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The poetry of distant country with different culture and language is always distinctive and fascinating. Chinese and Romanian belong to Sinitic languages of the Sino-Tibetan language family and Romance languages of the Indo-European language family, which have relatively different syntax and general imagery of literature. Therefore, in this study, we make an attempt that was rarely involved in previous poetry generation research, using modern Chinese as the carrier, and generating modern poetry with Romanian style based on pre-trained model and direct preference optimization. Using a 5-point grading system, human evaluators awarded scores ranging from 3.21 to 3.83 across seven evaluation perspectives for the generated poems, achieving 76.2% to 91.6% of the comparable scores for the Chinese translations of authentic Romanian poems. The coincidence of the 30th to the 50th most frequently occurring poetic images in both generated poems and Romanian poems can reach 58.0–63.3%. Human evaluation and comparative statistical results on poetic imagery show that direct preference optimization is of great help in improving the degree of stylization, and the model can successfully create Chinese modern poems with Romanian style. [ABSTRACT FROM AUTHOR]

Yi Hwang 李滉 (Toegye 退溪, 1501-1571) was a representative Confucian figure in Korea. In addition to ideological treatises, he also enjoyed composing poetry. Classical Chinese poetry served as a medium for communication with his friends and as a significant literary form for expressing his life experiences and insights. This article focuses on Toegye's suite of poems titled "Xianju" 閒居 (Leisurely Living), which can be categorized into three main themes: the transmission and confirmation of academic attainments, encouragement and discourse with like-minded individuals, and the contemplation and practice of leisurely living. It furthermore elaborates on his integration and transmission of the Han cultural tradition of "leisurely living," highlighting the innovative aspects of his "He Zizhong xianju ershi yong" 和子中閒居二十詠 (Responding to Zizhong's Twenty Poems on Leisurely Living). Finally, it points out that after Toegye, Korean Confucian scholars conveyed their resonance with Toegye's scholarship through poetic response, initiating a trend of writing series of poems such as "Xianju ershi yong" 閒居二十詠 (Twenty Poems on Leisurely Living). [ABSTRACT FROM AUTHOR]

The classical Chinese poetry composed in the ci form by Liu Yong 柳永 holds a significant place in the history of "capital literature." Liu's ci encompass verses written at the behest of the emperor, lauding the emperor, and also vivid depictions of life in Bianjing 汴京 , the capital of the Northern Song dynasty. While Liu's portrayal of Bianjing may lack novelty in terms of basic themes and content, his structural skills shine through in his creative and charming descriptions of minutia such as the weather and walking. In contrast to poetry and prose from the Han through Tang dynasties, Liu's ci do not focus on the spatial characteristics of the capital city, but rather emphasizes the passage of time and sensory experiences. This focus suggests a change in his perception of the capital city, transitioning from a representation of authority to an expression of customs and shared enjoyment between the emperor and the people. Through his creation of a discourse system for capital city poetry, Liu profoundly influenced subsequent poets and popular literature. Analyzing Liu's ci and capital literature through the lens of a discourse system allows us to appreciate the subjectivity and agency of literature as it both originates from the capital city and allows the city to thrive. [ABSTRACT FROM AUTHOR]

This article explores the interplay of qing (emotion) and jing (landscape) in Ezra Pound's rendition of "Taking Leave of a Friend" from his collection Cathay. Building on the legacy of Ernest Fenollosa's translations and notes, Pound transcends traditional linguistic translation to reiterate the aesthetic simplicity and emotional depth of classical Chinese poetry. Through an in-depth analysis of Pound's innovative translation techniques and his creative interpretation of Li Bai's original poem, this article posits that Pound not only respected but re-envisioned the source material for a Western audience, crafting a novel poetic expression. This research enhances our understanding of Cathay as both a continuation and a transformation of Chinese poetic traditions, affirming Pound's role as a transformative figure in early 20th-century English poetry. [ABSTRACT FROM AUTHOR]

