Relevant bibliographies by topics / Japanese poetry, translations into english

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Japanese poetry, translations into english'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Japanese poetry, translations into english"

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Bondarenko, I. P., and Yu S. Kuzmenko. "ISSUES OF TRANSLATIONAL MASTERSHIP OF TARAS SHEVCHENKO’S POEMS IN THE JAPANESE SLAVIC STUDIES." Shevchenko Studies, no. 1(23) (2020): 30–44. http://dx.doi.org/10.17721/2410-4094.2020.1(23).30-44.

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This article aims to outline main tasks when translating poetry of the Great Kobzar into Japanese. Analytical, biographical, contextual-descriptive and comparative methods were used in the study. In particular, the analytical method is applied when examining the Japanese works related to a poetic heritage of T. Shevchenko and its translations, biographical – when considering some facts from life of the Japanese slavists, which contributed to their interest in works of the Ukrainian poet. The contextual-descriptive and comparative methods are used in analyzing translated collections of the Great Kobzar’s poetry in Japanese and problems of the Ukrainian-Japanese literary translation. Poetry of Taras Shevchenko found its readers in Japan thanks to translation efforts of Taisuke Shibuya, Takayuki Murai, Gаchiro Tazawa, Takashi Juge, Shosuke Komatsu, Kazuo Nakai, Takao Hino, Takao Okamoto and Etsuko Fujii. Three main problems of translation mastership can be distinguished in the Japanese slavistics. First, expediency of translating the Kobzar's poems not from the Ukrainian original, but from the Russian and English translations. This issue was brought up by Kazuo Nakai, who noted that this practice of using the Russian or English texts continued until the end of 1990s. Secondly, significant problems in case of the Ukrainian-Japanese literary translation are associated with untranslatables for designation of certain cultural, socio-historical and other phenomena. Third, selection of the modern or obsolete language for translation: Takashi Juge used obsolete words, while Etsuko Fujii chooses the modern Japanese language, so that young people could also read the poems of Kobzar. Thus, the Japanese slavists still have a lot of problems in the field of the Ukrainian-Japanese literary translation, to overcome which each of them uses its own approach. Further study of the Japanese translation of the Ukrainian literary works seem to have potential for deepening cultural and literary relations between two countries.
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Zhou, Zijun. "Ezra Pound: Merits and Defects in Approaching Eastern Poetry." Communications in Humanities Research 20, no. 1 (December 7, 2023): 285–98. http://dx.doi.org/10.54254/2753-7064/20/20231389.

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Many literati consensually consider Ezra Pound a very significant figure in bringing Eastern poetry into the English world. His Cathay and In A Station of the Metro manifest his engagement in Chinese and Japanese poetry respectively. Rarely have scholars systematically discussed and evaluated the interconnection between the three languages poetry displayed in Pounds work. Therefore, this article aims to provide a comparative and comprehensive analysis of Pounds works, Chinese ancient poems and haikus. It begins with an overview of poetry and then moves to introducing how English and Eastern poetry differ. In the discussion, Chinese and Japanese poetry have been explored respectively and jointly. This article, from the perspective of one with mastery or intermediacy in all three languages, aims to provide some more accurate and aesthetic translations of Chinese poems by poets including Wang Wei, and haikus by haijins such as Bash. These translations (unless specified, original) better serve to compare and contrast Pounds poems and their Eastern counterparts. A series of close, dialectic analyses demonstrate that Pound both possessed merits and defects in approaching Eastern Poetry. This study provides a more thorough account of this significant literary crossover, from which it is hoped that future studies discover how Pound developed and/or popularised certain styles in this process.
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Pfister, Lauren. "James Legge's metrical Book of Poetry." Bulletin of the School of Oriental and African Studies 60, no. 1 (February 1997): 64–85. http://dx.doi.org/10.1017/s0041977x00029578.

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Few non-Asian sinological scholars would not recognize the name of James Legge (A.D. 1815–97), partly because his voluminous translations of the Confucian canon still continue to be reprinted and used by Western sinological circles 120 years after their first publication. In China itself, Legge has recently received new attention with the republication of bilingual editions of The Four Books and The Book of Changes. Japanese readers have had rather more access to Legge's English translations of The Four Books, beginning with the early Meiji period and continuing into the twentieth century. Unfortunately, none of these Chinese or Japanese editions has included the extensive commentarial notes drawn from Chinese Confucian and early Western sinological sources which earned Legge his reputation as a world-class Chinese scholar in the nineteenth century.
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TSUCHIDA, K., and D. ANDRIANOV. "Features of Ukrainian translation of the 469th waka poem from the Japanese anthology "Kokin Wakashū" (following the results of the academic conference "Waka poetry around the world")." Bulletin of Taras Shevchenko National University of Kyiv. Oriental Languages and Literatures, no. 28 (2022): 38–42. http://dx.doi.org/10.17721/1728-242x.2022.28.38-42.

