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Articles de revues sur le sujet « Chinese poetry (Collection) »

Auteur : Grafiati

Publié le 25 juillet 2024

Mis à jour le 31 juillet 2025

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1

Gao, Hang, та Li-juan Chen. "Research on the Rhyme Usages in Japanese Chinese Poetry Collection DongYing Poetry Collection (东瀛诗选)". Journal of Chinese Language, Literature and Translation 40 (31 січня 2017): 69–94. http://dx.doi.org/10.35822/jcllt.2017.01.40.69.

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Turdubaeva, Nazgul. "A COLLECTION OF EARLY POEMS OF CHINESE KYRGYZ POETS." Alatoo Academic Studies 24, no. 2 (2024): 182–98. http://dx.doi.org/10.17015/aas.2024.242.15.

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The actuality of the article differs from the fact that it focuses on the creative workshop of 22 poets-writers included in the collection of poems "Kerme Too", which gave a message of Chinese Kyrgyz literature in Kyrgyzstan in the 60s, and reviews their issues, ideological- artistic features, and thematic directions in a consistent and chronological direction. The said collection was prepared for publication in the city of Urumqi by the Xinjiang People's Press in 1962 on behalf of the Xinjiang Uyghur Autonomous District Branch of the Jungo Writers' Society. Before the establishment of the "Sh

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Qin, Cai, and Cheng Ta Seah. "Chinese Ethnic Minorities and their Oral Poetry: A Perspective from Ethnopoetics." Advances in Language and Literary Studies 12, no. 5 (2021): 6. http://dx.doi.org/10.7575/aiac.alls.v.12n.5.p.6.

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Ethnopoetics involves in the conducting of translation experiments on oral poems of native ethnic groups, converting its relevant oral texts into written forms. The theory of ethnographic poetry begins in the 1970s and was translated and introduced to China in the early 21st century. However, most ethnic minorities in China do not have textual writings. Their oral creations from primitive society to modern society such as epics, long poems, narrative poems, ballads, and folk songs are mostly in form of oral poetry. The collection and translation of oral poems of ethnic minorities in China bega

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Dreyzis, Yulia Alexandrovna. "Poetic topolectization in the formative years of the Chinese “new poetry”." Ethnic Culture 5, no. 3 (2023): 29–36. http://dx.doi.org/10.31483/r-107456.

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The paper explores the infiltration of topolect into the poetry of Liu Bannong and Crescent Moon Society authors, induced by the Folksong Collection Movement, often labeled as introducing vernacular into poetry. The language of Liu Bannong’s New Poetry presents a complex hybrid between the emerging literary norm, local Beijing vernacular and his native lect of the northern Taihu region. Many contemporaries noted his poetry’s merits and his invaluable contribution to New Poetry development, greatly facilitated by Liu Bannong’s professional linguistic training. Following Liu Ban Nong’s footsteps

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Yue, Li. "Teaching Exploration of Ma Shuilong’s Ancient Chinese Poetry Art Songs – “Spring Silkworms are Dead,” “Loneliness,” and “Falling Flowers”." Journal of Contemporary Educational Research 5, no. 9 (2021): 16–19. http://dx.doi.org/10.26689/jcer.v5i9.2509.

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Ma Shuilong was a famous composer in Taiwan, both at home and abroad. In 1986, the publication of his concerto, Bangdi, made him the first Chinese composer to have a full performance at the Lincoln Arts Center in New York. In the field of vocal music production, “Ma Shuilong Songs Collection” reflected the mutual infiltration and integration of Chinese and Western elements, especially the combination of modern techniques and classical poetry so that Chinese ancient poetry art songs would emit unique artistic conception. In view of his three works, this article elaborates the oriental connotati

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Krenz, Joanna. "Ice Cream in the Cathedral: The Literary Failures and Social Success of Chinese Robot Poet Xiao Bing." Asiatische Studien - Études Asiatiques 74, no. 3 (2020): 547–81. http://dx.doi.org/10.1515/asia-2019-0024.

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Abstract In May 2017, Xiao Bing, a popular Chinese chatbot built by Microsoft Research Asia, made her debut as a poet with Sunlight Has Lost Its Glass Windows, a collection marketed as the entirely created by artificial intelligence. She learnt the art of poetry by “reading” the works of 519 modern Chinese poets, and her “inspiration” comes from pictures provided first by her programmers and later by netizens, who upload photographs through her website. Xiao Bing’s emergence made a splash in Chinese society and raised grave concerns among the poets, who polemicized with her engineers. This ess

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Oh, Yoon-sook. "A Study on Chinese Poetry in The Collection of Sojae’s Works." Journal of Honam Studies 77 (June 30, 2025): 55–84. https://doi.org/10.37996/hs.77.3.