Copyright of Interdisciplinary Studies of Literature is the property of Interdisciplinary Studies of Literature Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Chengdu University (Social Science) is the property of Journal of Chengdu University (Social Science Edition) Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Introduction: Tao Yuanming, a 5th-century Chinese poet, is known as the founder of the "Garden Alley" poem. He wrote down the issues and problems of society and of course, his mental states with simple and of course frank literature, which has a great contribution in presenting a picture of the social history of his time. The poems of this stylish poet have greatly influenced the culture and especially the literature of China after him. Among his poems, there are concepts and values such as turning away from the world, turning your back on politics, enjoying nature, being content with living in poverty, and ideals such as a society without coercion and superiority. Apart from this, he left some poems with a multi-layered meaning and with hidden and confused concepts, which have led to various evaluations by literary scholars. There are different views about his worldly lifestyle; Although his poor lifestyle is not much approved by critics, his values and ideals have been praised and are considered. Background Studies: It seems that the writing in front of you is one of the first writings that examines Tao Yuan Ming's poems in Persian and from the perspective of Iranian culture. Although Chinese literary scholars have examined the poems and life of this poet from different perspectives, and of course it has been very helpful in organizing this research, but the name, poems and thoughts of this famous Chinese poet still do not have a place among Persian texts. Zain hopes that this article will open a window for Chinese scholars, especially in the field of culture and history of this country. From the point of view of Chinese researchers, the most important feature of Tao Yuanming's poems is their simplicity and at the same time they have a deep meaning - sometimes his words can appear as a philosophical point of view. Methodology: This article is written based on text and content analysis with a historical approach. Poetry can be analyzed in different ways, and in this text, according to the time conditions of the poet and his beliefs, an attempt has been made to examine the vocabulary of the poem Conclusion: Tao Yuanming is considered a special poet in the history of China. Some researchers raise his status as a philosopher and believe he was the owner of certain philosophical thoughts and worldviews. It seems should be more careful to find the hidden layers of knowledge and insight in his poems. There are less than fifty poems left by this eloquent poet. However, some of his compositions have conflicting meanings. For example, the literary prose of "Xiann qing Fu" in which he proposed ten completely imaginary wishes. Chinese researchers have two completely different opinions about this work. Some say it is a simple love and some believe that this prose has deep mystical meanings. There is no doubt that Tao Yuanming left politics for some reasons, and he chose a simple lifestyle. We can see He has introduced a worldly lifestyle. It can even be said that he set a model in this field. Iranian poet Saadi also has a poem in this context, which warns that a person should be content Be content with a simple life does not bow down to others. It can also be said that when city life is boring, you can leave its comforts and choose a peaceful life in a small village. [ABSTRACT FROM AUTHOR]

The article analyzes the introduction of Chinese poetry in Catalonia before the Franco dictatorship, highlighting the influence of figures such as Sinibald de Mas i Sans and Ernest Fenollosa. Catalan translators such as Apel·les Mestres, Josep Carner, Josep Maria López-Picó, and Marià Manent are mentioned, who adapted Chinese poems to the Catalan poetic style, paying attention to meter and rhyme. The Bernat Metge Foundation played an important role in the dissemination of classical literature and Chinese poetry in Catalonia. [Extracted from the article]

Copyright of New Perspectives in Translation Studies is the property of New Perspectives in Translation Studies Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Through a close comparative reading of Lessing's Laokoon (1766) with two essays by Qian Zhongshu, entitled 'Chinese Poetry and Chinese Painting' (1940/1979/1985) and 'On Reading Laokoon ' (1962/1985), this article produces a new understanding of Qian's interpretation and, more importantly, expansion of the key aesthetic and philological concepts that Lessing raises in Laokoon. One of Lessing's crucial motives for writing Laokoon was to challenge the endorsement of the superiority of painting over poetry by the majority of intellectuals during his time and to instead place both art forms on an equal footing. Qian Zhongshu, meanwhile, began using Laokoon as an analytical tool and then embarked on an aesthetic and philological endeavour to show that Western and Chinese literature were of equal value. [ABSTRACT FROM AUTHOR]

The cycle of symphonic songs Das Lied von der Erde was based on Die Chinesische Flöte, a German version of classical Chinese poems. As a result, Die Chinesische Flöte crossed the boundary between literature and music, encompassing intralingual, interlingual, and intersemiotic translations. While comparative textual analysis reveals that these two works made changes to the original Chinese texts, intersemiotic translation illustrates that the borders between verbal texts and nonverbal works are fluid. This post-translation study traces the translation context of Das Lied, maps Die Chinesische Flöte's transitions between literary and musical polysystems, and traces Das Lied's afterlife in the creation of new artworks. It concludes that poetry, music, and other art forms can mutually translate, complement, and become afterlives of one another. [ABSTRACT FROM AUTHOR]

Copyright of Bulletin de la Société Paul Claudel is the property of Classiques Garnier and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay argues that translation, next to other kinds of language ferrying, can be profitably seen as remedial work. To make this point, I discuss five attempts at poetising 'Cydalise', a chimera dreamed into being by Théophile Gautier (1811–1872). After introducing it, I investigate three of Gautier's failed textualisations of this chimera and the resulting early tokens of literary chinoiserie and literary pastel. I then explore the disfigurations Cydalise suffers at the hands of Romanian writer Vasile Alecsandri (1821–1890) as he appropriates, refashions and explodes chinoiserie (and distorts pastel) in his endeavour to capture Gautier's 'dream in its reality'. I next trace the translatorial moves Chinese poet Shao Xunmei (1906–1968) enacts finally to transport Cydalise into text, as he also pays discreet homage to the powers of translation. I conclude by giving firmer contours to the hypertextual landscape I imagine, which equally welcomes originals, translations and everything in between. [ABSTRACT FROM AUTHOR]