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According to the results of the online academic conference "Waka poetry around the world: Viewing reception and transformation of Japanese culture through multilingual translation", an analysis of the Ukrainian translation of the 469th waka poem from the poetic anthology "Kokin Wakashū" (the Collection of Japanese Poetry Ancient and Modern) by I. P. Bondarenko was carried out. It is this translation that is the subject of the presented study. The goal, which was to reveal the peculiarities of the Ukrainian version of the mentioned poem, was achieved due to its comparison with Chinese, English, French, German, Hungarian, Italian, and Spanish translations. It was found that the Ukrainian translation of the waka poem No. 469 from the anthology "Kokin Wakashū" is characterized by common features that are typical for a number of translations into European languages. In particular, the syllabic structure of the original (a waka poem is composed of 5-7-5-7-7 syllables) has not been preserved in the Ukrainian translation, as well as in the other translations, and these translations themselves are written in five lines. Such common features also include lexical-semantic transformations caused by the difficulties of translating Japanese realia into European languages. For example, such nominations from the original work as "hototogisu" and "ayame" in many multilingual translation versions, including the studied Ukrainian one, are translated with the help of the words "cuckoo" and "iris", respectively, instead of their exact analogues – "lesser cuckoo" and "iris sanguinea". At the same time, there are foreign language versions with observance of the original syllabic verse and an accurate translation of the mentioned realia. Along with the common features, some features that make the translation of the 469th waka verse into Ukrainian unique were also revealed. Among those the translation of the original "satsuki" (the fifth month according to the old calendar and approximately June according to the modern one) as the season of the growth of herbs through the Ukrainian equivalent to "May" (the fifth month according to the modern calendar) literally meaning the "month of herbs", as well as the combination of the first and the second part of the poem through an emotional connection can be named.
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Norova, Nasiba, Shokhsanam Davronova, Shoira Axmedova, and Marhabo Xudoyqulova. "About some of Osman Kochqor’s translations In Uzar literature." E3S Web of Conferences 538 (2024): 05018. http://dx.doi.org/10.1051/e3sconf/202453805018.

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Translation works have a special place and influence in Usman Kochkar’s work. The combination of idea and art, meaning and image in the poet’s poetry is directly related to his translation. His translation skills are especially evident in the examples of Azerbaijani literature that he translated. The translator translated the works of Sayyid Imamuddin Nasimi, Husayn Javid, Yunus Samad, Sabir Rustamkhan, Yunus Oguz, Husayn Kurdogli, Hidayat, Anor, Elchin, etc. from Ozar into Uzbek. The artist later made translations from Russian, English, and Japanese. As a translator, choosing the best works, the Uzbek reader made a worthy contribution to the expansion of the reading space. The article examines the translation skills of Usman Kochkar and the influence of translated works on the poet’s work.
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Chiba, Jessica. "‘Something rich and strange’: Translating Shakespeare's poetry into Japanese." Cahiers Élisabéthains: A Journal of English Renaissance Studies 111, no. 1 (July 2023): 105–20. http://dx.doi.org/10.1177/01847678231184076.

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Translating poetry is difficult, and in a language so far removed from English as Japanese, the complications are manifold: rhyme creates no impact, and there are no inherent stresses out of which to create Western-style rhythms. Shakespeare's poetic drama, then, presents serious obstacles to translation. Through an investigation of the different approaches to translating Shakespeare's plays into Japanese, and what it means to do so, this article reconsiders the presence of Shakespeare's works in Japan to suggest that foreignness may be a more crucial part of the popularity of the dramas than universality.
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Horton, H. Mack. "Making it Old: Premodern Japanese Poetry in English Translation." Asia Pacific Translation and Intercultural Studies 5, no. 2 (May 4, 2018): 110–204. http://dx.doi.org/10.1080/23306343.2018.1500980.