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Wu, Jiahui. "The Translation, Dissemination, and Evolution of Poetry from the High Tang Dynasty in France." Journal of Social Science and Humanities 6, no. 12 (2024): 51–59. https://doi.org/10.53469/jssh.2024.6(12).12.

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The 17th to 18th centuries marked the beginning of cultural exchange between China and the West, during which Jesuit missionaries played a significant role. They introduced the latest Western thoughts and scientific advancements to China while providing detailed descriptions of China in their letters sent back to Europe. Additionally, they translated many Chinese texts, with French Jesuits contributing the most influential works. Among these translations were various collections of Tang poetry translated into French. In the 19th century, the first collection of Tang poetry in French was publis

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Proskurina, Elena N. "THE TRADITION OF ANCIENT CHINESE POETRY OF BORIS VOLKOV’S POETIC CYCLE “DRAGON DEVOURING THE SUN”." Culture and Text, no. 52 (2023): 79–95. http://dx.doi.org/10.37386/2305-4077-2023-1-79-95.

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The published work analyzes the lyrics of Boris Volkov - an almost neglected poet, prose writer, memoirist of the Eastern emigration - in a dialogue with the ancient Chinese tradition. The poetry of Li Chi (690-751) and Cui Hao (704-754) is in the field of research attention. Volkov enters into an intertextual dialogue with their work in the poetic cycle “Dragon Devouring the Sun”. The cycle is included in the poetry collection «In the Dust of Foreign Roads», published in Berlin in 1934 and never reprinted. Of the entire book of poems, the cycle “Dragon Devouring the Sun” stands out for its po

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Jia, Jinhua. "The Yaochi ji and three Daoist Priestess-Poets in Tang China." NAN NÜ 13, no. 2 (2011): 205–43. http://dx.doi.org/10.1163/156852611x602629.

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AbstractThis article examines the only extant compilation of Tang dynasty women's poetry, the Yaochi xinyong ji (Collection of new songs from Turquoise Pond), fragments of which have been rediscovered among the Dunhuang manuscripts in Russian library holdings. The study first discusses the compilation, contents, and poets of this collection, and then focuses on the works of three Daoist priestess-poets, Li Jilan, Yuan Chun, and Cui Zhongrong whose writings form the major part of this anthology. It investigates their poetry and reviews relevant sources to conduct a comprehensive examination of

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Xu, Shuang. "The “Chinese” in the titles of the poems of Vladimir Kucheryavkin." Imagologiya i komparativistika, no. 21 (2024): 276–88. https://doi.org/10.17223/24099554/21/14.

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The principle of the poem title in Chinese poetry changes to a greater or lesser extent and some traditions remain to this day. It is the same for Russian poetry. The problem of the title of a poem has arisen from the first day of the birth of poetry in Russian and Chinese literature. Titles of poetic texts in Russian and Chinese poetry have developed separately from each other; nevertheless, their evolution shows both differences and similarities. The Chinese influence on the titles of poems by the contemporary Russian poet Vladimir Kucheryavkin, who is interested in Chinese culture and liter

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Xu, Xiaoxiao. "“Lamp and Candle”: Classical Chinese Imagery in Taixu’s Poetry." Religions 14, no. 8 (2023): 1077. http://dx.doi.org/10.3390/rel14081077.

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Taixu 太虛 (1890–1947), a prominent figure in modern Chinese Buddhism, produced a voluminous collection of poetry abounding with diverse classical Chinese images. Notably, the “lamp and candle” (dengzhu 燈燭) holds great significance, reflecting Taixu’s personal affinity with this imagery and an intimate connection to classical Chinese poetry. Acting as a potent Buddhist metaphor, it encapsulates multifaceted sentiments while also intertwining with other evocative images, such as the boat, the moon, and falling leaves. Symbolizing Taixu’s unwavering spirit, it represents his profound dedication to

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Крашенинников, А. Е., Е. В. Нарбут, and В. Э. Щептева. "Modern Chinese poetry: problems of study." Modern Humanities Success, no. 4 (April 30, 2024): 21–26. http://dx.doi.org/10.58224/2618-7175-2024-4-21-26.

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в статье рассматриваются основные характерные черты современной китайской поэзии. Время её возникновения по мнению разных исследователей варьируется от 1916 г. (написание поэтом Ху Ши стихотворения «Бабочка») до 1919 г. (сборник поэта Ху Ши «Эксперименты» и Движение 4 мая). Однако привязка новой китайкой поэзии к тому или иному событию выглядит уже общим местом. В связи с проявлением нового интереса к современной китайской поэзии в обществе, в частности китайском, возникли вопросы, главным из которых является: «Как войти в художественный мир современной китайской поэзии?» Все стихотворения име

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Yang, Zhanghui. "Landscape and Seeing in Williams’s Poetry: A Chinese Perspective." William Carlos Williams Review 39, no. 1 (2022): 78–104. http://dx.doi.org/10.5325/willcarlwillrevi.39.1.0078.

