China has historically been a "land of poetry", and classical poetry is a marvel of traditional Chinese culture. As early as 3,000 years ago, our ancestors created excellent poems represented by the "300 Poems". Since then, every historical era has produced fruitful poetic creations, many of which have become popular and have been recited to this day. This series of "Appreciation of Chinese Classical Poetry" selects the best works of the most representative poets and lyricists in history and provides detailed and popular translations and commentaries in an attempt to introduce the most precious cultural treasures created by ancient Chinese people to contemporary readers at home and abroad. The Book of Songs, represented by the "National Winds", and the Chu Rhetoric, represented by the "Li Sao", have had a far-reaching influence on the poetry world of the later generations of Chinese poets, both in terms of their ideological contents and artistic techniques. Chinese poetry reached its peak in the Tang Dynasty, presenting what later generations called the "Sheng Tang Meteorology" and "Youthful Spirit", and it is not difficult to see from poets such as Li Bai and Du Fu, and from the poems they left behind.
In the winter of the eleventh year of King Zhuang of the Zhou Dynasty (686 BC), the land of Beiqiu in the State of Qi. After days of cloudy skies and chilly winds, the desolate mountain road was empty and deserted. It was already dusk when a flock of crows returned from the wilderness and disappeared into the deep forest beside the road. Suddenly the crows were startled and flew all over the sky. The forest steeply appeared countless halberds, gorges, spears, axes, in the dark clouds flashing hideous and bizarre light, straight to the end of the mountain road, a tall Palace forced over.
China has historically been a "land of poetry", and classical poetry is a marvel of traditional Chinese culture. As early as 3,000 years ago, our ancestors created excellent poems represented by the "300 Poems". Since then, every historical era has produced fruitful poetic creations, many of which have become popular and have been recited to this day. This series of "Appreciation of Chinese Classical Poetry" selects the best works of the most representative poets and lyricists in history and provides detailed and popular translations and commentaries in an attempt to introduce the most precious cultural treasures created by ancient Chinese people to contemporary readers at home and abroad. The Book of Songs, represented by the "National Winds", and the Chu Rhetoric, represented by the "Li Sao", have had a far-reaching influence on the poetry world of the later generations of Chinese poets, both in terms of their ideological contents and artistic techniques. Chinese poetry reached its peak in the Tang Dynasty, presenting what later generations called the "Sheng Tang Meteorology" and "Youthful Spirit", and it is not difficult to see from poets such as Li Bai and Du Fu, and from the poems they left behind.
Zeng Guofan (November 26, 1811~March 12, 1872), originally named Zicheng, with the courtesy name Bohan and the courtesy name Disheng, was born in Baiyangping, Xiangxiang, Hunan (now part of Shuangfeng). Chinese late Qing politician, strategist, Neo Confucianism scholar, and writer, the leader of the armed Xiang Army led by Han landlords in the late Qing Dynasty.
In Mapping the Translator: A Study of Liang Shiqiu, the writer studies Liang Shiqiu (1903–1987), who was not only a famous writer and important critic but also one of the most prominent translators in China in the 20th century, most notably the first Chinese to finish a translation of The Complete Works of William Shakespeare. Based on primary sources, this research covers issues related to the historical, cultural, cognitive and sociological dimensions of translator studies. It investigates Liang’s translation poetics; the influences of possible patrons and professionals on him; the relationship between Liang’s ideology, the dominant ideology and his translation; Liang’s debates with Lu Xun about and beyond translation criteria, and whether there is inconsistency or possible contradiction in Liang’s translation poetics. This book also analyses the similarities and differences between Liang Shiqiu and Wu Mi–two followers of Irving Babbitt–in terms of translation poetics, and further explores the reasons leading to such differences. This book is targeted at scholars and students, both undergraduate and postgraduate, in the fields of translation studies, Asian studies, Chinese studies, and literary studies.
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