Ancient Chinese Poetry Research Articles

A Study on the improving effect of ancient Chinese poetry on depression — A case study of Dongpo Ci

BackgroundIn today’s society, the prevalence of depression in China is increasing year by year. It will not only affect the quality of life of patients but also endanger their lives. The generation of depression is inseparable from long-term negative emotions, which are the feedback of deep mental and spiritual problems. Therefore, the exploration of depression should not be limited to the physiological and genetic levels, and it is also closely related to the traditional social culture. The ancient Chinese culture has an important enlightenment on the regulation of depression. For instance, Dongpo’s poems, with a bold and uninhibited style, conveys the poet’s optimistic and open-minded mood and enables readers to immerse themselves in a positive mood. Therefore, this experiment aims to explore the improvement effect of Dongpo’s poems on patients’ depression.Subjects and MethodsIn the experiment, 34 students with depression screened by psychological tests in two universities were selected as the research objects, and they were equally divided into the experimental group (17) and the control group (17). The students in the control group were given general psychological counseling and care. On this basis, the students in the experimental group organized a weekly Dongpo word evaluation and exchange meeting, each lasting 90 minutes. The effect of depression was evaluated by the Self-Rating Depression Scale (SDS) and Hamilton Depression Scale (HAMD), and the results were observed 8 weeks later.ResultsTable 1 shows the improvement effect of depression of the two groups of students. It can be seen from the data in the table that the depression of 34 students has improved to some extent. Among them, the HAMD score and SDS score of students in the experimental group decreased significantly after the Dongpo poems intervention, and their scores were lower than those of the control group, and the differences between the two groups were statistically significant.Table 1.Comparison of HAMD and SDS scores between the two groups before and after intervention ($ \overline{x}\pm s $)GaugeGroupBefore InterventionAfter InterventiontPHAMDExperimental group37.38±3.6515.22±2.983.6120.001Control group37.67±3.7223.33±2.43SDSExperimental group80.12±7.6563.21±5.725.1320.001Control group81.22±6.6571.01±5.63ConclusionsLong-term depression easily turns into depression, which is very likely to cause depression and seriously endanger life and health. People should keep a good positive mood and avoid depression. This experiment verified that Dongpo poems had a positive effect on improving negative emotions because of its open-minded and positive values. Therefore, we should pay more attention to the positive impact of ancient Chinese poetry on patients when exploring depression.

The Image Restoration of the “Regional Image” in the English Translation of “The Sichuan Road”

In the study of "image" of Chinese classical poetry, the generation of "regional image" is quite different from the traditional image. Regional image often has a strong local color. Compared with other poetic images, the regional image formed by a certain geographical space, it has a relatively fixed geographical location and writing group. The regional image is an aesthetic process from the objective "representation" to the objective combination of "image". Regional image is more obviously affected by the internal laws of regional objective literature. Bashu region is characterized by its dangerous terrain, long culture and inclusiveness, which has formed a typical "regional image of Bashu" in ancient Chinese poetry. It is a unique branch of Chinese culture with distinctive regional color and profound spiritual connotation. Since the Sui and Tang dynasties, there have been countless poems and works related to Bashu regional culture. Among these works, “The Sichuan Road”is most typical one. This paper adopts case analysis and comparison method, comparing the translation of regional images in Yang Xianyi's and Sun Dayu's English versions of “The Sichuan Road”, aims to explore the cultural connotation of the Bashu nationality and the correct restoration of the Bashu regional image. It is expected to provide a reference for the study of ethnic culture in Bashu region and provide a new perspective for the study of Tang poetry and other poetry works related to Bashu.

“New Singing of Ancient Poems” in music education of primary and secondary schools

“The new singing of ancient poetry” refers to a musical innovation form that takes the ancient poetry culture as the source of lyrics and rearranges the melody with modern music style and lasting appeal. It makes ancient poetry discourse from the perspective of music and breaks the barriers to understanding the ancient poetry culture. In recent years, Chinese ancient poetry has attracted more and more people's attention and love because of its unique value of recreation in music, and has become an important source of poetry and music. Through the discussion of the form of “new singing of ancient poetry”, this paper hopes to arouse some music educators in primary and secondary schools to pay attention to how to guide students to learn the music culture of ancient poetry, so that the traditional culture of ancient poetry can play its charm in music education of primary and secondary schools.