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Abstract This essay aims to investigate William Carlos Williams’s interaction with Chinese landscape aesthetics by arguing that he adapted an idea of seeing prevalent in Chinese landscape poetry into his own poetics. Seeing, meaning zhiguan (直观 direct observation and perception), is an important way of accessing nature’s “sufficiency” in Daoist philosophy. Williams blends the idea of seeing into his important collection Sour Grapes, which prompted him to theorize it further in the prose fragments of Spring and All. Seeing and sufficiency are rephrased by Ezra Pound as “direct treatment of the

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Wanying, Wu, and Irina A. Poplavskaya. "Critical and translational reception of Vasily Zhukovsky’s poetry in China: the 1980s." Vestnik Tomskogo gosudarstvennogo universiteta. Filologiya, no. 88 (2024): 242–64. https://doi.org/10.17223/19986645/88/13.

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The relevance of the article is seen in the study of the particularity of Russian-Chinese intercultural and transcultural communication of the second half of the 20th century, in the comprehension of the most important trends in modern comparative literature related to the issues of translated literature, in the understanding of the national specifics of Russian literature, which receives its interpretation in Chinese literature. The aim of the article is to identify the features of the creative reception of Vasily Zhukovsky’s poetry by Chinese translators and researchers of the second half of

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Na, Sang-pil. "A Study on the Life and Poetic World of Gonam So Se-ryang." Korean Language and Literature 126 (March 30, 2024): 161–90. http://dx.doi.org/10.21793/koreall.2024.126.161.

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This article examined his family line and overall life, focusing on 『Byeongamjip』, 『Gonamjip』, a collection of writings by Kunam So Se-ryang born in Iksan, Jeollabuk-do from the 15th to 16th centuries, summarized and reviewed the two collections before considering his watch. Gonam left a number of Chinese poems while interacting with contemporary Confucian scholars such as Cho Gwan-gjo, Lee Eon-jeok, Kim An-guk, and Kim Jong-guk, but politically, he was not noticed because he lacked clear footprints other than records of his participation in the sutra. In addition, the titles of 『Byeongamjip』

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Peng, Xingjuan, Huan Cao, Zhaojing Shi, and Qiming Cao. "Research on the Cultural Connotation of the Imageries of Plants in Tang Poetry." International Journal of Social Sciences and Public Administration 2, no. 2 (2024): 158–67. http://dx.doi.org/10.62051/ijsspa.v2n2.24.

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The poetry of the Tang Dynasty in China has been passed down for a thousand years, among which are numerous descriptions of plant imageries, reflecting the Chinese national understanding of the world and all things within it. Based on a thorough reading, retrieval, and comprehension of the "Complete Collection of Tang Poems", this paper studies the plant imageries within Tang poetry and discusses the cultural significances of these images, including the five major imageries of bamboo, willows, pines and cypresses, lotus, and plum blossoms. By analyzing how poets integrate emotional experiences

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Polovinkina, O. I. "Pound, E. (2019). Cathay. A critical edition. Ed. by T. Billings. New York: Fordham U. P." Voprosy literatury, no. 2 (June 17, 2021): 282–87. http://dx.doi.org/10.31425/0042-8795-2021-2-282-287.

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The new edition of E. Pound's poetic collection Cathay, first published in 1915, shows the idea of world literature to be as real as it is problematic. Thanks to T. Billings, the editor behind the publication, the book offers the most exhaustive description of the process whereby the translations were created: it involved not only Pound and Fenollosa, but also K. Mori and N. Ariga, who represent the Japanese tradition of reading classical Chinese poetry. The volume contains almost all of Pound's Chinese translations produced in the 1910s, his essay ‘Chinese Poetry,' as well as an impressive sc

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Lam (林立), Lap. "Local Sensibility and Nostalgia: The Tanshe Poetry Society in Colonial Singapore." Journal of Chinese Overseas 18, no. 1 (2022): 118–52. http://dx.doi.org/10.1163/17932548-12341458.

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Abstract Under the leadership of Qiu Shuyuan, the “Poet Master of the South,” a group of Singapore Chinese poets formed the Tanshe poetry society in the 1920s and published the only group collection of classical-style poetry in the colonial period. This society forged a close social bond between the resident- and sojourner-poets, who used traditional poetry to create a cultural space for themselves in overseas Chinese communities. Although they still possessed a sojourner’s mentality and often expressed their nostalgia for China or their hometowns in China, they also attempted to accept and ap

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Bernstein, Charles. "Introduction to Chinese Anthology of American Poetry (19th–20th c.), ed. Li Zhimin." boundary 2 48, no. 4 (2021): 83–84. http://dx.doi.org/10.1215/01903659-9382088.