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PYROGOV, V. "Conceptual-philosophical and linguocultural substantiation of transformations in translating a poetical text from English into Japanese and Chinese: a comparative-typological aspect." Bulletin of Taras Shevchenko National University of Kyiv. Oriental Languages and Literatures, no. 26 (2020): 27–31. http://dx.doi.org/10.17721/1728-242x.2020.26.27-31.

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The paper focuses on the problem of translation and translatability of poetic texts with regard to genetically different languages that have dichotomically opposed writing systems, particularly alphabetic and character based ones. On the one hand these are the languages that belong to the Indo-European family, namely, English, Ukrainian and Russian and, on the other, the East Asian languages, particularly, Japanese and Chinese. The core of the study is Robert Burns' poem "A Red, Red Rose" translated into the above-mentioned languages. When translating this poem from English (phonetic) into Japanese (character-syllabic), or Chinese (ideographic) languages, an attempt to convey poet's feelings embodied in the original context with the help of characters, the structural and semantic properties of which are dichotomously opposite to the alphabetic graphemes of the English writing, it is necessary to make substantial lexical and grammatical transformations that do not allow to preserve the identity of the original. In a sense, such translation can be viewed as an attempt to use characters as phonetic signs that correspond to certain lexemes of the original. At the same time, replacing words written in the phonemic way (letters) by whole graph-semantic units (characters), leads, on the one hand, to the loss of specific connotations of the original, and on the other, to the emergence of semantic interference due to multiple meanings of the most characters, therefore preventing adequate perception of the original content by native speakers of the Japanese or Chinese languages. Characters are intended, first of all, to directly fix thoughts as ready-made word forms. Consequently, when translating, or more precisely, interpreting the mental code of the English written tradition, and accordingly poetry, using Japanese / Chinese language, you need to find a way to translate it into the mental code of the Japanese or Chinese poetic tradition. Only by getting more or less successful result one can consider the goal of the adequate translation accomplished. So, this paper suggests an approach to translating a poetic text from a phonetic into a character language on the basis of semantic and linguocultural analysis of the dichotomically opposed cultural concepts.
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Twitchell-Waas, Jeffrey. "Ghostly Effects: Orientalist Translation in Pound and the Yasusada Text." Asian Journal of Social Science 29, no. 2 (2001): 234–48. http://dx.doi.org/10.1163/156853101x00055.

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AbstractT.S. Eliot famously remarked that Ezra Pound was "the inventor of Chinese poetry for our time." The nature of this invention is examined within the context of Pound's larger modernist project: his transformation of classical Chinese poetry into Imagist free verse and his projection of a vision of China as a utopian counter-image to the failure of the contemporary West. Although Pound clearly enough was consciously appropriating Chinese poetry according to his own poetic concerns, his particular solutions have had a pervasive impact in determining the look and sound of classical Oriental poetry in English ever since. The fundamental problem raised by this very influential tradition of poetic translation is the illusory desire for easy access to the foreign. In the early 1990s there began to appear the hoax texts purportedly by the previously unknown avant-garde Japanese poet Akiri Yasusada. Although a simulation rather than a translation proper, the Yasusada text will here be considered as a forceful questioning of the usual assumptions of translation's faithfulness and obligations to the foreign original. The elaborate construction of the Yasusada texts, including their initial public presentation as a hoax and the subsequent controversy, puts the reader in a disquieting and self-reflective position with respect to the desire for the authentic foreign.
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Yan, Hanjin. "Reforming the Relations of the Sexes: Zhou Zuoren’s Translation and Imitation of William Blake’s Poems about Love and Sexuality." NAN NÜ 22, no. 2 (December 2, 2020): 313–41. http://dx.doi.org/10.1163/15685268-02220003.

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Abstract This article probes into the motivation behind Zhou Zuoren’s (1885-1967) translation and imitation of the English poet William Blake’s (1757-1827) poems about love and sexuality in the May Fourth era. It situates Zhou’s approach to Blake’s poems in the contemporary context of the New Culture Movement and traces the Japanese and English sources that informed Zhou’s reading of Blake. By analyzing Zhou’s selective use of his foreign sources and his calculated translation of Blake’s poems, it argues that Zhou’s appropriation of Blake was driven by his agenda for unfettered sexuality, free love, and women’s emancipation, i.e. the reform of the relations of the sexes in China. This study goes on to investigate Zhou’s reference to and imitation of Blake in the controversy over a young poet’s writing of love poems in 1922. It further contends that Zhou’s concern for sex relations was part and parcel of his vision of modern Chinese poetry, which resonates with his earlier and far-reaching proposal for a literature of humanity that profited from Blake’s theory of the unity of body and soul.
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Dissertations / Theses on the topic "Japanese poetry, translations into english"

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Shimizu, Kanako. "Above and Below the Sky: Examining Representations of the Atomic Bomb in Japan and in the United States." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1601.

