Plowing, Weaving, Fishing, Hunting: The Rhetoric of Intellectual Practice as Embodied Labor in Early China

This paper discusses English-poetry translation, Heusca by John Conford into Indonesian translated by Chairil Anwar. The purpose of this study is to determine how the translator considers aesthetic and expressive values from the source language and translate them into target language. Aesthetic values are the means of delivery thought through the use of poetic language such as diction or word choice, metaphor, imageri, and others figurative language. Meanwhile, the expressive values are the means of delivery thoughts through the author's mind or emotions such as structure, rhyme, and pronunciation. The method used in this study is a qualitative descriptive analysis of the meaning. The results of analysis show that in terms of meaning, aesthetic values, and structures, Heusca is the result of a semantic translation and faithful to source language. Translator managed to retain the meaning of source language. In other word, the translation can meet the requirements of fidelity. In terms of expressive values in particular aspects of meter and rhyme are not so faithful to source language because the source language and the target language have some differences. Basically, this is acceptable that the Indonesian language as target language has a very big difference in terms of pronunciation with English as the source language. As a result, meter and rhyme of target language may not be forced into the source language without damaging the naturalness of meaning for target language readers. It can be said that the translation can meet the transparency criteria because source language appeared in poetry comes naturally to native speakers of English.

This passage is from the Book of Rites (Liji 禮記), a collection of Confucian teachings and anecdotes probably collected and redacted during the third century BCE.4 It is difficult to know to what extent the followers of the Confucian teaching would subscribe to this view, yet by virtue of its being recorded in the prestigious canon and regarded as the saying of Confucius, this passage tends to leave the impression that Confucius (or his disciples) regarded ghosts and spirits as invisible beings. In the Confucian Analects (Lunyu 論語), Confucius once said that one should “revere the ghosts and spirits but keep a distance from them.”5 The rationale of this statement seems to be that, as a humanist, Confucius encourages his students to pay more attention to the affairs of living people based on secular principles, rather than following the instructions of ghosts and spirits as propagated through those religious personnel such as shamans. However, this statement, as well as the Book of Rites passage quoted above, makes it clear that Confucius did not deny the power and efficacy of ghosts and spirits. We should also recognize that Confucius and his followers constituted only an extremely small group of intellectuals in their contemporary society. The majority of the people in pre-imperial China, from the tenth century to the third century BCE, would probably have had some idea of how a ghost should look like, though they might not have agreed with each other. To trace the origin and development of the concept of ghosts, however, it is necessary that we go back to the earliest documents.

– This study examines the types of imagery and figurative language used in several Emily Dickinsonpoems. This research uses a qualitative descriptive method to analyze the study of imagery and figurativelanguage in poems. Data were taken from seven poems, namely Because I Could Not Stop for Death, WildNights, With a Flower, I Died for Beauty, I Never Saw a Moor, I Heard Fly Buzz When I Die, and I'm Nobody!Who You? then divided into several types of imagery and figurative language. The results of this study indicatethat: (1) Three types of imagery are found in poems, namely visual imagery, tactile imagery, and auditoryimagery. There are fifty nine imagery data, which includes fifty visual imagery data, one tactile imagery data,and eight auditory imagery data. (2) There are three types of figurative language in poems, namelypersonification, metaphor, and simile. With a total of nine figurative language data, which includes sixpersonification data, two metaphor data, and one simile data. (3) Then it was found that the implied meanings inthe figurative language and imagery Emily Dickinson's poems are about death, relationship, feminine beauty,life, and faith.

In the contemporary era, philosophers have debated the homogeneity of arts moral and aesthetic values. As far as musical works are concerned, in contrast to traditional music ethics, contemporary musical works are increasingly charaterised by the integration of aesthetic and moral values. However, it is important to note that aesthetic and moral values are not always unified and that there may be instances when there are differences and even conflicts between them. When such a conflict arises between the aesthetic and moral values of a musical work, it becomes necessary to consider how its overall artistic value should be evaluated. This paper employs a case study methodology to analyse the song Strange Fruit in depth. Discussing the formal aesthetics of the work, which has been the subject of considerable controversy due to its depiction of violence, is set against the moral value of the work, which reveals the problem of racial discrimination and prompts a deep reflection on justice in society. The conflict and balance between the two are explored in light of the claims made in the philosophy of art to date. In such instances, the value of art is profoundly affected by the conflict between moral values and aesthetic concepts.