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Abstract Li Zhimin, poet and professor at Guangzhou University, asked Charles Bernstein to write the introduction to his anthology of American poetry, which spanned from Dickinson to Stevens, with Bernstein the youngest poet in the collection. Published here in English for the first time.

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Trunova, O. "The theme of Nanjing city in the poetry of Bai Hua." Science and Education a New Dimension IX(257), no. 75 (2021): 74–75. http://dx.doi.org/10.31174/send-ph2021-257ix75-17.

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The article considers the specifics of the theme of Chinese city Nanjing as one of the main and significant images in the Bai Hua’s poetry during his stay in this city in 1988 – 1992. Poems from the poetry collection “In Nanjing” were translated and analyzed, the influence of the city on the author’s inner world and on his further artistic work was studied. It is noted that the city made a pleasant impression on the poet and contributed Bai Hua to the transition to lyric poetry. The influence of Nanjing’s spring landscapes on the poet’s life and poetic mood is substained on the examples of the

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Xiao-bing, Zhao, and Zhao Wenqing. "About the Chinese Book “The Book of Poetry”." Humanitarian Vector 16, no. 1 (2021): 25–34. http://dx.doi.org/10.21209/1996-7853-2021-16-1-25-34.

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“The Shi Jing’’(‘‘The Book of Poetry”） is one of the first poems in the world, including Chinese poems, from the 11th century BC to the 6th century BC. During this period, about 3 000 verses appeared, of which 305 poems were selected by Confucius. Poetic texts in “The Shi Jing’are divided into three categories: regional songs, odes, hymns. The composition of the poems uses such techniques as Fu, Bi and Xing. These poems constitute the creative source (source) of Chinese poetry. “Fu”，“Bi” and “Xing” are important artistic features of “The Shi Jing”. “Fu”” - direct narration, parallelism. “Bi” i

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Bao, Linxi. "On the "Poetry Education" Value of the Gentleman's Cultivation Concept in The Book of Poetry for Contemporary College Students." Region - Educational Research and Reviews 6, no. 10 (2024): 160. https://doi.org/10.32629/rerr.v6i10.2721.

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The Book of Poetry, from its inception to the beginning of its collection, had always been the basic strategy for governing the country in the Zhou Dynasty, with respect and kinship becoming the most basic requirements for literati in terms of etiquette norms. In the process of studying the Book of Poetry, it was found that many of its contents have provided explanations and descriptions of the "gentleman". Taking the image of the gentleman in works such as Duke Wu of Wei as an example, the commonalities between them are extracted. Based on the thoughts of the CPC in excellent traditional Chin

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Krzysztof, Wojciech Olszewski. "O wpływie kobiecej estetyki na rozwój wczesnej japońskiej poezji waka." Civitas Mentis 1 (April 1, 2005): 128–39. https://doi.org/10.6084/m9.figshare.13525538.v1.

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The article is an attempt at presenting the development of native Japanese poetry at the turn of Nara and Heian epochs through the influence of the so-called "after-night letters" (intimate erotic poems circulated solely in the private correspondence of aristocrats and ladies-in-waiting) on the official court literature. In the period separating the edition of two first anthologies of Japanese poetry - "Man'yoshu" (The Collection of Ten Thousand Leaves) and "Kokinwakashu" (The Collection of Ancient and Modern Songs) there was a marked change in the mode of emo

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Волчкова, Елизавета Витальевна. "A Collection of Poems about Macao by Qu Dajun (1632-1696)." People and Cultures of the Orient. Studies and Translations, no. 1 (December 27, 2021): 136–49. http://dx.doi.org/10.48647/pcost.2021.83.15.009.

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Статья посвящена описанию Макао в поэзии известного китайского ученого и литератора XVII в. Цюй Дацзюня (1632-1696). Исследователи творчества Цюй Дацзюня отмечают две темы, постоянно поднимавшиеся им в своих работах: антиманьчжурское сопротивление и бедствия, принесенные иноземным вторжением в Китай, а также история и жизнь его родного края - провинции Гуандун. Обе они нашли интересное преломление в цикле стихотворений «Аомэнь», вошедшем в стихотворное собрание «Неофициальные стихи Вэншаня». Цикл стихотворений включает шесть пятисловных восьмистиший и является одним из первых поэтических описа

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Li, Huirong. "A Comparative Study on the English Translation of the Book of Songs." Journal of Education and Educational Research 3, no. 1 (2023): 74–78. http://dx.doi.org/10.54097/jeer.v3i1.8192.