Dream: One of the Important Driving Forces of Literary Creation Taking Ancient Chinese Poetry Creation as an Example

Dream: One of the Important Driving Forces of Literary Creation Taking Ancient Chinese Poetry Creation as an Example

A Study On the Translation of Allutions in Ancient Chinese Poetry

The translation of allusion is based on the translation of text to explore its connotation. It is not only the transformation of literal meaning but also an effective communication of cultural information. This paper takes Xu Yuanchong and He Zhongjian’s translation of Liu Yuxi’s ‘A Reply to Bai Juyi’s Poem at Our First Meeting in Yangzhou’ as an example to study their different understanding of the allusions in the same poem and their approaches to the translation of allusions in ancient Chinese poems.

Reproducing experiential meaning in translation: A systemic functional linguistics analysis on translating ancient Chinese poetry and prose in political texts.

Ancient Chinese poetry and prose (ACPP) are the essence of traditional Chinese culture and also literary gems of the world. Despite the long tradition of previous Chinese Presidents using ACPP in their political addresses, the translation work on the three volumes of Xi Jinping: The Governance of China with much ACPP still poses a daunting challenge to the translation of literary texts in non-literary texts. As experiential meaning is inherent in all kinds of texts, literature, and non-literature, this study, drawing on the sights of Halliday's experiential mode of meaning and register theory in Systemic Functional Linguistics (SFL), explored how the ACPP's experiential meaning was rendered in the political texts, and factors motivating transitivity patterns and shift tendencies. Statistics showed that the translations tend to reproduce the experiential meaning such that it involves more representations of the flow of events and the creation of relationships among entities, focusing more on construing the experience of the physical world rather than personal emotions, feelings, or cognition. Besides, the target text is also inclined to simplify the experiential meaning by compressing and omitting unnecessary transitivity processes and the participant and circumstance nominalization. This research found that the factors responsible for such tendencies include the features of political texts, language differences, the distribution of process types, the delicacy of the transitivity system, and register variations of fields of activity. With these findings, the study is expected to contribute to the SFL approach of studying literary translation in non-literary texts through the prism of experiential meaning and offer guidance in the translation of political literature with ACPP.

The Reappearance of Poetic Beauty in Chaos

Different forms of attractors, or basins of attraction, in chaotic systems often bring people the enjoyment of beauty. This attraction is reminiscent of ancient Chinese poetry and introduces people to a poetic and magical world, bringing them a sense of wonder and enlightenment. In this work, some cases of the beauty of chaos, including forms of symmetry, asymmetry, conditional symmetry, and extension, are demonstrated. The chaos theory of science and engineering and the art of literature are innovatively combined and integrated here. The unique charm of chaotic attractors is revealed and endowed to the artistic realm of ancient Chinese poetry, helping people to understand the poetic beauty of the chaotic world. Through bold association and imagination, chaotic attractors are endowed with fresh vitality, thus showing people a world of artistic space that is full of fantasy.

조선시대 <孔雀東南飛>의 번역과 향유

The purpose of this paper is to <Gongjakdonnambi> discuss the influx and enjoyment of the Joseon Dynasty, and the translation characteristics of the famous long-form folk epic of ancient Chinese poetry from the Joseon Dynasty. It only targets materials transcribed in the Joseon Dynasty. Currently, there are 4 Chinese manuscripts and 3 Hangul manuscripts. All of the titles showed the characteristics of being used as “Gongjaksi” and “Gongjakhaeng.” It was named by Joseon itself and was used to reflect the first words appearing in the text of the work and the stylistic nature of the work. The Hangul manuscripts was translated based on a collection of views published in Ming and Qing Dynasties. In addition, there was a use case in which the name “dan” of Taejo Lee Sung-gye was used. The use of subjects was thoroughly observed not only in Hangul manuscripts but also in Chinese manuscripts. In the Joseon Dynasty, the male and female awards required by the feudal social system that emphasized Confucian ethics were divided and evaluated. As for Uranji, who chose to die when she was forced to give a dog at home, she was evaluated as a young woman who lost her husband, and glorified and used it as an ideal female image required by the times.