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This study of atomic-bomb literature on Hiroshima will be through a critical lens, largely through postcolonial theory and reader-response criticism. It will be a discussion on the social and political implications behind the popularization of certain works. The discussed texts will not necessarily be written by the Japanese or by survivors of the atomic bomb: in the first case, I will be examining authorial intent and its relation to the intended reader responses from the implied American audience to study perpetuations of propaganda after the war. This paper will also be examining the interlingual translatability of psychological and physical trauma surrounding the atomic bomb and will be exploring the capacities of language to express an emotional and often sensitive topic.
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Eichel, Andrew Timothy. "Translating Anglo-Saxon poetry : foreignized translations of "The seafarer" and "The wanderer" /." View online, 2009. http://repository.eiu.edu/theses/docs/32211131566903.pdf.

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馮陳善奇 and Sydney S. K. Fung. "The poetry of Han-shan in English: a culturalapproach." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31224386.

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沈樂軒 and Lok-hin Kevin Shen. "A comparative study of two Japanese-English and two Japanese-Chinese translations of the Tale of Genji." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B30104518.

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Chiu, Ching-li Lily, and 趙靜莉. "Demonstratives in literary translations: a contrastive study of English and Japanese." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B29815964.

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Chiu, Ching-li Lily. "Demonstratives in literary translations : a contrastive study of English and Japanese /." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21790905.

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Fan, Xing. "A crossing of waters : a dialogical study of contemporary indigenous women's poetry : portfolio consisting of creative work and dissertation." Thesis, University of Macau, 2011. http://umaclib3.umac.mo/record=b2456341.

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TAI, Pui Shan. "Interpretation and re-creation : English translations of poetry in the Sanguo Zhi Yanyi." Digital Commons @ Lingnan University, 2003. https://commons.ln.edu.hk/tran_etd/11.

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This thesis is a textual and contextual study of English renditions of poetry in Luo Guanzhong’s Sanguo zhi yanyi, in terms of their artistic approach and their bearing on the artistic functions which poetry fulfills in the novel. There are several English renditions of the Sanguo zhi yanyi in full or in part, including two full translations by Charles H. Brewit-Taylor and Moss Roberts. While the two full translations form the focus of the study, Roberts’s abridged version is also included. Published fifteen years before the full rendition by the same translator, the abridged version serves every now and then as a reference point showing how an individual’s interpretive perception may change over time and bear on choices made in a literary translation. Insertion of poetry in a novel is basically unique to Chinese fiction, often contributing to its overall artistic effects as an organic element. A Western reader coming from a different cultural background may employ different standards in evaluating the artistic role and appeal of poetry in a Chinese classical novel. In an attempt to be as flexible and open-minded as possible, this thesis does not adopt any particular theoretical perspective, but makes use of literary concepts to facilitate the analysis as appropriate. To assess the literary translations, concrete analysis of selected original poems in semantic, syntactic, auditory, imagistic, symbolic and stylistic terms is made before the strategies adopted by the translated versions, along with their merits and limitations, are discussed. Detailed discussions of textual features and contextual elements offer an evidence-based appraisal of the renditions. artistic approaches, which are significant in shedding light on the translators’ attempts to re-create and revitalize the artistic appeal of the source text within the multidimensional context of the target language and culture. It is also hoped that the thesis help shed light on some general as well as language- and culture-specific issues in the translation of classical Chinese poetry.
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Ye, Mao. "Evaluating English translations of ancient Chinese poetry with special reference to image schemas and foregrounding." Thesis, University of Huddersfield, 2015. http://eprints.hud.ac.uk/id/eprint/27839/.