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The Chinese nation has a history of 5000 years. In such a long history, we have constantly developed and created many splendid cultures. Ancient Chinese classics can be said to be the crystallization of all the people of our nation, but also the precious wealth left by ancient ancestors for us. Poetry is a classic of Chinese traditional literature, so the Book of Songs, as the earliest collection of poetry in China, naturally has an irreplaceable position. Civilization is developing, history is moving forward, and the world is gradually becoming connected with each other. As early as the first

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Ting, Yang, та Fan Jia. "毛振翧的《苗疆集》研究". Sinolingua: Journal of Chinese Studies 3, № 1 (2025): 102. https://doi.org/10.20961/sinolingua.v3i1.99946.

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<p class="AA">When Mao Zhenxuan, a Chinese poet in the Qing Dynasty, served in Guizhou, he left two volumes of the poetry collection of The Miao Jiang Collection. The study, using literature research and text analysis methods, aims to explore the content and historical value of the Miao Jiang Collection. The paper discusses Mao Zhenxuan's poetry creation during his tenure in Guizhou. This study focuses on the analysis of the creation theme, artistic characteristics and aesthetic paradigm of Miao Jiang Collection, and finally summarizes its historical value. The study shows that the poems

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Zhou, Jianxin. "Translation Features of Emily Dickinson’s Poetry’s Chinese Translation Dust is the Only Secret." International Journal of Language and Literary Studies 4, no. 1 (2022): 364–84. http://dx.doi.org/10.36892/ijlls.v4i1.803.

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Using program written in python language to conduct a statistical and comparative analysis of poetic form and vocabulary use of Emily Dickinson's poems and its Chinese translation in the poetry collection, Dust is the Only Secret, translated by Xu Chungang, to reveal features of the translation, it is found that, compared with the original, the form of translated poetry deviates obviously from the original, in which quantity of verse line is close to the original, while the stanza deviation is large. Punctuation deviations such as deviations of dash, comma and period from the original are the

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Kim, Young-gun. "The Value of the 20th-Century AnthologyThe Collection of Poetry Learning by Rhyme Family(Shihagunch'ong, 詩學韻叢)as an Introductory Text to Classical Chinese Poetry". Daedong Hanmun Association 82 (30 квітня 2025): 225–57. https://doi.org/10.21794/ddhm.2025.82.225.

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This study examines the educational value of Shihakunch'ong 詩學韻叢, an anthology compiled by Song Kisik (宋基植, 1878~1949) for beginning students of classical Chinese poetry. By analyzing the selection of poems, the system of annotations, and the use of critical marks, this paper seeks to clarify the anthology’s function as a pedagogical tool. Shihakunch'ong draws from a wide range of sources, incorporating Chinese, Korean, and Japanese poems excerpted from various anthologies and individual collections. The Chinese selections predominantly feature works from the Tang and Song dynasties, reflectin

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Tang, Jun. "The Sparkling Flower of Poetry on the Realism of Cruelty: A Chinese Reading in the Pluralism of Palestinian Identity in the Poetry of Mahmoud Darwish." Chinese and Arab Studies 2, no. 2 (2022): 151–61. http://dx.doi.org/10.1515/caas-2022-2013.

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Abstract Mahmoud Darwish (1941-2008) is regarded as the Palestinian national poet, and the leader of Palestinian resistance poetry. The Chinese version of his poetry collection A Lover From Palestine was published in 2016, then republished in 2020. In the eyes of Chinese researchers and admirers of poetry and Arabic literature in China, Mahmoud Darwish has long been aware of the Palestinian identity crisis under the Israeli-Palestinian conflict, and endeavored, through his abundant works, to implement a dynamic poetic construction of the Palestinian national cultural identity, in order to unit

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He, Yuemin. "A Congeries of Lichee Nuts for America: Chinese Religion in Edgar Lee Masters’s New York Chinatown Poetry Collection." Religion and the Arts 17, no. 1-2 (2013): 135–56. http://dx.doi.org/10.1163/15685292-12341258.

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Abstract Active in several genres of writing and extremely productive, American poet Edgar Lee Masters (1868–1950) became famous almost overnight with his earlier collection of free verse monologues, The Spoon River Anthology (1915). But as quickly as he rose in prominence, his fame declined thereafter. In the past decades, critics usually regarded The Spoon River Anthology as Masters’s best collection. This essay takes a step toward uncovering the value of Masters’s other work by examining one aspect of Lichee Nuts, a book-length collection of short poems published in 1929. This essay reveals

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Meng, Yuan, and Jingwen Xie. "Study on the English Translation of Tang Poems From the Perspective of Eco-translatology: Taking Xu Yuanchong’s 300 Tang Poems as an Example." International Journal of Linguistics, Literature and Translation 8, no. 3 (2025): 269–76. https://doi.org/10.32996/ijllt.2025.8.3.29.

