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Books on the topic 'Translations into Tangut'

Author: Grafiati

Published: 1 March 2023

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1

Xi Xia xin yi fo jing tuo luo ni de dui yin yan jiu: Researches on the newly transcribed dharanis in Xixia. Beijing: Zhongguo she hui ke xue chu ban she, 2010.

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2

"Hua jian ji" quan ben Ying yi: English translation of Among flowers. Wuhan: Wuhan da xue chu ban she, 2019.

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3

Aviva, Catz, ed. Tangos y milongas letras =: Tangos and milongas lyrics. Buenos Aires: Editora AC, 2004.

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4

Sunzi. The art of war: Translation, essays and commentary by the Denma Translation Group. Boston: Shambhala, 2009.

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5

H, Huang J., ed. Sun tzu: The new translation. New York: Quill, 1993.

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6

Wang, Feng. Tang shi jing dian Ying yi yan jiu: A comprehensive study on the English translation of classical tang poetry. Beijing: Zhongguo she hui ke xue chu ban she, 2015.

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7

Sukhoĭ trostnik: Poėzii͡a ėpokhi Tan (VII-X vv.). Sankt-Peterburg: "Peterburgskoe Vostokovedenie", 1999.

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8

Collected poetry: Li Bai quan ji. New York: Mantis Press, 2021.

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9

Chinese poetry of Tang and Song dynasties: A new translation. Xianggang: Shang wu yin shu guan, 2012.

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10

Group, Denma Translation, ed. The art of war: The Denma translation. Boston: Shambhala, 2002.

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11

Jiang, Xiangyan. Tang shi zai Faguo de yi jie he yan jiu. Beijing Shi: Xue yuan chu ban she, 2016.

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12

Sunzi. The art of war: A new translation. Boston: Shambhala, 2001.

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13

Sunzi. The art of war: The Denma translation. Boston: Shambhala, 2003.

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14

Ldong-chu-shel. Gtam gleng ljang khu. Pe-cin: Krung-goʼi Bod-rig-pa dpe-skrun Khang, 2017.

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15

Wei, Wang. Reka Vanchuanʹ. Sankt-Peterburg: Kristall, 2001.

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16

Tang dai nü shi ren Xue Tao zai Meiguo de yi jie. Beijing Shi: Xue yuan chu ban she, 2016.

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17

Georgette, Jaeger, ed. Il y a un homme errant. [Paris]: Orphée / La Difference, 1989.

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18

Ying yi Tang shi ming zuo xuan: A bouquet of poems from China's Tang Dynasty. Beijing: Shang wu yin shu guan, 2006.

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19

Cloud gate song: The verse of Tang poet Zhang Ji. Warren, CT: Floating World Editions, 2006.

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20

Zhonggang, Zhang, ed. Du Fu shi xuan. Beijing Shi: Zhonghua shu ju, 2005.

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21

Du Fu shi xuan. Beijing Shi: Wai wen chu ban she, 2001.

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22

Du, Fu. Thirty-six poems. New York: Peter Blum Edition, 1987.

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23

Zhonggang, Zhang, ed. Du Fu shi xuan. Beijing Shi: Zhonghua shu ju, 2005.

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24

Facing the snow: Visions of Tu Fu. Fredonia, N.Y: White Pine Press, 1988.

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25

Du Fu: A life in poetry. New York: Alfred A. Knopf, 2008.

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26

Zhilie, Zhang, Chengdu Du Fu cao tang bo wu guan., and Sichuan sheng Du Fu yan jiu hui., eds. Du shi quan ji. Chengdu: Tian di chu ban she, 1999.

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27

1909-, Cho Yong-man, ed. Tu si sŏnyŏk. Sŏul: Koryŏ Taehakkyo Chʻulpʻabu, 1986.

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28

Fu, Du. Cinquanta poesies de Du Fu. Barcelona: Edicions dels Quaderns Crema, 1992.

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29

The selected poems of Tu Fu. New York: New Directions, 1989.