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Poetry translation evaluation from ancient Chinese to English has been subjective in China. This is caused by the indefinable and intangible notion of ‘poetic spirit’, which is often used in influential translators’ criteria, and by the lack of a systematic investigation of translation evaluation. The problem of subjective criteria has remained unresolved for nearly a century. In order to improve the subjective criteria of poetry translation evaluation, this thesis is an attempt to make objective evaluations of the English translations of an ancient Chinese poem using stylistic theories. To make an objective criticism, it is necessary to offer evidence which is based on systematic and reliable criteria and replicable evaluation procedures. By applying stylistic theories to both the source text and the target texts, it is possible to make a judgement based on the stylistic features found in the texts themselves. Thus, objective evaluation of poetry translation from ancient Chinese to English can be made. This research is qualitative with the data consisting of one ancient Chinese poem as the source text and six English translations as the target texts. It carries out stylistic analyses on the data with two approaches based on the cognitive stylistic concept of figure and ground and the linguistic stylistic theory of foregrounding. The target texts are judged by the evidence of locative relations and foregrounding features. This research also explores and proposes a practical framework for poetry translation. The research findings suggest how to make objective poetry translation evaluations and improve translation techniques. They also point out the need to integrate stylistics with translation evaluation to make improvements in the field.
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Saedi, Ghareeb. "Foreign affinities : Arabic translations of English poetry and their impact on Modern Arabic verse : a discursive approach." Thesis, SOAS, University of London, 2018. http://eprints.soas.ac.uk/30281/.

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This is the first discursive study to examine the Arabic translations of a number of major modern poems in the English language in particular T.S. Eliot's 'The Waste Land' and Walt Whitman's 'Song of Myself'. These translations were done by the Arab translators who were themselves modernist poets, including Badr Shakir al- Sayyab, to whom a separate chapter is dedicated as a case study. The thesis begins by underlining the relationship between translation and modernity by reviewing some critical studies and translational strategies. The framework allows me to approach the given poems comprehensively, since this study argues that poetry is not only a linguistic composition but also a socio-cultural construct. Thus, this study treats each of these translations as a discursive process comprising three contexts: situational, verbal and cognitive. The situational context highlights the background of these poems and each one's importance in its own system. It also reveals the reasons why Arab modernists were drawn to these poems. The verbal context studies the Arabic translations of the selected poems. It provides a comparative analysis, although its aim is to emphasize specific stylistic issues which function more than others in the target system. The cognitive context underlines the impact of these English poems on Arabic modernity on formal, stylistic and thematic levels. Finally, the thesis covers the main trends in the translation of English poetry into Arabic, and in so doing it presents a new approach. It also paves the way for more studies to explore further aspects of these works of translation.
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Books on the topic "Japanese poetry, translations into english"

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Geoffrey, Bownas, and Thwaite Anthony, eds. The Penguin book of Japanese verse. Harmondsworth, Middlesex, England: Penguin Books, 1998.

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1942-, Sato Hiroaki, and Watson Burton 1925-, eds. From the country of eight islands: An anthology of Japanese poetry. New York: Columbia University Press, 1986.

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1942-, Sato Hiroaki, and Watson Burton 1925-, eds. From the country of eight islands: An anthology of Japanese poetry. New York: Columbia University Press, 1986.

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1942-, Sato Hiroaki, ed. Japanese women poets: An anthology. Armonk, N.Y: M.E. Sharpe, 2008.

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Akihito. Tomoshibi =: Light : collected poetry. New York: Weatherhill, 1991.

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Sara, Ryan Regina, and Lozowick Lee 1943-, eds. In praise of Japanese love poems. Prescott, Ariz: Hohm Press, 1994.

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Stryk, Lucien. Where we are: Selected poems and Zen translations. London: Skoob Books, 1997.

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Patricia, Donegan, and Ishibashi Yoshie, eds. Love haiku: Japanese poems of yearning, passion, and remembrance. Boston: Shambhala, 2010.

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1926-, Fitzsimmons Thomas, Yoshimasu Gōzō 1939-, Kinoshita Tetsuo, and Drake Christopher, eds. The New poetry of Japan--the 70s and 80s. Santa Fe: Katydid Books, 1993.

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1932-, Cranston Edwin A., ed. A Waka anthology. Stanford, Calif: Stanford University Press, 1993.

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Book chapters on the topic "Japanese poetry, translations into english"

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Jiang, Lan. "American Adaptation of Tang Poetry Translations from Europe." In A History of Western Appreciation of English-translated Tang Poetry, 139–49. Berlin, Heidelberg: Springer Berlin Heidelberg, 2018. http://dx.doi.org/10.1007/978-3-662-56352-6_9.

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Saito, Hajime. "Stephen Spender and Japanese Atomic Bomb Poetry in the 1950s." In Asian English, 127–43. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-3513-7_7.

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Miyagawa, Kinuyo. "The Existential byt’ in the Translations of I.A. Bunin’s The Gentleman from San Francisco into English and Japanese." In Biblioteca di Studi Slavistici, 83–93. Florence: Firenze University Press, 2023. http://dx.doi.org/10.36253/979-12-215-0238-1.08.