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The translation of Chinese classics into foreign languages has always been of great significance to the spread of Chinese culture abroad. As a famous collection of poems, 300 Tang Poems is a rare cultural treasure in China, and its English translation has attracted wide attention at home and abroad. Eco-translatology is an interdisciplinary local translation theory that Chinese scholars have proposed. The textual transplant theory of Eco-translatology reveals the translation strategies used by translators and dynamically shows the “whole life” cycle of the English translation of Tang poetry. F

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Tsmykal, Olga E. "Literary searches of the poets of the Far East emigration: versification poetics of Larissa Andersen." RUDN Journal of Studies in Literature and Journalism 25, no. 3 (2020): 447–57. http://dx.doi.org/10.22363/2312-9220-2020-25-3-447-457.

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The article analyses the versification features of the poetess of Russian Harbin Larissa Andersen in the general context of the literary process of the Far Eastern branch of Russian emigration. The novelty of this study is determined by the fact that the versification poetics of Larissa Andersens works for the first time becomes the subject of independent and systematic study. The object of the study is the lyrics of L. Andersen of the Far Eastern period (1920-1940s). The purpose of the article is a holistic study of the poetics of L. Andersen versification of 1920-1940-ies on the material of

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Xiao, Yilan, and Xinyi Li. "The Musical Characteristics of the Chinese Poem Art Song: focus on 「Yanggwan Sandie」." Global Knowledge and Convergence Association 6, no. 1 (2023): 11–29. http://dx.doi.org/10.47636/gkca.2023.6.1.11.

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Chinese Poem contains the rich essence of traditional Chinese culture (called “Chinese Poem” in Korea because it includes modern works), and is used as an important material in contemporary Chinese artist songs due to its high literary value containing the wisdom and aspirations of ancient poets. “Yanggwan Samchop” is also known as “Yanggwangok” or “Satanggok”, which became widely sung after being included in the collection of poems of musicians based on the Tang poet Wang Yu’s “Songwon Issaanseo”. Since then, Chinese Poem Temple has been developed for thousands of years and has been reborn in

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Mauro, Viviana. "Translation as Rewriting in the Rendering of Classical Chinese Poetry: Pound’s Cathay." TRANS-KATA: Journal of Language, Literature, Culture and Education 2, no. 2 (2022): 109–18. http://dx.doi.org/10.54923/transkata.v2i2.82.

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The concept of translation as a form of rewriting, developed by André Lefevere, identifies translation as a textual adaptation based on a series of social and cultural factors. Therefore, the act of translating means rewriting a foreign text on the basis of local cultural and poetic norms. The purpose of this article is to apply the concept of rewriting in translation to the approach employed by Ezra Pound in his collection Cathay (1915), which has been chosen as a model to conceptualize the writer’s approach to the translation of Chinese texts. The first section of this article will focus on

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Mauro, Viviana. "Translation as Rewriting in the Rendering of Classical Chinese Poetry: Pound’s Cathay." TRANS-KATA: Journal of Language, Literature, Culture and Education 2, no. 2 (2022): 109–18. http://dx.doi.org/10.54923/jllce.v2i2.37.

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The concept of translation as a form of rewriting, developed by André Lefevere, identifies translation as a textual adaptation based on a series of social and cultural factors. Therefore, the act of translating means rewriting a foreign text on the basis of local cultural and poetic norms. The purpose of this article is to apply the concept of rewriting in translation to the approach employed by Ezra Pound in his collection Cathay (1915), which has been chosen as a model to conceptualize the writer’s approach to the translation of Chinese texts. The first section of this article will focus on

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Jiajing, Song. "Affinity and Influence of Federico García Lorca on the Poetry of Dai Wangshu." Sinología hispánica 7, no. 2 (2019): 133. http://dx.doi.org/10.18002/sin.v7i2.5734.

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As one of the most representative modern poets in China, Dai Wangshu not only contributs a lot to the development of the modern Chinese poetry, but also plays an important role in introducing western poetics to China. Dai’s translation of western poetry has a profound influence on his poetic creation. Dai, throughout his poetic career, was at first influenced by the French romanticism, then was fascinated by the French symbolism and post-symbolism. The years of Disaster, a collection of poems in his later years, however, demonstrates an inclination to the Spanish modernist poetry, especially t

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Zhou, Jianxin. "Chinese Translation of Emily Dickinson’s Poetry: Translation Features of Shi Li’s Lilacs in the Sky." International Journal of Language and Literary Studies 3, no. 1 (2021): 177–92. http://dx.doi.org/10.36892/ijlls.v3i1.512.

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Using program written in python language to conduct a statistical and comparative analysis of poetic form and vocabulary use of Emily Dickinson's poems and its Chinese translation in the poetry collection, Lilacs in the Sky, translated by Shi Li, to reveal features of the translation. It is found that in translation, there is a large number of increases in stanzas and a relatively small adjustment in verse lines; a large number of dashes are omitted or translated into commas, and many commas are added, exclamation marks are basically deleted. Prepositions and conjunctions are used less frequen

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Huen, Antony, and Felix Chow. "Cosmopolitan Hybridity, Cultural Memory and Curation in Hong Kong Poetry." Writing Chinese: A Journal of Contemporary Sinophone Literature 2, no. 1 (2023): 34–65. http://dx.doi.org/10.22599/wcj.43.