Song can be used as a medium of expression because it expel feelings and thoughts as well as a medium of entertainment. Song lyrics created by composers often use distinctive language to create aesthetic effects, such as figurative language and imagery. Unfortunately, the use of it often makes listeners not fully aware of the song meaning and not feeling the emotions that are actually intended to be conveyed. This study aims to reveal the meanings and messages implied in the lyrics of Katy Perry's song Roar through an analysis of figurative language and imagery from a feminism perspective. The method used is descriptive qualitative through the process of data reduction, data presentation, and the last is drawing conclusions. The results showed that there were 7 types of figurative language; simile, metaphor, personification, synecdoche, symbol, paradox, and hyperbole. In addition, Katy also uses 4 types of imagery; visual imagery, auditory imagery, organic imagery, and kinesthetic imagery. All the figurative language and imagery represent Katy's feelings and struggles against the downturn during her relationship with her ex-lover and managed to get up hence she can love herself. This is the message that Katy wants to convey to all women in the world that they are precious beings who have choices in their lives and are able to stand alone without any help from men.Keywords: feminism; figurative language; imagery; Roar song; women empowerment.

With the availability of many sources of imagery and various digital classification techniques, assessing urban forest canopy cover is readily accessible to most urban forest managers. Understanding the capability and limitations of various types of imagery and classification methods is essential to interpreting canopy cover values. An overview of several remote sensing techniques used to assess urban forest canopy cover is presented. A case study comparing canopy cover percentages for Syracuse, New York, U.S. interprets the multiple values developed using different methods. Most methods produce relatively similar results, but the estimate based on the National Land Cover Database is much lower.

A set of bronze parts, excavated in a funeral pit next to the tomb of Marquis Yi of Zeng (Hubei, China), is recently restored to its rightful shape, a hip-roof tent from the fifth century BCE. Measured 10m long and built with 127 wooden poles and 338 bronze parts, it is considered to be the largest and the most complicated tent in pre-imperial China, which is portable, easy to assemble, disassemble, and manufactured in an engineering design context.

Translation involves at least two languages which come from the source language (SL) and target language (TL). In addition, it also involves the ideology in all of the translation fileds including novel. Novel has many components on it including figurative language. It means that the ideology depends on the belief of the writer or the translator which deals with two domain; foreignization and domestication. The realization of ideology of figurative language translation needs to be investigated to find out the translator's tendency. This study is a descriptive qualitative study. The main objective of the study is to explain the realization of ideology in rendering figurative language from English into Indonesian in Dashner’s The Fever Code. In order to collect the data, the researchers used the document. The document was used to collect of figurative language from both English and its Indonesian translation including simile, metaphor, personification, hyperbole, and irony. Then, they were analyzed the translation method used by the translator and the realization of ideology in rendering figurative language. The finding shows that two translation tendencies involves in translating process; they are SL emphasizes and TL emphasizes. The SL emphasizes involves literal translation, faithful translation, and semantic translation. Meanwhile, TL emphasizes involves free translation, idiomatic translation, and communicative translation. The SL emphasizes matches the foreignization which introduces what is foreign and unknown to the target readers, taking the reader cover to the foreign culture and making the target readers see the cultural and linguistic differences; it also enables the better understanding and appreciation of the thoughts and lives of foreign people. Moreover, TL emphasizes matches domestication which brings what foreign and unknown the cultural and linguistic differences to the target readers. The findings can be concluded that the employing translation method leads to the translator to realize the ideology in rendering figurative language; simile, metaphor, personification, hyperbole, and irony.

This article has two aims. The first is to open up a line of inquiry into whether epistemic and aesthetic values interact, at the most general level. Does an overall increase in epistemic or aesthetic value in the world have an effect on the alternative value? The second, and more specific, aim is to argue that yes, it does. In particular, I argue that an increase in epistemic value would result in a decrease in aesthetic value, across two important dimensions. First, I argue that, if beliefs universally aligned with a commonly accepted epistemic principle—namely, doxastic correctness—then there would be less aesthetic diversity in the world. And second, I argue that, if beliefs universally aligned with doxastic correctness, then there would also be less overall aesthetic value in the world, at least in some important respects.