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This article deals with the translations of a Bunin’s story The Gentleman from San Francisco into Japanese and English. Japanese translations of the phrase with the existential verb byt’ reflect a different understanding of death. A comparison of the original text with the translations also helps us understand the image of the gentleman’s being, bytie, which changes as the story develops.
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Chan, Kar Yue. "Masculine Fantasies and Feminine Representations in the English Translations of Premodern Chinese Poetry in Journals." In Translation and Academic Journals, 165–78. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137522092_11.

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Doi, Kenichi. "Ōnā Shippu: A Vestige of Japan’s Ambition to Lead International Aid." In The Semantics of Development in Asia, 149–64. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-97-1215-1_10.

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AbstractOwnership is a concept that the international aid community has emphasized since the 1990s, and Japan has been an enthusiastic practitioner and promoter of ownership. However, Japan’s view of ownership, or “ōnā shippu,” emphasizes the aspect of responsibility imposed on the recipient, compared with “ownership” used in the international aid community. In Japan, “ōnā shippu” is a loanword, which places less emphasis on the aspect of control by the recipient itself and is conscious of the power asymmetry between donor and recipient. This chapter argues that the Japanese-style “ōnā shippu” is a product created in conjunction with Japan’s ambition to enhance its presence as a major donor in the aid community since the 1990s. Instead of using direct translations of self-help and autonomy, values that Japan’s aid emphasizes, it adopted the English word ownership because it was instrumental for Japan to take an initiative in the international aid community at that time. Japan led the conceptualization and promotion of ownership as a top donor until the mid-1990s. However, after that, differences with other DAC donors became apparent when “ōnā shippu” failed to translate into “ownership”: a concept that is commonly understood and accepted internationally. As the Japanese government has lost the need to emphasize ownership, the Japanese-style “ōnā shippu” is becoming a fading vestige in the Japanese government’s development cooperation strategy, but its connotation still remains among the Japanese aid workers and researchers.
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Mehl, Scott. "Difficulty in Poetry." In The Ends of Meter in Modern Japanese Poetry, 102–35. Cornell University Press, 2022. http://dx.doi.org/10.7591/cornell/9781501761171.003.0005.

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This chapter approaches the crisis in early twentieth-century Japanese poetry through the work of the Japanese symbolist poet Kanbara Ariake. It begins with an analysis of a challenging early poem by Ariake, then examines the contemporary reception of Japanese symbolism more broadly conceived, focusing on claims that symbolist poetry was difficult. Difficulty was almost invariably treated as an undesirable attribute in a poem, and describing a poem as hard to read was, in Japanese as in English, never intended as a compliment. The chapter also seeks to answer the following questions: What made some poems difficult but not others? Who decided what counted as a difficulty? Ultimately, the chapter tracks, step by step, the invention and dissemination of a poetic form—a form that was invented as a vehicle for translation by Ueda Bin, then adapted and repurposed by the symbolist poets Susukida Kyūkin and Kanbara Ariake in their own poems.
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Stamy, Cynthia. "Useful Travel: Moore’s Imaginative Forays Abroad." In Marianne Moore and China, 28–56. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198184607.003.0002.

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Abstract In 1907, when Marianne Moore’s poems were beginning to appear in Tipyn O’Bob,the undergraduate magazine at Bryn Mawr, a canon of scholarly works in English on the literature and arts of the Far East was already being established. As her writing career developed, this field burgeoned as private collections2 of Chinese and Japanese art became available to a public already given to Chinese curio-collecting. By 1930, published work on Chinese art and history as well as commendable, if not definitive, translations of Chinese poetry were widely available in English.
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Shubnikova-Guseva, Natalia I., and Sergey I. Subbotin. "The Bibliography of Translations of Works by Sergey Esenin (1920–1927)." In Sergey Esenin in the Context of the Epoch, 839–83. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/978-5-9208-0672-7-839-883.