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This article builds on previous research on the engagement of British-based Hong Kong Anglophone poets with the visual arts. It attempts to outline an object-based curatorial poetics observed in Hong Kong Anglophone poetry. Understanding curation as a mode of writing, we argue that Hong Kong poets writing in English employ a curatorial poetics, transforming the poetic space into a collection of images while refraining from description, as in ekphrasis. Objects with an Asian/Chinese/Hong Kong connection are presented as a collective, inviting the reader to associate with and reflect upon a plur

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Zhou, Jianxin. "Big Data Analysis on Features of Wang Jinhua's Chinese Translation of Emily Dickinson's Poetry." International Journal of Language and Literary Studies 5, no. 1 (2023): 68–92. http://dx.doi.org/10.36892/ijlls.v5i1.1069.

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The American poetess, Emily Dickinson, whose poems have entered textbooks of Chinese university, primary and middle schools for many years, has become a well-known foreign poet for Chinese public. It is through Chinese translation that most Chinese readers come into contact with Dickinson's poems, yet study on Chinese translation of Dickinson's poetry which will help reveal characteristics of Chinese translation and thus contribute to the development of Dickinson studies and facilitate popularity of Emily Dickinson in China, is obviously insufficient at present. Based on text data of 243 trans

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Shuling, Hung. "Running Away from Parents'Hometown： Space Experience & Female Subject Construction of An Qi's Poetry." Sinology 1 (2018) 1 (2018): 69–90. https://doi.org/10.12906/9781682025215_005.

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This article intends to take the poems of An Qi, a contemporary Chinese female poet, as an example to discuss the situation of women and the mood of migrating to the North while she moved from Zhangzhou, Fujian to Beijing. An Qi, whose real name is Huang Jiangbing, was born in 1969, from Zhangzhou, Fujian. She originally worked in Zhangzhou Cultural Bureau and moved from Zhangzhou to Beijing in 2002. Then she settled in Beijing and specialized in writing. An Qi claimed that there was an inherent poetry driving force pushed her from Zhangzhou to Beijing. Because she was not satisfied with her o

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Wang, Wenjuan. "Implementation of Values Education based on the Cultural Essence of Ancient Poems and Classics." Journal of Contemporary Educational Research 5, no. 7 (2021): 68–74. http://dx.doi.org/10.26689/jcer.v5i7.2308.

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During COVID-19, the entire human race is facing a major change that is rare in this century. The intricate competition between countries and the ever-changing situation at home and abroad have put forward new propositions for education in schools. As the collection of human wisdom for thousands of years, the classics of poetry and prose carry the endless spiritual strength of the Chinese nation, the spiritual support for the healthy growth of young people, and the cultural essence of morals and values education. Using ancient poems and classics as the breakthrough point, excavating cultural e

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Li, Fangfang. "A Comparative Research on the English Translation of “The Book of Poetry - Caiwei” from the Perspective of Three-Dimensional Transformation in Eco-translatology – Taking the Translations of Xu Yuanchong and Wang Fanglu as an Example." World Journal of Innovation and Modern Technology 8, no. 6 (2025): 34–38. https://doi.org/10.53469/wjimt.2025.08(06).06.

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As the earliest collection of poetry in China, Shijing is not only the cultural canon of the Chinese nation, but also a valuable heritage of world culture. The poem “Caiwei” in “Shijing-Xiaoya” can be regarded as the opening poem of the ancient war, which depicts the sufferings of the war, and also writes about the inexhaustible family and national sentiments. This paper selects the translations of Mr Xu Yuanchong and Mr Wang Fanglu, and based on the three-dimensional transformation theory of Eco-translatology, compares the adaptive transformation of both of them in Linguistic dimension, cultu

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Pei, Jiang. "On Translations and Translators of I. A. Krylov’s Fables in China." Izvestiia Rossiiskoi akademii nauk. Seriia literatury i iazyka 81, no. 1 (2022): 90. http://dx.doi.org/10.31857/s160578800018926-4.

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The article gives a overview of translations of I.A. Krylov’s fables in China. The first of them appeared more than 120 years ago, but the real acquaintance of Chinese readers with his work took place in the 1950s because of the translations of Meng Hai and Wu Yan. From the late 1970s to the present, the number of translations and editions of Krylov’s fables has been constantly increasing. Now in China there are more than 300 separate editions of his selected fables and 33 complete collections. At various times, at least 64 translators worked on translations of Krylov’s fables into Chinese, an

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Li, Shengnan, Hazlina Abdul Halim, and Roslina Mamat. "Unravelling Yu Guangzhong’s Identity Through His Poetic Reflections: A Corpus-Based Investigation." Theory and Practice in Language Studies 14, no. 2 (2024): 561–69. http://dx.doi.org/10.17507/tpls.1402.29.