Classical Chinese poetry has been increasingly popular in recent years, and modeling its topic is quite a promising area of research. Chinese poems have the characteristic of short in length, but traditional topic models perform poorly when faced with short texts due to the text sparsity. Therefore, topic model should be improved to satisfy the scenario of classical Chinese poems. In this paper, a relational background knowledge boosting based topic model (RBKBTM) was proposed to overcome the text sparsity of Chinese poems. We incorporated background information into the model, which expanded the text content from the semantic perspective. The background knowledge was combined using word embedding and TextRank and was then fed into the core computing process. Subsequently, a new sampling formula was derived. Our proposed model was tested on three different tasks using three different datasets. The results demonstrate that the incorporated background knowledge can effectively overcomes text sparsity, improving the performance and effectiveness of the topic model. [ABSTRACT FROM AUTHOR]

In the 1930s,Shen Congwen expressed his understanding and thinking about literary classics(great Chinese literary works)through a series of critical essays,and behind these critical discourses there was a strong sense of "self-classicization", which was fully presented in the process of interpreting the works of specific writers:first,to evaluate the "other "from the classical viewpoint of "I", that is,to evaluate or define the literary works of other writers of the same era according to the classical standards in his own mind;The second is to take the initiative to read and compare their own works with the works of contemporary writers whose style is close to their own,and in the process to realize their own interpretation and evaluation,and open up the space and path to understand the "classicality" of their works; The third is to frequently preset ideal readers and critics for their works,revealing a deep pursuit of the enduring aesthetic value of their works. Shen Congwen's "self-classicization" has effectively expanded the thinking and understanding of literary classics in modern literature,and also promoted the final establishment of his status as literary classics to a certain extent. [ABSTRACT FROM AUTHOR]

Idioms serve as crucial components that illustrate the expressive capabilities of a society's language and enhance stylistic richness. Their presence significantly enriches the narrative quality of literary works. Throughout Chinese history, literary creations have emerged in various periods, with distinct genres gaining prominence. During the Tang Dynasty (618-907), poetry notably ascended as a leading literary form. This study investigates the idioms found in selected poems by Li Bai, an immortal poet emblematic of Tang poetry. Li Bai's body of work includes over a thousand poems. The analysis focuses on his poems featured in Three Hundred Tang Poems (...), compiled by Gu Qing in 2009 and published by Zhonghua Shuju (...), which is a vital resource for scholars of Tang poetry and is written in Chinese. Employing a qualitative research design, the study utilizes literature screening for data collection, followed by content analysis. The volume encompasses twenty-six poems attributed to Li Bai, eight of which contain a total of fifteen distinct idioms. The research includes translations of these poems into Turkish, provides a thematic overview, analyzes and categorizes the idioms by meaning, and offers suggestions for closely related Turkish idioms. [ABSTRACT FROM AUTHOR]

The 17th and 18th centuries were a period of extensive cultural interaction between China and the West, and also the beginning of Chinese poetry translation in the West. Jesuit missionaries were pioneers in introducing Chinese poetry to Europe. Influenced by the Confucian poetic thought of Siwuxie 思無邪 (no depraved thoughts) and Ricci's accommodation strategy, the Jesuits translated poems from the Shangshu 尚書, the Shijing 詩經, and the Emperor Qianlong's Imperial Odes on Shengjing 禦制盛京賦, as well as works by Fan Zhongyan 范仲淹, Du Fu 杜甫, Shao Yong 邵雍, and even the poems in the exhortations of the Ming and Qing dynasties into European languages. These poems predominantly dealt with themes of moral education, the image of virtuous monarchs, and the Chinese concept of the Heaven–human relationship. Through intentional omissions and rewriting, the Jesuits incorporated their religious and political views into the Chinese poetry. Their translated works not only enriched European knowledge of Chinese culture but also demonstrated the complexity of Chinese–Western cultural exchange. [ABSTRACT FROM AUTHOR]

The translation of Catalan poetry into Chinese began during the1990s, after the event known as Reform and Opening Up. Until 2023, two anthologies of Catalan poetry had been published in China: Antologia de la poesia catalana contemporània (1991), translated by Wang Yangle, and Semàntica i nutrició (2018), a work by Gemma Gorga translated by Jesús Sayols. This article focuses on the two versions and analyzes a series of issues related to them: the origins and causes of their publication, their aims and their characteristics in the selection of poems. It has been discovered that the translation activities of Catalan poetry into Chinese have been influenced by multiple factors, related both to literary systems and to sociohistorical and sociocultural circumstances. [ABSTRACT FROM AUTHOR]