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30

Cao, Yingchun. Wen hua fan yi shi yu xia de yi zhe feng ge yan jiu: "Mu dan ting" Ying yi ge an yan jiu = A study on translators' style of Peony Pavilion from the perspective of cultural translation. Shanghai: Shanghai jiao tong da xue chu ban she, 2017.

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31

Vesco, Silvia. Spontanea maestria. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-426-4.

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The appearance of Dr Vesco’s translation and study of Hokusai’s Ryakuga haya oshie, together with a full reproduction of the original book, is a matter of great excitement in the field of Japanese Studies. Hokusai has been known in Europe and North America for some 150 years. In his own country, he came to public attention about 1800, with youthful work produced under the name of Shunrô. He lived to the advanced age of 88, and when he died in 1849, he was one of the best-known artists in Japan. He was soon to be the best-known Japanese artist in the West, a status that he probably still holds. ‘Under the Great Wave off Kanagawa’ – often referred to simply as ‘Hokusai’s Great Wave’ (from the Thirty-six View of Mt Fuji) – is said to be the most immediately-recognisable piece of graphic design worldwide. Hokusai was a townsman living in a socially stratified society. He was not a member of the elite, though other famous artists were. He did neither depict elite topics, nor work for elite clients. Rather, Hokusai associated with the ‘Floating World’ (ukiyo) that is Edo’s leisure-time distractions. He also made views of his city, its surroundings, and the wider Japanese countryside, but he was not a great traveller, other than in his mind. Rather unrecognised is what Dr Vesco now brings to our attention. Hokusai saw his role as promoting the practice of art. Of course, he had his students, but as we see here, Hokusai also published out-reach volumes, aimed at introducing the joys of picture-making to amateurs who were not being formally instructed. The lessons were easy to follow, and also fun, as he reduced people animals and plants to basic shapes and formulae. Starting with the auspicious subject of Tang lions (kara shishi), Hokusai leads us through a range of topics, down to the demotic, such as clothes washing. Readers today will certainly find a smile crossing their face as they look through the pictures. Thanks to Dr Vesco’s careful translations, we can also understand the advice and commentaries supplied in Hokusai’s accompanying texts. An additional feature of Dr Vesco’s work will be of assistance to more specialist readers, as she has transcribed the original Japanese. This was no simple task, as it is written in abbreviated calligraphy (kuzushiji). At all levels, readers, art enthusiasts and those who love to create pictures will now have access to Hokusai’s most important study aid. We can delve into it, copy from, and chuckle at, just as people did when the volumes first appeared. Western readers might ponder something else: Ryakuga haya oshie appeared in 1812, as European countries were tearing themselves apart.

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32

Xu, Yuanchong. Tang Song ci yi bai shou. Beijing: Zhongguo dui wai fan yi chu ban gong si, 2007.

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33

Sun Zi art of war: An illustrated translation with Asian perspectives and insights. Singapore: Pearson Prentice Hall, 2003.

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34

The Peony Pavilion: Mudan ting. 2nd ed. Bloomington, IN: Indiana University Press, 2003.

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35

Arizona State University. Virginia G. Piper Center for Creative Writing, ed. The word in paint: Hui hua zhong de zhe xue. Tempe, AZ: Virginia G. Piper Center for Creative Writing, Global Studies Initiative, College of Public Programs at the ASU Downtown Phoenix Campus, 2008.

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36

Sunzi. The art of strategy: A new translation of Sun Tzu's classic, The art of war. New York: Doubleday, 1988.

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37

L, Wing R., ed. The art of strategy: A new translation of Sun Tzu's classic, The art of war. New York: Broadway Books, 2000.

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38

L, Wing R., ed. The art of strategy: The leading modern translation of Sun Tzu's classic The art of war. London: Thorsons, 1997.

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39

A, Michaelson Gerald, ed. Sun tzu: The art of war for managers : new translation with commentary : 50 rules for strategic thinking. Alcoa, Tenn: Pressmark International, 1998.

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40

1947-, Ames Roger T., ed. Sun-tzu: The art of warfare : the first English translation incorporating the recently discovered Yin-chʻüeh-shan texts. New York: Ballantine Books, 1993.