Culture Origins of Western Oil Painting and Ancient Chinese Poetry

A strikingly similar picture of reality is found in different backgrounds between Western oil painting and Chinese poetry in light of the collision and comparison between Chinese and Western cultures in Western oil painting and Chinese poetry. One using poetry and the other using painting, though separated by thousands of years and thousands of mountains. It demonstrates how cultural profundity and tolerance bring different forms of expression to art. We hope to encourage the development of future research, as well as the different forms of artistic expression of culture, anticipating future breakthroughs in art.

Spatial patterns, causes and characteristics of the cultural landscape of the Road of Tang Poetry based on text mining: take the Road of Tang Poetry in Eastern Zhejiang as an example

The Road of Tang Poetry in Eastern Zhejiang is a poetic cultural route linked by Tang poetry which is the pinnacle of ancient Chinese poetry history, and is a cluster of cultural landscapes where nature and humanity blend together under the narrative of Tang poetry. The research has mined and collated the text information of poems, such as trails, persons, places and landscapes, in 1593 poems written by 451 poets of the Tang Dynasty in Eastern Zhejiang, and discerned the overall route of the Road of Tang Poetry in Eastern Zhejiang based on the spatial location of all the text information in GIS. The spatial distribution pattern of the cultural landscape of the Road of Tang Poetry is analyzed and summarized from four levels: natural landscape, Buddhist and Taoist cultural landscape, celebrity cultural landscape and folk cultural landscape. The complex social network relationship between “poet-person” and “poet-landscape” is shown through the Gephi tools. The four causes and two characteristics of the Road of Tang poetry in Eastern Zhejiang are explained from the perspective of the logic of mathematical statistics.

A Preliminary Study on the Dramatic Factors of Ancient Chinese Poetry under the Changing Geographical Environment.

The formation of Chinese traditional culture is influenced by many factors, and the natural geographical environment is an important factor. Because a country's status is based on its geographical environment, it affects many aspects, such as economic composition and national psychology. As one of the expression forms of traditional Chinese culture, ancient Chinese poetry has a great influence on the emergence and development of Chinese traditional culture. Therefore, this paper mainly discusses the specific influencing factors of the drama of the ancient Chinese poetry, and the preliminary study of it is of certain significance to the development of Chinese traditional culture.

Tethered Lamb in the Flow: The Tension Between Historical Contemplation and Present Aliveness in the Odes of Taca Sui

Inspired by the ancient Chinese canonical poetry anthology The Book of Odes (Shijing), the photographer Taca Sui created the Odes (Shishan hekao) series through textual research and field investigation. While the poems in The Book of Odes depict the natural landscape and social environment of the Zhou Dynasty and the thoughts and feelings of ancient people, the Odes seeks Chinese cultural roots and, in retrospect, reveals the tension between historical contemplation and present aliveness. By highlighting one plate entitled “Chou Feng Series, Lamb” from the Odes project, this essay aims to shed light on several points regarding the photographer’s working mode, as well as the underlying paradoxical ways of seeing. He attempts to stagnate the historicity in The Book of Odes with photography. However, history itself is in constant movement and this dimension of motion cannot be eliminated. The photographer tries to approach the present at close quarters, but the historical gaze has already saturated the artist’s work. These tensions in Taca’s photography imply that photographic images, as one of the most contemporary forms of media, hold the possibility of resisting time.

On the Boundedness of English Versions of Chinese Poems

As the main form of the creation of the Chinese classical literature, poetry is also a bright pearl of Chinese traditional culture. The ancient poetry is an art of language with distinctive rhythm, harmonious rhyme, concise character, rich connotation and profound artistic conception. Few western readers could enjoy its profound literary artistry. The primary reason is that Chinese was born with a poetic nature. The translation of Chinese classical poetry has limits. This essay analyzes this problem from three aspects-the beauty of sound, the beauty of sense and the beauty of form. The study not only helps us further comprehend and appreciate ancient Chinese poetry but also improves translation. This paper hopes that new light could be shed on the translation of ancient Chinese poetry with the help of this research.