Copyright of China Media Report Overseas is the property of Edmondson Intercultural Enterprises and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Jiaoyu Kexue Wenxian is the property of Educational Science Literature (Chinese) Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Literature has a strong cultural imprint and regional color, including poetry. Natural language itself is part of the poetry style. It is interesting to attempt to use one language to present poetry in another language style. Therefore, in this study, we propose a method to fine-tune a pre-trained model in a targeted manner to automatically generate French-style modern Chinese poetry and conduct a multi-faceted evaluation of the generated results. In a five-point scale based on human evaluation, judges assigned scores between 3.29 and 3.93 in seven dimensions, which reached 80.8–93.6% of the scores of the Chinese versions of real French poetry in these dimensions. In terms of the high-frequency poetic imagery, the consistency of the top 30–50 high-frequency poetic images between the poetry generated by the fine-tuned model and the French poetry reached 50–60%. In terms of the syntactic features, compared with the poems generated by the baseline model, the distribution frequencies of three special types of words that appear relatively frequently in French poetry increased by 12.95%, 15.81%, and 284.44% per 1000 Chinese characters in the poetry generated by the fine-tuned model. The human evaluation, poetic image distribution, and syntactic feature statistics show that the targeted fine-tuned model is helpful for the spread of language style. This fine-tuned model can successfully generate modern Chinese poetry in a French style. [ABSTRACT FROM AUTHOR]

This month, I offer a poem (actually a rare twosome) by the gifted poet and plastic surgeon William C. "Bill" Lineaweaver, MD, once of Mississippi who now teaches at Vanderbilt Medical School. Bill writes: "I wrote this poem while visiting a restored Chinese village outside Shanghai. A boat trip on the village's canals passed old compounds once owned by merchant families. I was thinking about our developing plans to sell our old farmhouse in Mississippi, and the images and the poem's voice almost completed themselves before I left the boat. I read a first draft of the poem to friends in Shanghai over drinks and dinner. They gave me a toast of encouragement. Besides the lovely poem, following it is a Chinese translation of the poem by Bill's friend Feng Zhang. (What fun and genius!) Describing the poem and translation, Bill adds: "The style of the poem is a little bit of a parody of pseudo-translations of Chinese poetry composed by such poets as Ezra Pound. The syntax of those efforts is sometimes deliberately odd, perhaps to try to make them exotic. I wondered how my original poem would translate to Chinese, an 'after the American' version of the 'after the Chinese' poems done by English-speaking writers. A poet friend of a friend did the translation. He said it was an interesting exercise." [ABSTRACT FROM AUTHOR]

The article "Introduction: Communism's poetry" explores the poetic aspects of the twentieth-century communist movement, highlighting how poetry was used to convey non-alienated human creativity in opposition to capitalism. The text discusses how prominent communist figures like Marx, Engels, and leaders like Mao Zedong and Stalin were also poets. It delves into the evolution of communist poetry, its international scope, and its relationship with cultural and political movements. The article also touches on the dissident currents within communist poetry and its role in chronicling resistance and struggle. [Extracted from the article]

Based on eco-translatology, this paper explores how to effectively preserve the ecological balance of classical Chinese poetry during the English translation process. Classical Chinese poetry, as a vital component of Chinese culture, reflects Chinese ecological concepts and the spirit of unity between man and nature. Rooted in Chinese philosophy, ecotranslatology resonates with ecological wisdom embedded in poems, sharing core similarities. However, past studies have often focused on literary and cultural transmission while neglect the ecological wisdom and poets' perceptions of natural environments and ecological balance embedded in classical poetry. Therefore, from the ecological perspective, this study employs the core translation method of eco-translatology--three-dimensional transformation (linguistic, cultural and communicative dimensions), to analyze whether translators effectively convey elements such as unity between man and nature, natural philosophy, and ecological ethics. It aims to help readers understand the ecological thoughts of ancient poets and to focus on preserving the ecological balance of poetry during translation, thereby conveying its unique ecological values in another context. This paper calls for researchers to pay more attention to the inheritance and preservation of ecological wisdom when translating classical poetry and thus promotes the dissemination and sharing of ecological values in cross-cultural exchanges. [ABSTRACT FROM AUTHOR]