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41

Xin, jiang da xue. Er shi si shi tang dai xi yu shi liao wei wu er wen yi zhu: Wei wu mi wen. Wu lu mu qi: Xin jiang ren min chu ban she, 2010.

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42

century, Śaṅkarasvāmin active 6th, Śaṅkarasvāmin active 6th century, Śaṅkarasvāmin active 6th century, Prajñāvarman, and Prajñāvarman, eds. Eine buddhistische Kritik der indischen Götter: Śaṃkarasvāmins Devātiśayastotra mit Prajñāvarmans Kommentar. Wien: Arbeitskreis für tibetische und buddhistische Studien, Universität Wien, 2014.

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43

Chen, Weidong. Monkey King: Fanning the flames. [South Korea]: JR Comics, 2011.

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44

Tʻae-hyŏn, Chŏng, and Confucius, eds. Yŏkchu Chʻunchʻu Chwassi chŏn. Sŏul-si: Chŏntʻong Munhwa Yŏnʾguhoe, 2001.

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45

Kornicki, Peter Francis. The Chinese Buddhist Canon and Other Buddhist Texts. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198797821.003.0009.

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Although Buddhism is now seen as a scriptural religion, its earliest oral transmission to various language communities necessitated the use of translation, and the tolerance of translation in Buddhism is demonstrated by the many languages and scripts in which excavated early fragments of texts were written. Subsequently, translation into Chinese created what is known as the Chinese Buddhist canon, which was and still is normative in Japan, Korea, and Vietnam, but other societies, especially Tibet and the Tangut empire, reacted differently by undertaking translations. Why did this difference occur? Even in those societies in which the Chinese Buddhist canon was normative, it must be remembered that the practice of Buddhism was predominantly oral: for this reason not only was phonological vernacularization inevitable when chanting the scriptures, but also, for the purpose of sermons and other forms of teaching, vernacular explanations and vernacular translation was indispensable.

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46

Galambos, Imre. Translating Chinese Tradition and Teaching Tangut Culture: Manuscripts and Printed Books from Khara-Khoto. de Gruyter GmbH, Walter, 2015.

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47

Translating Chinese Tradition and Teaching Tangut Culture: Manuscripts and Printed Books from Khara-Khoto. De Gruyter, Inc., 2015.

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48

Galambos, Imre. Translating Chinese Tradition and Teaching Tangut Culture: Manuscripts and Printed Books from Khara-Khoto. de Gruyter GmbH, Walter, 2015.

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49

Klein, Gabriele. Toward a Theory of Cultural Translation in Dance. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036767.003.0016.

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Looking at the history of dance in the modern West, and especially in Europe, where aesthetic modernism began around 1900, there are two characteristics of dance. Whether it is so-called popular dance or a more artistic form, from a sociological perspective, the history of dance is the history of globalization and transnationalism. It is also the record of how urban experiences have been expressed physically. This chapter addresses tango as a specific example of urban transnationalism in dance. In particular, it explores the relevance of a theory of cultural translation for the analysis and historiography of dance and shows how such a theory can arise from the embodied practice of tango.

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50

Chatterjea, Ananya. Of Corporeal Rewritings, Translations, and the Politics of Difference in Dancing. Edited by Rebekah J. Kowal, Gerald Siegmund, and Randy Martin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199928187.013.41.

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This chapter begins with the premise that embodied practices and works move across different contexts, and proposes that such migrations provide crucial insight into registers of power. While dance and embodied practices generally invite in audiences and/or participants, these journeys almost always are about access, which resonates differently in different contexts. It analyzes choreographic strategies and the “micropolitics of technique” in specific works by Rennie Harris, Nora Chipaumire, Rosy Simas, and Rulan Tangen in order to explore the different ways in which choreographers reimagine classical “masterpieces” and meta-narratives of “otherness,” thus upsetting traditional relations of power. It also tracks the contrasting journeys in the broad spread of the movement forms of ballet and yoga, where difference comes to be snuffed out through acts of “translation,” consolidating existing hierarchies.

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