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The presented annotated “The Bibliography of Translations of Works by Sergey Esenin (1920–1927)” is the result of many years of work on the fundamental scientific project “The Chronicle of the Life and Work of S. A. Esenin” in 5 volumes (7 books, 2003–2018). In this work for the first time previously unknown lifetime and posthumous translations of works by Esenin were introduced into scientific circulation and dated. Most of the hard-to-access publications, in cooperation with foreign colleagues, were reviewed de visu. The result of this research is the presented, most comprehensive to date bibliography of the translations of Esenin’s works: from the first, not revealed V. Hartmann’s translations into German (“Autumn” and “Singing Call”) to the numerous posthumous translation 1926–1927. The Bibliography is accompanied by indexes: the poet’s works, the languages of translations and the names of translators. During Esenin’s lifetime his works were translated into 17 languages: German, English, Swedish, French, Italian, Polish, Czech, Bulgarian, Serbian, Slovenian, Ukrainian, Belarusian, Latvian, Armenian, Georgian, Japanese and Yiddish. In total, 205 publications of 93 Esenin’s works (or their fragments) in 21 languages were revealed during the indicated period.
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Gianuzzi, Valentino. "English Translations." In The Cambridge Companion to Latin American Poetry, 282–88. Cambridge University Press, 2018. http://dx.doi.org/10.1017/9781108178648.020.

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"Note on translations." In Middle English Biblical Poetry and Romance, xv—xvi. Boydell UK, 2021. http://dx.doi.org/10.2307/j.ctv1grbbgj.6.

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Conference papers on the topic "Japanese poetry, translations into english"

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Bumatova, Aida. "IMAGES IN THE TRANSLATION OF POETRY SAMPLES IN "BABURNAMA"." In The Impact of Zahir Ad-Din Muhammad Bobur’s Literary Legacy on the Advancement of Eastern Statehood and Culture. Alisher Navoi' Tashkent state university of Uzbek language and literature, 2023. http://dx.doi.org/10.52773/bobur.conf.2023.25.09/unqc5556.

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Poetry is one of the most beautiful and complex forms of art that transcend time, place, and culture. This article analyzes the changes occurring in the poetictranslation of classical Muslim poetry into English. In the article, translations into English of the poetry of Zahirad-Din Muhammad Babur were selected to be researched and analyzed as the most striking examples of classical Muslim poetry.
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Fujita, Atsushi, Kikuko Tanabe, Chiho Toyoshima, Mayuka Yamamoto, Kyo Kageura, and Anthony Hartley. "Consistent Classification of Translation Revisions: A Case Study of English-Japanese Student Translations." In Proceedings of the 11th Linguistic Annotation Workshop. Stroudsburg, PA, USA: Association for Computational Linguistics, 2017. http://dx.doi.org/10.18653/v1/w17-0807.

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Gushchina, P. E. "THE MOTIF OF FAITH IN B. OKUDZHAVA’ POETRY: STRUCTURE AND FEATURES OF RENDERING IN ENGLISH TRANSLATIONS." In ACTUAL PROBLEMS OF LINGUISTICS AND LITERARY STUDIES. TSU Press, 2021. http://dx.doi.org/10.17223/978-5-907442-02-3-2021-136.

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Şəmsi qızı Məmmədova, Xumar. "Nakhchivan literary atmosphere and literary translation." In OF THE V INTERNATIONAL SCIENTIFIC RESEARCH CONFERENCE. https://aem.az/, 2021. http://dx.doi.org/10.36719/2663-4619/2021/02/03.

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The presented article discusses the issues of Nakhchivan literary environment and literary translation. It is noted that translation is a creation in itself, and the activities of representatives of the Nakhchivan literary environment in this area are exemplary. In general, during the independence period, some experience was gained in the literary environment of Nakhchivan, translations from German, English and French by our poets and writers Hamid Arzulu, Shirmammad Gulubeyli, Shamil Zaman who is famous as poet, prose-writer and translator were delivered to readers in the form of books and works were published in the press. The examples presented in the article once again prove the perfection of the writers' translation activities, their translations from German, English and French provide the Azerbaijani reader with full information about the society, people and their life of these peoples. Key words: Nakhchivan, literary atmosphere, literary translation, prose, poetry
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AVORNICESEI, Oana-Florina. "JAPANESE PROVERBS BETWEEN EQUIVALENCE AND COMPARATIVE TRANSLATION FROM JAPANESE AND ENGLISH INTO ROMANIAN. AN ANALYSIS FROM THE SEMANTIC AND PRAGMATIC POINT OF VIEW." In Synergies in Communication. Editura ASE, 2022. http://dx.doi.org/10.24818/sic/2021/04.03.