Copyright of Community Connections: Studies on Education, Culture / Közösségi Kapcsolódások: Tanulmányok Kultúráról és Oktatásról is the property of Szeged University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The target of this essay is to open possible pathways to approach the phenomenon of a self-remodeling of classicist poetry in the 20th and early 21st century by focusing on the process from two different angles rarely perceived as related to each other: first, the remodeling of Chinese lyrical classicism through a strand of modern American poetry harking back to Ezra Pound and currently crystallized in the translations of David Hinton and, second, the transition that modern Chinese poetry written in classical language and conforming to prosodic rules of classical style poetry, sometimes referred to as “old style poetry” jiu ti shi, underwent after its rebirth as “unofficial” poetry online since the beginning of this century. Although there are obviously no direct links between the aforementioned tradition of modern American poetry and neoclassicist cyberpoets like Zeng Shaoli I argue that in both cases the classicist inspiration and poetic drive is motivated by concern with the increasing imbalance between natural, social, and individual resources, on the one hand, and an indomitable desire to accumulate economic and political power on the other. A permanent devaluation of language in the human realm, matched by a permanent devaluation of currencies in the economic sphere, provokes poetic responses in the very interest of humanity. The neoclassicist lyricisms that I draw into comparison display both subtle distinctions and common traits in this response to the starkly different environments of their respective contemporary literary scenes.

The editorial "International Translation Day: a communication perspective" published in Frontiers in Communication highlights the significance of translation in fostering understanding and unity among diverse peoples. It emphasizes the role of translation in cultural exchange, education, and social integration within and between communities. The editorial also explores the evolving role of translation in society through various research topics, showcasing its complexities and nuances in different domains. The future of translation is seen as a synergy between human expertise and technological innovation, enhancing the capacity to connect and communicate across languages. [Extracted from the article]

Situating affect in the soundscapes of suona as a Chinese musical instrument in various media, this study investigates how these mediated soundscapes shape social ideologies, hierarchies of cultures, and social resistance in ancient and contemporary China. Several mediated soundscapes are tapped into, including (1) the poem titled "To the Tune of Seeing the Emperor-Ode to the Trumpet"; (2) a TV program demonstrating how suona can be "languaging" in localized contexts; (3) a famous movie titled "Song of the Phoenix" capturing the contestation of affective regimes represented by the Chinese conventional versus the Western modern; (4) works of a well-known rock band, the Second-Hand Rose, showing how two differing affective regimes were conflated. In examining these mediated soundscapes, this study showcases how stratifications of cultures as the high versus the low, the conventional versus the modern, vernacularism versus globalism are constructed, resisted, and transmuted via competition and conflation of affective regimes in Chinese media. [ABSTRACT FROM AUTHOR]

As the capital of Tang Dynasty, Chang'an was one of the most prosperous cities in the world at that time and had a profound influence on Tang poetry. Poets described Chang'an to illustrate the cultural features of the Tang Dynasty while also invoking emotions in readers. The study of Tang Chang'an poetry has important literary and historical value. In order to understand the interpretation and emotional expression of Tang Chang'an poetry more conveniently and clearly, we conducted a study using deep learning to classify Chang'an poetry into four classes: imperially assigned poetry (应制), emotional poetry (感怀), parting poetry (离别), and other poetry (其他). We suggested a comprehensive framework of text classification based on deep learning, including a text input module, feature encoder module, and classification module. We applied several mainstream deep neural network structures to extract features in different ways, which comprised convolutional neural network (CNN), Fasttext, bi-direction long-short-term memory network, and Attention mechanism. Based on our experimental findings, the CNN-based method achieved the best performance for the task. Our inference was that, in Chinese ancient poetry, the analysis of semantic content is more facilitated by local textual features rather than contextual features. We combined this inference with the theory of image in Chinese ancient poetry to analyze the suitability of the deep learning techniques for the study of Chinese ancient poetry. [ABSTRACT FROM AUTHOR]

The imagery of wine and tea is important in classical and modern Chinese poetry, with an intricate relationship between the two especially evident in the work of Taixu 太虛 (1890–1947), a prominent poet–monk in 20th-century China. Taixu's attitude toward wine—a drink that is deeply rooted in Chinese culture—evolves significantly over time, from initial approval to eventual condemnation due to its detrimental effects on both personal health and society. Nevertheless, it continues to feature prominently in his poetry. The same is true of tea, which Taixu often uses to evoke either Buddhist study or his own healthy lifestyle. This article explores this and other complex meanings in Taixu's poems, such as his association of wine with knights and tea with hermits. It also discusses how he achieves a delicate balance between the two beverages, sometimes employing both types of imagery in a single poem—a literary innovation that helped to establish his reputation as a central figure in modern Chinese poetry. [ABSTRACT FROM AUTHOR]

"Wild Mind, Wild Earth: Our Place In the Sixth Extinction" by David Hinton explores the potential for saving the Earth by re-establishing a deep kinship between humans and the earth, drawing on insights from Taoism, Zen Buddhism, and Native American culture. Hinton highlights the threat of the sixth mass extinction and suggests that humans should abandon the western idea of transcendental self in favor of a more harmonious relationship with nature. While Hinton's perspective offers a unique critique of western assumptions and promotes a Taoist-Ch'an philosophy, there are differences between his interpretation and the traditional Chinese philosophy, particularly in the approach to nature and human-nature relationships." [Extracted from the article]

