mapping out what I term a poetics of memory in the more than four hundred poems written by Du Fu !" (712-770) during his two-year stay in the remote town of Kuizhou (modern Fengjie County #$%). A survivor of the catastrophic An Lushan rebellion (756-763), which transformed Tang Dynasty (618-906) politics and culture, Du Fu was among the first to write in the twilight of the Chinese medieval period. His most prescient anticipation of mid-Tang concerns was his restless preoccupation with memory and its mediations, which drove his prolific output in Kuizhou. For Du Fu, memory held the promise of salvaging and creatively reimagining personal, social, and cultural identities under conditions of displacement and sweeping social change. The poetics of his late work is characterized by an acute attentiveness to the material supports—monuments, rituals, images, and texts—that enabled and structured connections to the past. The organization of the study attempts to capture the range of Du Fu’s engagement with memory’s frameworks and media. It begins by examining commemorative poems that read Kuizhou’s historical memory in local landmarks, decoding and rhetorically emulating great deeds of classical exemplars. -
The Appropriation of Tang Poetry in Later Chinese Painting
The Andrew L. Markus Memorial Lecture Andrew Lawrence Markus taught Japanese language and literature at the University of Washington from 1986 to the time of his death in 1995. Established through the generosity of family and friends, this annual lecture honors Professor Markus’s contributions to the study of Asian languages and literature. The Appropriation of Tang Poetry in Later Chinese Painting Ronald Egan is currently Chair of the Department of East Asian Languages Tuesday, May 8th, 2018, 6:30pm and Cultures at Stanford University. He received his Ph.D. in Chinese lit- Kane Hall Room 225 erature from Harvard University. His research focuses on Chinese literature, Walker-Ames Room aesthetics, and cultural history of the Tang-Song period, as well as on text and image studies (poetry and paint- We know that the practice of inscribing poems on paintings was widespread ing) of the later imperial period. His in Chinese painting of the Ming and Qing dynasties. A special and often publications include books on the liter- overlooked instance of that practice was the inscription of poems from ary works and lives of Ouyang Xiu and Su Shi, the latter entitled Word, Image, centuries earlier as part of the newly completed painting (poetry from the and Deed in the Life of Su Shi. He has Tang period was the favorite choice). Such inscription holds particular also published a general study of Song interest for what it shows about the intersection of verbal and pictorial arts as dynasty aesthetic thought, entitled The Problem of Beauty: Aesthetic Thought and well as the aesthetic interplay of past and present. -
A Brief Analysis of Du Fu's Thought of Suffering and Artistic Expression
Advances in Social Science, Education and Humanities Research, volume 185 6th International Conference on Social Science, Education and Humanities Research (SSEHR 2017) A Brief Analysis of Du Fu's Thought of Suffering and Artistic Expression Xie Lina Weinan Normal University, College Humanism, Weinan, Shaanxi, 714000 Keywords: Du Fu, Anxiety, Artistic Expression Abstract: Du Fu is the most famous realistic poet of the Tang Dynasty in our country. His poetry reflects the tempo late to Dali Period of social reality, the outstanding performance of its attention to the fate of the motherland, the sufferings of people's sympathy and strong criticism of the wealthy elite of evil, embodies the profound patriotism and sympathy for the feelings of the people. Therefore, he was honored as the "Saint", known as "the epic poem". This paper tries to explore the thought and artistic expression of his misery poetry. 1. Du Fu's Life and Thought Du Fu (712-770) born in Henan Gongxian, sub word beauty and whose ancestral home was Jing Zhao Du Ling, My grandfather was a famous poet of the age of Wu Zetian s father, Du made official idle. Family "Shou Feng Ru Guan" tradition has certain influence on Du Fu's thoughts and creation, but the greatest impact is the era of Du Fu's life and his life experience [1]. His life can be divided into four periods: reading and grand period (AD 731 - 745 years): this period lasted for more than 10 years, before and after the three poets Wu Yue, Qi Zhao, Song Liang and other roaming, visited the beautiful magnificent mountains and scenery.