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Chinese Poetry
Neoland School of Chinese Culture
Neoland School of Chinese Culture, 2021
This volume contains 81 carefully selected Chinese poems arranged in chronological order, from antiquity (c.2000 BCE) to the modern time (1972), though most of them are from the Tang (618-907) and Song (960-1279) dynasties, since these two eras were the climax of Chinese poetry creation and development. The selection was based on the popularity of the poems, and the common phrases taken from them in everyday usage. Pinyin has been added to help readers learn Mandarin while reading these poems, and feel the sense of poetics in them. The translator is a native Beijinger who has lived in China for over 20 years and in English-speaking countries for over 30 years. Her professional background is architectural humanities. She hopes to make an original contribution to the translation of Chinese poetry through her unique lenses. During the translation, she found it interesting and surprising that the rhythms in the classical Chinese poems were somewhat able to be transformed to follow certain rhythms in the English versions. Maybe there is a universal truth about composing poetry in a sense. Enjoy your reading if you are a lover of Chinese literature and culture, and learn the wisdom of life through your reading.
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Style and Substance: One Hundred Poems from the Chinese
Colin Holcombe
Ocaso Press Ltda., 2024
Chinese poetry rhymed, scanned and followed a host of demanding rules. To bring over that character, and aided by books now available to the general reader, I have tried to do four things in these translations. The first is to create faithful renderings that stand on their own as acceptable poems. The second is to give some indication of the different Chinese poetry styles and genres. The third is to convey the characters and personalities of the individual poets. And the fourth is to provide the social background to Chinese poetry, the context in which poetry was written and understood.
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Five Ways of Reading Shan Ju Qiu Ming
Ziyao Zhang
This paper discusses how to interpret a Chinese peom -- Shan Ju Qiu Ming by the "Poet Buddha", Wang Wei. This essay is going to look at the text, transliteration and character-by-character translation to get an overall view of Wang’s poem.
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Chinese Poetry and Translation
Lucas Klein
Chinese Poetry and Translation: Rights and Wrongs offers fifteen essays on the triptych of poetry + translation + Chinese. The collection has three parts: "The Translator's Take," "Theoretics," and "Impact." The conversation stretches from queer-feminist engagement with China's newest poetry to philosophical and philological reflections on its oldest, and from Tang- and Song-dynasty classical poetry in Western languages to Baudelaire and Celan in Chinese. Translation is taken as an interlingual and intercultural act, and the essays foreground theoretical expositions and the practice of translation in equal but not opposite measure. Poetry has a transforming yet ever-acute relevance in Chinese culture, and this makes it a good entry point for studying Chinese-foreign encounters. Pushing past oppositions that still too often restrict discussions of translation-form versus content, elegance versus accuracy, and "the original" versus "...
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Experiments in Translating Classical Chinese Poetry: Journal of Oriental Studies, 49.1
Lucas Klein, Thomas J Mazanec, Robert S Moore, Monica Zikpi
2016
A special issue of the Journal of Oriental Studies
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On the Use of Rhymes in Determining the Structure and Interpretation of Old Chinese Texts: The Case of the DàoDé Jīng
Randy J. LaPolla 羅仁地
This paper uses the example of passages of the DàoDé Jīng to make the point that when one is working with Old Chinese texts, it is important to pay attention to the rhyming patterns in the texts, as they give clues to the proper segmentation of lines and larger segments and to the proper pronunciation of some characters, and can alert us to where characters have been changed due to taboo or scribal error.
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Review of "The Sound and Sense of Chinese Poetry" Special Issue
Casey Schoenberger
Review of special issue of the Journal of Chinese Literature and Culture, titled "The Sound and Sense of Chinese Poetry."
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On the use of rhymes in determining the structure and interpretation of Old Chinese texts: the case of the DaoDe Jing 《道德經
Randy J. LaPolla 羅仁地
This paper uses the example of passages of the DàoDé Jīng 《道德經》to make the point that when one is working with Old Chinese texts, it is important to pay attention to the rhyming patterns in the texts, as they give clues to the proper segmentation of lines and larger segments and to the proper pronunciation of some characters, and can alert us to where characters have been changed due to taboo or scribal error.
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Chan Grove Remarks on Poetry by Wang Shizhen: A Discussion and Translation (MA thesis)
Darryl Sterk
2002
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Translation from Chinese of Poems 1–9 from 'Wandering Spirit and Metaphysical Thoughts' by Gao Xingjian
Mabel Lee
PORTAL Journal of Multidisciplinary International Studies
The 2000 Nobel Laureate for Literature, Gao Xingjian, suffered cardiac arrest while directing rehearsals for his mega-scale opera Snow in August that was due to premiere in late 2002 at the National Opera House, Taipei. He recovered, and the opera premiered as scheduled with the help of a co-director before he returned to Paris to direct the Comédie Français premiere of his Quatre quatuors pour un week-end. He underwent surgery in February and March of 2003, but was soon again back at work. The year 2003 had been designated “Gao Xingjian Year” by the City of Marseille, and he would direct his new play Le Quêteur de la Mort at Théâtre du Gymnase, and then his Snow in August at Opéra de Marseille. It was during rehearsals for the former that he collapsed again, and was hospitalized: the play was co-directed by Romain Bonnin, 23–26 September 2003. Large exhibitions of Gao’s artworks had been held earlier that year, but the performance of Snow in August was postponed. During his recuper...
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