The rapid advancements in intelligent knowledge management technologies, exemplified by generative large language models, have yet to be fully explored and applied in the field of collation of ancient Chinese poetry. This study investigates the application of BERT-based pre-trained models, namely bert-base-chinese and SikuBERT, in the specialized task of ancient Chinese poetry collation. Focusing on the poetry of Li Bai, we employed a meticulously curated dataset to fine-tune these models, with the objective of enhancing their ability to identify and rectify errors in classical verse. Through a systematic approach to model adaptation, our research aimed to bridge the gap between generic language understanding and the nuanced complexities of ancient poetry.Results indicate that both models, after fine-tuning, exhibit substantial improvement in accurately addressing textual issues in the poetry. Specifically, SikuBERT, with its background in classical Chinese literature, achieved an impressive accuracy rate exceeding 40% post-fine-tuning, reflecting a marked increase from its base performance, thereby validating the significance of domain-specific training data. Meanwhile, bert-base-chinese also displayed notable enhancements, underscoring the models' adaptability to specialized tasks. The investigation further emphasizes the potential for artificial intelligence to contribute to the precision and efficiency of ancient literature studies. We highlight future directions including refining fine-tuning methodologies, expanding the models' capability to generalize across diverse poetic styles and periods, and integrating multi-modal data to deepen the understanding of historical context and authorial intent. This work underscores the transformative role of AI in the digital preservation and scholarly analysis of ancient poetry, paving the way for innovative approaches in the field of classical literature collation. [ABSTRACT FROM AUTHOR]

The Chinese academia's old friend, the world's leading scholar of avant-garde poetry, Marjorie Perloff died on March 24. Perloff was celebrated for her ability to explain difficult experimental poetry. This ability is seen in her early work on Yeats, middle works on 20th-century modernist movements as well as in her last books, 21st-Century Modernism: (2002), Unoriginal Genius (2010) and Infrathin (2021), comparing the new century's experimental poetry with early modernism. This paper, focused on the books of her later years, demonstrates her responses to the 21st-Century modernism and foregrounding the ideas and legacy in poetics of her later years, and reveals one of her major ideas that modernism is back in the forms of Eliot's verbivocalvisual complex and Duchamp's ready-mades, delays in glass, and the infrathin. [ABSTRACT FROM AUTHOR]

As an important carrier of culture, poetry plays a significant role in deepening language learners' understanding of the target language culture as well as enhancing their language skills; however, the effect of the target language culture on language learners' enjoyment of poetry remains unclear. The study served as an attempt to shed light on the point of whether the target language culture has different effects on high- and low-level Chinese Arabic learners' fondness for Arabic poetry with the use of pictures related to Arabic culture and those not related to Arabic culture. In the current study, 40 Arabic learners (20 high-level and 20 low-level) scored the Arabic poem line based on their fondness for it after viewing two kinds of picture with electroencephalogram (EEG) recording. Frontal alpha asymmetry index as a correlate of approach and avoidance related motivation measured by EEG power in the alpha band (8-13 Hz) was calculated for examining whether the behavioral results of Arabic learners' fondness for poetry are in line with the results of changes in the related EEG components. Behavioral results illustrated that low-level subjects showed significantly less liking for Arabic poetry after viewing pictures related to Arabic culture compared to those not related to Arabic culture. The high- level subjects did not show a significant difference in the level of liking for Arabic poetry between the two cases. FAA results demonstrated that low-level subjects presented a significant avoidance-related responses to Arabic poetry after viewing pictures related to Arabic culture in comparison to viewing pictures not related to Arabic culture; while the FAA values did not differ significantly between the two cases in high-level subjects, which is in line with behavioral results. The findings of this research can benefit teachers in motivating students to learn poetry in foreign language curriculum and also contribute to the literature on the effect of target language culture on language learners' enjoyment of poetry. [ABSTRACT FROM AUTHOR]

The prose poems in Judith Gautier's Livre de Jade (1867) are almost always explored through a comparison with the classical Chinese poetry from which the author drew inspiration. This article seeks other ways of approaching the volume; therefore, we trace the history of Gautier's inscription in the prose poem tradition and resort to the author's production as an art critic to analyze what is in the anthology beyond its source of inspiration. [ABSTRACT FROM AUTHOR]