Metalepsis and Stevens’ Abstraction

Metalepsis and Stevens’ Abstraction

Research on the Application of Situational Teaching Method in the Teaching of Ancient Chinese Poetry in Primary Schools

Research on the Application of Situational Teaching Method in the Teaching of Ancient Chinese Poetry in Primary Schools

A Study on Relevance Reconstruction in Xu Yuanchong’s English Renditions of Ancient Chinese Poetry From the Perspective of Relevance Theory

A Study on Relevance Reconstruction in Xu Yuanchong’s English Renditions of Ancient Chinese Poetry From the Perspective of Relevance Theory

“茶”的别称研究

About the names of tea, the five names ‘tu, jia, she, ming, chuan’ in <The Classic of Tea> by Lu Yu have always been quoted, and their sources are basically all kinds of exegetical literature quoted in <The Classic of Tea•Qi Zhi Shi>. This shows that before the Tang Dynasty, there were many different names for tea, and predecessors usually studied the origin of these different names by means of traditional methods such as phonology, characters and exegesis, but neglected to pay attention to the fact that these different names came from the native languages of various minorities in the southwest of China. After the Mid-Tang Dynasty, with the further development of Chinese tea culture, tea characters were used more and more frequently. The prosperity of Tang Shi and Song Ci also led the writers and calligraphers of all dynasties to create many obscure nicknames and epithets when speaking and chanting about tea. Moreover, the acquisition of these epithets and nicknames also payed more attention to rhetorical devices, which was the creative activity of language art. Although they were created and used in very different ages, some of them have long since ceased to be used, and some of them have been solidified into tea phrases with clear lexical meanings after time precipitation. Through research and analysis, the author thinks that ‘tea’ five major names the ‘tu, jia, she, ming, chuan’ comes from the southwest ethnic minority languages, and collect the ancient Chinese literature and poetry and the nickname of tea, dubbed came to the conclusion that the 35 two-word nicknames, 26 three-word nicknames and 4 four-word nicknames.

Chinese Gretchen in Russian Literature: on the Genesis and Attribution of M. Shkapskaya’s Poetry Book Tsa-Tsa-Tsa

This article examines in detail Maria Shkapskayas poetry book Tsa-Tsa- Tsa (1923) and its handwritten genesis. It explains the role and significance of ancient Chinese poetry for this literary piece of work. The problem is to attribute the texts that make up the book and find out their translated or stylized basis. The general thesis is that all the poetic texts of the book are translations: the names of Tao-Yuan-Ming, Du Fu, and Bo-Juyi indicated by Shkapskaya in the manuscripts are reported. One of the texts in the book is attributed as the Sixth Poem from the Shi ju gu shi ( Nineteen Ancient Poems ). The removal of the names of Chinese authors (not only in the book published in 1923 but also in the manuscript of 1921) and the alignment of the thematic word series silk, crane, thousand, spring that organize the book into a single text indicate a tendency to blur the border of the own-alien text (even though the book was treated by the author as translation from the Chinese, in autobiographies and correspondence). This trend leads to the appearance of a central artistic image of the book (it is a feature of M. Shkapskayas poetic books). It is the image of a lonely, longing woman. The mention of the spinning wheel connects this image with the popular (especially in Western European literature) image of Gretchen. This way the poetry book Tsa-Tsa-Tsa goes beyond the narrowly translated work and reveals some features of chronologically later literary trends (such as postmodernism and metapoesis).

The lyric oeuvre of Afanasy Fet and Chinese idyllic poems

There are compelling similarities between Afanasy Fet’s lyric poetry and classical Chinese lyric poetry. This connection is traced in the article with specific examples. Fet, carried away by the ideas of Schopenhauer, argued that thepoetic feeling lives in every person and can be called the sixth and highest feeling. In classical Chinese poetry, the Confucian concept of ‘the sense of things,’ the Taoist formula ‘words and forms’ and the idea of the unity of man and nature played an important role. With characteristic fixation of subtle changes of light and shadow, with the transmission of flushed feelings, Fet’s oeuvre reminds the readers of the ancient Chinese lyric poetry. Like classic Chinese texts, Fet’s poems are textbooks where the idea of the unity of man and nature is developed. In both Chinese poetry and Fet’s works, human life goes into natural life, gaining eternity in the nature. As a result, although Fet was not familiar with Chinese culture, the intuitions that fed his work surprisingly coincided with pictorial techniques as a way of conveying emotion in classical Chinese poetry, separated from him by many centuries.

A Cross-Cultural Perspective on Western Musicians’ Composing Music for Chinese Ancient Poetry

A Cross-Cultural Perspective on Western Musicians’ Composing Music for Chinese Ancient Poetry