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The current paper takes a comparative look at a selection of Japanese proverbs and their translation into English to their Romanian equivalents. The English translation belongs to David Galeff, the author of the book ‘Japanese Proverbs. Wit and Wisdom’ from which stems the selection of proverbs which are the object of the current analysis. The Romanian translation applies two methods. It tries to find an equivalent in Romanian, both in terms of wit i.e. wording or sense and in terms of wisdom i.e. meaning or reference. As such the two perspectives of analysis are semantic and pragmatic. The aim is firstly to find an equivalent in meaning and reference to a relevant wisdom inspired by reality and life. If such an equivalent is not found, alternative translations are attempted using other translation procedures, such as modulation or even adaptation. The theoretical framework used is the one Vinay and Dalbernet outlined in their ‘Comparative Stylistics of French and English: A Methodology for Translation’. This is a translational attempt to look towards the East and towards the West and see how different and how similar they are in the way they understand life and express that understanding. The aim of the analysis is to see to what extent it can identify corresponding ways of wording or equivalent forms of expression in Romanian for the wit and the wisdom incapsulated in the Japanese proverbs, via the English language
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Duthely, Lunthita, Harashita Sunaoshi, and Olga Villar-Loubet. "Book: Venture into a New Realm of Cross-Cultural Psychology Meditation, Mantric Poetry, and Well-being: A Qualitative, Cross-Cultural, Cross-Disciplinary Exploration with American Secondary and Japanese Post-Secondary Adolescents." In International Association of Cross Cultural Psychology Congress. International Association for Cross-Cultural Psychology, 2018. http://dx.doi.org/10.4087/xlul1485.

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Higher well-being correlates positively with multiple psychological and social outcomes, including workplace success and better academic outcomes for students. Poetry and meditation, independently, have been demonstrated in prior studies to increase well-being in a variety of contexts, including physical and mental health challenges. To our knowledge, this is the only published cross-cultural study that merged contemplative practices and poetry within the well-being paradigm, particularly among general, non-clinical adolescent populations. The purpose of this exploratory study was to examine the use of meditation and mantric poetry in a cross-cultural, educational context. The materials included <em>The Jewels of Happiness:</em><em> </em><em>Inspiration and Wisdom to Guide your Life-Journey</em> paperback and audiobook—a collection of poetry and prose to enhance positive emotions. A content analysis was conducted with post-secondary student essays and secondary students’ comments, subsequent to an experience of meditation and mantric poetry in their respective academic settings. Post-secondary students (n = 34) were enrolled in an English as a Second Language (ESL) course in Japan, and secondary students (n = 30) were enrolled in an English Language Arts (ELA) class in the United States. The most commonly occurring themes that emerged across the two cohorts were <em>inner peace, happiness, life-changing experience, </em>and<em> overcoming a challenge.</em>
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Martynov, Dmitry. "LIU RENHANG AND HERBERT G. WELLS." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.30.

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Liu Renhang (1885–1938) was known as a Shanghai publicist and propagandist of Buddhism, vegetarianism and non-violence. Having been educated in Japan, he could not establish relations with Zhang Xun and Yan Xishan. He made a long journey to India and Indochina, talked with Rabindranath Tagore. In the 1920s and 1930s, Liu Renhang published over 30 books, mostly translated from Japanese and English. He published translations of L. N. Tolstoy’s short stories, books on hydrotherapy and yoga, and founded the Institute for the Cultivation of Joy in Shanghai (乐天 修养 馆). The main work of his life was Dongfang Datong Xuean in 6 juan, the creation of which was carried out in 1918–1924. The treatise was fully published in Shanghai in 1926, and was reprinted in 1991 and 2014. Its main content was to consider the classical ideals of Xiaokang and Datong, and the possibility of combining ideals with the realities of the modern world. Liu Renhang believed that the ideal of Datong Confucius and Kang Yuwei is fully compatible with Buddhist teachings. During the fifth session of the Central Election Commission of the Kuomintang of the fourth convocation (1934), he tried to announce at the meeting a petition on the introduction of the principle of Great Unity in international relations. In 1938, he created the utopian commune Datong in his native village, and tried to interest Zhou Enlai and Dong Biu with his theories. In the Dongfang Datong Xuean treatise, Liu Renhang introduced the “history of the future”, which was influenced by H. G. Wells’ globalist and Fabian ideas. Liu Renhang directly referred to his novel The War in the Air in conclusion to his own treatise. Like Wells, Liu looked with pessimism on the prospects of modern mankind, and called for the emergence of a “modern Genghis Khan”, who would ruin the world, on the ashes of which the sprout of a new Great Unity would rise.
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