Paul Claudel is one of the first French writers to introduce China to the West in the 20th century. His several prose and poetry collections created in the Chinese period all have a strong pastoral color. Whether it is using mountains, rocks and trees as human variants, or expressing the writer's inner fluctuations through the scenery of autumn harvest and winter collection, the expression of these poems is always similar to the Chinese literary and artistic tradition discussed in Wenxindiaolong. Not only that, but also the theory of poetic art refined from his observation of nature unintentionally coincides with the theory of "rebirth" in Shi Tao's Comments on Painting. Various forms of coincidence lead us to the discussion of the relationship between Paul Claudel's theory of harmony and Taoism. Although, as a Christian, Paul Claudel is difficult to absorb all the ideas of Laozi and Zhuangzi without reservation, the positive cultural dialogue scenes presented in his works undoubtedly provide a good example for today when it is necessary to explore the reconciliation between different ethnic groups. [ABSTRACT FROM AUTHOR]

This article argues that the dissemination of literatures across historical and cultural divides follow partly random analogical pathways, not least pushed by translations. By contrast, within traditional comparative literature hierarchical centre/periphery models for literary transmissions were to a large extent based on the idea of a unilateral influence moving from dominant source cultures and their canonical writers and texts to other cultures. With the aim of revising this model I will as necessary suggest analogical reasoning, understood as a bi‐directional and non‐hierarchical approach to literary dissemination as it is embedded in translatory, aesthetic and performative practices across languages and cultures. My examples are two: an early nineteenth‐century direct Danish translation from 1805 of William Shakespeare's Hamlet; and an early twentieth‐century case of cross‐media use of an indirect German translation of Chinese poetry in Gustav Mahler's symphonic work Das Lied von der Erde (1908–1909). [ABSTRACT FROM AUTHOR]

In conventional ancient Chinese poetry learning, students tend to be under-motivated and fail to understand many aspects of poetry. As generative artificial intelligence (GAI) has been applied to education, image-GAI (iGAI) provides great opportunities for students to generate visualized images based on their descriptions of poems, and to situate students in a context similar to what a poem describes. In addition, the progressive prompt is a strategy that can progressively provide students with clues and guidance in technologyenhanced learning environments. Hence, this study proposed a progressive prompts-based image-GAI (PP-iGAI) approach to support students' ancient Chinese poetry learning. To evaluate its effectiveness, the present study employed a quasi-experiment design and recruited 80 fifth-grade elementary school students to engage in one of two conditions: one class was assigned as the experimental group and adopted the PP-iGAI approach, while the other class was assigned as the control group and used the conventional prompt-based iGAI (C-iGAI) approach. The results revealed that the PP-iGAI approach could better promote students' learning achievement, extrinsic motivation, problem-solving awareness, critical thinking, and learning performance. In addition, no significant differences were found in the two groups' cognitive load. Moreover, the results of the interview disclosed the learning perceptions and experiences of both groups. Accordingly, the present study can provide a reference not only for ancient Chinese poetry learning but also for the application of GAI in educational fields for future research. [ABSTRACT FROM AUTHOR]

In the studies of classical Chinese poetry, the comparison between Li Bai and Du Fu is an everlasting topic, yielding many qualitative interpretations, among which a widely known but disputable one is Li's positivity versus Du's negativity. With the development of digital means, distant reading has become possible, and the sentiment issue can be further explored in quantitative ways. This research conducts a corpus-based sentiment comparison of Li and Du with a self-constructed sentiment dictionary. The Complete Collection of Tang Poems is used as a representative of Tang poets, and sentiment comparisons are made at the levels of poems, verses, and characters, as well as key characters extracted with the log-likelihood measure. Analyses show that (1) among Tang poets, Du is more negative at all of the above textual levels, while Li is only more positive at the key character level, proving the importance of key characters in readers' perception of sentiment; (2) Li and Du both stand out among Tang poets with a negative depiction of the dark reality and a positive expression of grand ideals; and (3) Li's positivity is largely embodied in his depictions of color, light, and temperature, while Du's negativity is closely related to his psychological description. To conclude, this research has not only determined the sentiment difference between Li and Du but also located its sources in texts with a novel key character-based sentiment analysis approach. Keywords: [ABSTRACT FROM AUTHOR]

The document examines the life of Tin-Tun-Ling, a Chinese scholar in France in the 19th century, who is said to have collaborated with Théophile Gautier and other literary figures. Despite accusations and controversies, Tin-Tun-Ling left a mark in the world of French literature. A victim of prejudice and racism, he gave performances of Chinese poetry in Paris before his death in 1886. [Extracted from the article]

This paper aims to decode medieval theology from the vantage point of ancient Chinese poetry, employing a cross-textual methodology that encourages a fusion of horizons. It highlights Saint Bernard's profound and influential theological exegesis of the "Song of Songs", particularly his comparison of the divine–human relationship to the conjugal bond. The present study posits that readers from Chinese culture can gain access to Saint Bernard's mystical theology through the sentiment of love, as portrayed in the Book of Odes (Shijing). Initially addressing love as a core human sentiment, this study progresses by juxtaposing the representations of love in the Book of Odes with those in the "Song of Songs". This comparative analysis culminates in an exploration of Saint Bernard's theological perspectives, illuminated through these analogous depictions of love. The results affirm that engaging with Saint Bernard's discourse on love via the Book of Odes is not only feasible but also instrumental in dispelling widespread misconceptions. [ABSTRACT FROM AUTHOR]