Translating figurative language involves more than just replacing the figurative language with its equivalent in the target language. Therefore, it is not surprising for the translation of figurative language to have its own set of challenges. Problems the translator faces in translating the Malay Figurative Language into English include complexities in understanding, interpreting and recreating the Figurative language that are unique in the Source Language (SL) culture; which have to be explained and described in Target Language (TL) where such practices and customs are non - existent. Secondly, the Source Text (ST) figurative language may appear in a variety of types and have a distinct denotative and connotative meaning and reference; most often, it is difficult to find an equivalent which totally matches the original meaning or concept. This particular paper analyses the translation of figurative language extracted from UniMAP's Vice Chancellor Keynote Speech in 2015. Findings reveal that the three categories of figurative language identified were namely idioms, metaphors and similes. Translation strategies used are either not translated, paraphrased or translated with a similar meaning but in different form.

When comparing aesthetic with moral values Ingarden does not define their mutual relation but tries to determine generic moments of various types. Neither aesthetic nor moral values can exist autonomously but require a vehicle. Aesthetic values appear as some qualifications of aesthetic objects, whereas moral values are some qualifications of conscious subjects and a proper structure both of subjects and of the world which must admit free actions is indispensable for the realisation of moral values. Ingarden admits the possibility of a different mode at existence for moral values than for aesthetic ones, the former being more firmly rooted in their foundation. Values form hierarchies. Theory serve nothing but themselves and depend on no evaluation, Ingarden tries to demonstrate the objectivity of values, listing the conditions on which it depends, and postulates that a necessary correlation be sought between the properties of the vehicle and the values of determinate qualities. The main difference between aesthetic and moral values is that the latter are obligatory in character. This may be read from the content of their ideas. Values only partly go into the general ontology developed by Ingarden, but this ontology was no closed system even for himself and there is evidence that he may have expended his conception to embrace also the sphere of values. Ingarden described accurately neither the mode of existence nor the formal structure of va1ues. His closest interest belonged to their matter because in it he thought he might find the principle of grouping values into various genera. He regarded the study of the laws of co-existence of various value, as a major task of material ontology. Moral values may be credited with a higher dignitas than other values and their realisation is not without influence on the acting subject’s personality. In conclusion the authoress proposes to define value as a new qualitative dimension of the object serving as its vehicle. The value dimension of objects might go in various directions depending on the kind of value involved.

