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Lyu Geum ..., a retinue officer of the Choson emissary sent to the Qing court in Beijing in 1777, brought along a copy of the Hanke jinyan ji ..., a collection of poems of four young Choson poets compiled by himself, and presented it to Li Tiaoyuan ... and Pan Tingyun ..., two eminent Qing poets of that time. They gave high marks to the four poets' achievements and wrote prefaces for the book. This was a very significant event in the history of Sino-Korean cultural contacts during the Qing dynasty. Firstly, these four poets' stature was elevated in Korea because the Qing poets gave them high marks, and they became known as the "Four Poets." Secondly, from then on, Choson poets Lee Deokmu ... Park Jega ..., and Lyu Deokong ... wrote letters and kept close contacts with Li Tiaoyuan and Pan Tingjun; later, they met with each other in Beijing several times. Thirdly, after they returned to Korea, they advocated that Choson should learn from Qing China and initiate political reform; hence, they became the backbone of the Choson Bukka School. [ABSTRACT FROM AUTHOR]

T. 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 avantgarde Japanese poet Akiri Yasusada. Although a simulation rather than a translation's 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. [ABSTRACT FROM AUTHOR]