Books on poetry methods in the Republic of China are divided into two types. The first type is teaching materials or course notes compiled by school teachers to guide students in writing poetry. It is represented by university lecture notes such as Huang Jie' s Rhythm of Poetry, Feng Zhen' s Examples of Seven Character Quatrains Methods, and Xu Qian' s Poetics. They specialize in teaching knowledge and techniques of different poetic styles, with characteristics of specialization, specialization, and systematicity. The second type is poetry enlightenment reading materials compiled for poetry writing enthusiasts in society. It is represented by Zhang Tinghua' s Preliminary Study of Poetry, Liu Tieleng's Hundred Methods of Poetry Writing. They mainly teach the basic knowledge and skills of poetry writing, presenting characteristics of foundation, enlightenment, and popularization. The former belongs to a part of university literature education and reveals the teaching situation of old-style poetry writing in the Chinese Department. The latter belongs to a part of social education and reveals the teaching methods of old-style poetry writing in the society of the Republic of China.They find it difficult to ignore the New Poetry Movement, accuse the abuse of new poetry in the preface, regret the loss of elegance and grace, and create a special chapter in the main text to comment on new-poetry. This forced books on poetry methods to engage in dialogue with new poetry when teaching classical poetry. [ABSTRACT FROM AUTHOR]

Wen Xin Diao Long is a great classic of literary theory and an excellent literary and artistic work. In detail, there are four main characteristics of the art of speaking in Wen Xin Diao Long: The first is to infiltrate the trend of literature conscious, analyzing the emotion and form of the article justifiably. The second is to rely on many ancient classics, citing classics and historical documents with evidence. The third, the argumentation process is rigorous and is planned orderly. Fourthly is to focus on language and literature in writing, choose words and make sentences with literary talent. From these four aspects, Wen Xin Diao Long realizes the harmonious rhythm of meaning and rhetoric, becoming a typical representative of the poetic style of Chinese criticism literary. [ABSTRACT FROM AUTHOR]

Adorno described the lyric as "a philosophical sundial telling the time of history". Here I read two poets whose continued cultural dominance make their work an ideal site for defining the privileged access of lyric to the nature of things. Horace and Tao body forth deep-rooted cultural thinking in a specific language at a specific time, but share universal concerns with the art of living well. Horace's Odes suggest the freedom that art confers; the continual return of Chinese poets to Tao's oeuvre suggests they found there a touchstone for their own questing voice. These small lyrics enshrine theories of the natural world, the self and society which present an enlarged vision of the good life. Articulating variously the realities of sacrifice and struggle, the pull of necessity and freedom, the path of beauty and the role of poetry, Horace and Tao open up horizons for reading empathetically across cultures. [ABSTRACT FROM AUTHOR]

This article explores the field of Chinese literary studies in relation to comparative, cross-cultural, transnational, and global contexts. The authors argue that important issues regarding Chinese and world literature are often overlooked in international scholarship. They bring together scholars from China, Taiwan, Hong Kong, and North America to examine methodological and theoretical issues related to Chinese, comparative, and world literature. The article also discusses the history and development of comparative literature, the role of translation in intercultural reception, and the need for a comprehensive approach to world literature that includes non-Western traditions. The authors stress the significance of recognizing and studying Chinese literature within the framework of world literature. The text further explores perspectives on Chinese-Western comparative literature and the challenges of comparing Chinese and European literatures due to linguistic and cultural differences. It suggests the need for a new model of comparison that goes beyond traditional approaches. The text also considers the influence of Western culture in China and the evolution of Chinese literature as world literature. It concludes by highlighting the importance of ongoing discussion and scholarship to further explore the complexities of Chinese literature in the global context. [Extracted from the article]

This article examines intersensory practices between seeing and hearing surrounding the medium of painting in middle-period China. Deviating from the better-known pictorial practice in which a mimetic image of a sound maker provides an entryway into a fictive soundscape, the central work discussed in this article depicts only a listener, and an unusual one at that: a seated monkey at the intersection of poetic, religious, and ecological boundaries. Attentive to the puzzling nonhuman form of the represented subject as an unlikely listener, it probes how the interplay between seeing and hearing gave rise to a complex sonic environment in pictorial medium. The unveiling of the mixed modality steers us toward an underrecognized role of painting in Chinese history as a material stimulus for multisensorial experiences, beyond the rhetoric of "soundless poetry" that has often stifled such dynamic potential of the medium. [ABSTRACT FROM AUTHOR]