Brian Lander defines his project as “the first English-language monograph on the environmental history of early China” (11). Lander tells the story of people in early China transforming the environment through the combination of technology and social organization, culminating in a centralized bureaucratic empire. Natural ecosystems were replaced with artificial ones, which were amenable to the extraction of energy by humans in general and state rulers in particular.The book's dual focus is on agriculture and the state. The opening chapter provides a theoretical introduction to the nature of political power. According to Lander, it is embedded in the production and extraction of surplus, intensified through violent competition among the states. The rest of the book traces the interplay between agricultural expansion and political power from the origins of agricultural food production in China circa 6000 BCE to the foundation of the empire in 221 BCE. Lander shows how domestication of animals and plants, especially grain crops, generated taxable surpluses available for appropriation by the states that, in turn, encouraged people to replace the surviving natural ecosystems with agricultural ones. Interstate competition incentivized states “to increase productivity for increased military power” and consequently scaled up the environmental imprint of human societies (203). This is why the aptly named Warring States period (453–221 BCE) was a time of extraordinary technological (e.g., iron metallurgy) and organizational innovation (e.g., bureaucratic government), contributing to the expansion of agricultural ecosystems.Lander's narrative is organized both chronologically and thematically. As a result, some historical periods are addressed in more than one chapter in varying contexts. Chapter 2 primarily focuses on the formation of complex societies during the Neolithic and early Bronze Age (ca. 8000–1000 BCE). This is the most “environmental” chapter of all. The author summarizes archaeological data on vegetation and wild fauna of northern China, the domestication process, human diet, health conditions, and impact on ecosystems.The following chapters are more focused on the state. Chapter 3 deals with the rise of political organization in China from the late third to the mid-first millennium BCE and shows how the increasingly powerful states expanded “the productivity, and thus the environmental impact, of human societies” (75). Chapter 4 focuses on the state of Qin, which, between the eighth and the third century BCE, grew from a humble regional polity in northwestern China to the unifier of the known world. Chapter 5 discusses the political economy and ecological impact of the Qin Empire in the third century BCE. Chapter 6 addresses the Qin Empire's legacy for the human-environment relationships in imperial China and argues that empires contributed to expanding agricultural ecosystems by establishing peace and providing physical and institutional infrastructures.The book is an outstanding contribution to our understanding of the human impact on the environment in ancient East Asia. Its excellent readability and Lander's readiness to venture beyond early China studies to engage a broad range of topics makes it interesting to a broad audience. These topics include the ecological foundations of political power and the detrimental effects of interstate competition on the environment.Ambitious projects such as The King's Harvest often expose themselves to criticism by specialists in the relevant research fields. Students of Chinese history may wonder if one can write an “environmental history of early China” based on the evidence from a relatively small region of Guanzhong (in the present-day Shaanxi Province of China). Lander's occasional overreliance on normative texts such as legal statutes would probably unsettle some archaeologists and environmental historians. Parts of the book—for example, chapter 5—are about institutions and state economy rather than environment and subsistence. Economic historians can be excused for frowning upon Lander's superficial treatment of markets as a driver of economic and environmental change. It has been ten years since Robert Marks's China: Its Environment and History (2012) identified markets as one of the three social structures, along with centralized states and farming households, by which the Chinese transformed their environment.Yet this criticism highlights rather than belittles the book's strengths. By focusing on the best-documented and historically significant region, paying attention to the actors’ ideologies and motivations, and highlighting the states as a central force in environmental history, Lander drives home the book's key message. Humans have successfully created political structures that destroy natural ecosystems, and they may also be able to create ones that restore and preserve them.

Scent and synaesthesia: The medical use of spice bags in early China

Literature has values that make it a helpful learning resource. Because of this, educators continue the quest for more literary materials that are culturally relevant to facilitate learning. Earlier research and studies on Iloko songs, poems, novels, and short stories show that the said materials, indeed, have values that can be incorporated into the pedagogical process. In addition to the existing knowledge of values of literature and culture, this study determined the moral, psychological, aesthetic, and historical values of the selected municipal hymns in the Province of Ilocos Sur. Furthermore, this research identified what Ilocano culture is revealed in the lyrics of the selected hymns. Through content analysis, the researcher was able to find the moral value, psychological, aesthetic values, and historical values in the selected municipal hymns. Subsequently, the results of the analysis were corroborated by focus group discussions, interviews, and literature research. In the study, the researcher found out that the selected municipal hymns were replete with moral, psychological values, aesthetic, and historical values. The said values identified depict how rich the Ilocano culture is in terms of symbols, values and beliefs, knowledge, history, and arts and crafts. The findings also characterize Ilocanos as people who have moral values, sound, and healthy psyches, creative skills, and knowledge of their history.

Translation plays roles in providing access from various sciences and the latest technology, literature, religion, and culture. Novel is one of literary works that is translated into several languages. In a novel, there are some new culture-specific items, arts, and the figurative language that come from the source language. This research aimed to identify the translation of figurative languages in novel Lelaki Harimau by Eka Kurniawan which had been translated into English as Man Tiger by Labodalih Sembiring. From the translation of the title, it had revealed that the novel contains figurative languages. Therefore, the researcher aimed to examine the strategies and the ideology used in translating the figurative languages contained in the novel. This research implemented decriptive qualitative method, by using reading and note taking technique. A parameter to determine which words or phrases belong to figurative language was used as the instrument. Then, the result showed that the strategy that mostly used was literal translation, and domestication as the translation ideology.Keywords: figurative language, Lelaki Harimau, Man Tiger, translation.