Table of Content

01 February 2011, Volume 30 Issue 1

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Orignal Article

Creativity and Imitation ——Queries into Creativity of Poetry Translation

LIN Ke

2011, 30(1):  5-9. 

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Poetry translation is an art with careful practice, which needs more experience than theory. The translators should be servant-like and serve poets and regard their poetry as standard. Imitation is the outstanding feature in translating the poems, which makes the translation close to, or nearly the same in sense as the original ones. In translation, the meaning can never be created, and the creation in forms should also be restricted. Thus, if “full information” is regarded as the translation standard, it may also conclude that the creative translation is improper.

What is a Translated Poem? ——Taking Apollinarie’s Pont Mirabeau as an example

SHU Cai

2011, 30(1):  13-20. 

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Translation is an interlinguistic activity, the process of which is “dynamic” and complex. The study of the translation process contributes to the revelation of “However does the translation activity happen?” Thus the question will lead to the dimension of “translators”. In any kinds of translation, the translators are decisive, so the persons who practise “interlingusitic” activity of translation are translators themselves rather than others. In studying translation, especially poetry translation, we must put translators between the “origin” and the “translated” so as to comprehend the triangle stressing relationship among them.

Creative Conversion of Cultural Heritage and Cultural Production

LI Kang-hua

2011, 30(1):  37-42. 

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There are two implications in the creative conversion of cultural heritage and cultural production. The first, being from cultural heritage to cultural production, is the proper opening of historic heritage from the productive dimension. The second, being from cultural production to cultural heritage, is clarifying historic responsibility to current cultural production from developing dimension. The creative conversion from cultural heritage to cultural production can take the way of mining non-material culture, extending productive chain and forming developing path with its own characteristics, but the creative conversion from cultural production to cultural heritage must highlighted the culture, emphasizing the taste, paying attention to the effect, grasping the scale, and pursuing making the project with its own characteristics, the culture with significance, and the brand with fame. The creative conversion from cultural heritage to cultural production is the due notion of realizing inclusive growth between the cultural production and the sustainable development.

The Preface by Chen Yuanzhi of Pilgrimage to the West Was Found out to be Written by Yan Xiyan’s Eldest Disciple, Shu Benzhu

HU Yi-cheng

2011, 30(1):  43-49. 

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The first two chapters of Pilgrimage to the West have implied in metaphor that the “final finalizer” of the novel was the master and the disciple of Quanzhen Taoist Yan xi-yan of Qianyuan Temple in Maoshan in the time of Emperor Wanli of Ming Dynasty. By the implied train of thought of the novel, the paper once again decodes the truth of the preface by Chen Yuanzhi and “Zhenyuanzi” and “the leader of Huayang Cave.” In the text of Pilgrimage to the West, we can sense “the three in one” of corresponding each other and each representing another among artistic image of Zhenyuanzi appearing, Chen Yuanzhi, the author of the preface and “the finalizer” , Shu Benzhu, of Pilgrimage to the West appearing before its publication. By adding “the leader of Huayang Cave”, “the finalizer” will have three representatives, forming “the four in one”. Judged by “the three in one” or “the four in one, the preface by Chen Yuanzhi, i. e. written by Shu Benzhu, is “the confession” of “the finalizer”, the main contents of which include the re-implication that Yan Xiyan is the leader deciding the final draft of Pilgrimage to the West, the enlightened guidance to the drafting text of the novel and emphasis of alchemic study.

Re-Statement of the Literary Essence after the “Essentialism”

LI Zi-xiong

2011, 30(1):  52-55. 

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Contemporary Chinese literary theory should have its own structure after “essentialism”. It should not be the extreme structure of anti-essentialism, but the re-statement with the opening multi-essential characteristics, presenting an opening space of multi-development and structure rich with personality in order to promote the innovative development of the contemporary Chinese literary theory.

Pioneer of “Drifting” ——“Historic Narration” of Su Tong’s Works

ZHANG Li-qun

2011, 30(1):  56-60. 

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“Historic narration” of Su Tong’s works is with striking artistic feature. As the deduction of the concept, Su Tong’s “historic narration” presents the influence of the regional culture on the literary creation. The multi-significance of the theme represents the cycling of the structure and symbolic meanings. The “drifting” of the “historical” narration at last makes Su Tong’s creation into the existent circumstance and the level of personality analysis. And all this, on one hand, enlightens the readers and at the same time is the tendency of the contemporary fiction of 1980s and 1990s.

A Trial Comment on Psychological Basis and Cultural Philosophy of Chinese Figure of Speech

KANG Jian

2011, 30(1):  95-98. 

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Figure of speech is the linguistic artistic method resulting from a kind of association occurring in the recognition process of depiction. The association is the psychological basis of figure of speech. The establishment of the structure of figure of speech and the realization of the function should be on the basis of analogical association. The appearance of the association is influenced by cultural context that people are in, thus figure of speech is also a cultural phenomenon. We can better know its cultural features, if we can observe and analyze Chinese figure of speech from the angle of the broad cultural context.