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This study examines Yu Guangzhong’s identity presented in his self-translated poetry collection, The Night Watchman. It employs corpus linguistic methodologies and utilizes the corpus linguistic tool AntConc for analysis. This study highlights Yu Guangzhong’s identity, which is presented in different categories and topics of poems. It is found that Yu Guangzhong’s identity is ever-changing, varying at different times, and occasionally conflicting and opposing. This study may have practical implications for Chinese literature and culture looking to enhance their international influence, and it

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Bruno, Cosima. "Thinking Other People's Thoughts: Brian Holton's Translations from Classical Chinese into Lowland Scots." Translation and Literature 27, no. 3 (2018): 306–18. http://dx.doi.org/10.3366/tal.2018.0353.

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Brian Holton (b. 1949), the only currently working translator of classical Chinese poetry into Scots, is here approached biographically, through his personal history and his career in translating and publishing. Holton's collection of his own translation materials, including drafts, proofs, scores, translations, notes, lectures, correspondence, and journalistic writings, has been made available to the author. As a voice of history, Holton's life and work constitute a subjective narrative that enters into debate, discussion, and interpretation with larger narratives, spheres of diffusion, and p

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Hardiningtyas, Puji Retno. "STILISTIKA DAN UNSUR KEALAMAN DALAM CIAM SI: PUISI-PUISI RAMALAN KARYA TAN LIOE IE." JENTERA: Jurnal Kajian Sastra 4, no. 2 (2017): 86. http://dx.doi.org/10.26499/jentera.v4i2.470.

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This study aims to analyze (1) the stylistic of Ciamsi:Puisi-Puisi Ramalan; (2) The faulty elements of Chinese culture in Ciam Si: Puisi-Puisi Ramalan. Data collection of this research use literature review and observation method by technical note. This study is analyzed by using hermeneuticmethods and content analysis techniques, etnography approach with stylistic theory and ecocritic. The analysis showed that Ciam Si poetry is a forecasts poetry generally used in the Chinese community in temple rituals. The Stylistic element in Ciam Si is Tang Dynasty poetry, consist of four rows, the first

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Park, Myoung Hui. "The Life of Nampo Geum Man-Young, A Literary Person of Honam In The 17th Century and Development of Yeomrakpung Poetry." Korean Language and Literature 121 (July 30, 2022): 53–80. http://dx.doi.org/10.21793/koreall.2022.121.53.

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This study aimed to examine the development aspect of Yeomrakpung poetry by Nampo Kim Man-Young, a literary person of Honam in the 17th century and the meaning and perspective of the poetry. Yeomrakpung is related to the poetical style of Confucian scholars in Song Dynasty. Kim Man-Young’s poetry was connected to Yeomrakpung because it was mentioned in the preface and epilogue of his collection of literary works and his records. Kim Man-Young is a local Confucian scholar who was born in Naju, Jeonnam in the 17th century and finished his life there. At that time, he was recommended for an

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Lee, Jae-sook. "Contents of Lee Dong-yoon's writings and an overview of poetry." Daedong Hanmun Association 72 (September 30, 2022): 147–76. http://dx.doi.org/10.21794/ddhm.2022.72.147.

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Minjae Lee Dong-yoon(1727~1809) is a writer of ≪Baksochonhwa≫. After he was introduced to the academic world, research has been accumulated, but there is still lack of research on his life, thoughts, and literature. By introducing Lee Dong-yoon’s collection of works, ≪Minjaeyugo≫, this study is aimed to examine the aspects of him as a writer found in his life, works, and Chinese poems and figure out his pursuit in literature. The three books of ≪Minjaeyugo≫ that have been handed down up to now are unfinished manuscripts of which order is not decided. It contains 631 themes and 1,276 work

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Li, Xiaorong. "Woman Writing about Women: Li Shuyi's (1817-?) Project on One Hundred Beauties in Chinese History." NAN NÜ 13, no. 1 (2011): 52–110. http://dx.doi.org/10.1163/156852611x559349.

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AbstractThis article examines the woman poet Li Shuyi's (1817-?) poetry collection Shuyinglou mingshu baiyong (One hundred poems on famous women from Shying Tower). Through a reconstruction of Li Shuyi's life, a reading of her self-preface, and an analysis of her poems, this study aims to demonstrate how a woman author's perception of her own ill fate leads to her becoming a conscious writing subject, and how this self-realization motivates her to produce a gendered writing project. It argues that Li Shuyi articulates in her project her intervention into representations of women's images from

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