Original Poem Research Articles

Analysis of Three Beauties Theory in Xu Yuanchong’s English Translation of Classical Chinese Love Poems

This study explores Xu Yuanchong’s Three Beauties Theory and its manifestation in translating Classical Chinese love poems into English. The Three Beauties Theory emphasizes achieving beauty in meaning, sound, and form to preserve the original’s aesthetic and emotional depth. Using a qualitative approach, the study examines five of Xu’s translated poems selected to represent these three facets. Data were drawn from Xu’s published translations, and thematic analysis was applied to evaluate how well his work maintains the nuanced, poetic qualities of the source material. The results of the analysis reveal both the strengths and limitations of the Three Beauties Theory in capturing the original poems’ cultural resonance and artistic integrity. The findings of this study highlight Xu Yuanchong's Three Beauties theory as a significant method in cross-cultural literary communication and a valuable framework for future translators to bridge linguistic and cultural gaps while retaining the artistic integrity of classical poetry.

An original poem exploring stigma and stereotypes aimed at the LGBTQ+ community

An original poem exploring stigma and stereotypes aimed at the <scp>LGBTQ</scp>+ community

Epilogue

Closing this edited collection is an original poem that seeks to capture some of the complexity of being a woman in the Catholic Church. Discerning God’s call amidst the patriarchal structures, symbols, and teachings of the Church remains an ongoing challenge. We celebrate the solidarity that emerges when women tell their stories.

Literary depictions of the experience of COVID-19 in a recent Nigerian poetry collection: some reflections on Remi Raji’s Wanderer Cantos

ABSTRACT Remi Raji is a Nigerian poet-scholar who got infected by the ravaging coronavirus in December, 2020. This article examines the versification of his experience of COVID-19 disease in the collection entitled Wanderer Cantos. I analyze the relevant poems, drawing attention to how the poet struggled psychically to cope with his physiological ailment. I demonstrate the potential for creative writing to illuminate and humanize medical realities. In a challenge to paradigms that privilege the biological aspects of illness, I emphasize the importance of psychological resources such as optimism, courage and gratitude as a means to survive and recover from COVID-19. I conclude by reflecting on the question of whether readers of Raji’s poems might derive therapeutic benefit, thereby underscoring the idea that the medically ill person who composes original poems, and those who read these poems, may benefit from a bibliotherapy approach.

STYLOMETRIC ANALYSIS OF WORKS BYĞABDULLA TUQAYAND SÄĞİT SÜNÇÄLÄY: WHO IS THE AUTHOR OF THE POEM “SÖY ĞÖMERNE...”?

This article is devoted to determining the authorship of the Tatar quatrain “Söy ğömerne...” using stylometric methods. Ğabdulla Tuqay, to whom this text had been traditionally attributed, and Säğit Sünçäläy, evidence of whose authorship was discovered by literary scholars at the turn of the century, are considered possible authors. The paper tests several distance-based stylometric methods. The material of the study was a corpus of digitized original poems by Ğabdulla Tuqay and Säğit Sünçäläy in the modern literary variety of the Tatar language. The final sample for analysis included 10 texts by Tuqay and 8 texts by Sünçäläy. The distance between texts was measured using Burrows’ Delta, Cosine Delta and cosine distance. Using the package Stylo, calculations were performed and dendrograms were constructed from them. The Cosine Delta measure with extraction of character n-grams (with n = 4) proved to be the most effective. This is explained, firstly, by the agglutinative structure of the Tatar language, since among the most frequent n-grams extracted, elements corresponding to inflectional affixes were found. Secondly, the use of character n-grams allows to increase the size of the analyzed data. In some cases, good attribution results have also been achieved using Cosine Delta based on wordforms and cosine distance based on character n-grams. Despite the impossibility to draw a definite conclusion due to the extremely small size of the texts analyzed, the comparison of the results of applying different methods shows that the most likely author of the quatrain in question is Säğit Sünçäläy.

Kenneth Rexroth’s Translation of Du Fu Poetry from the Perspective of Functional Equivalence Theory

Kenneth Rexroth, a well-known American poet and translator, has contributed to Du Fu poetry translation in the Western society. From the perspective of Nida&amp;rsquo;s functional equivalence theory, this research takes Rexroth&amp;rsquo;s English translations of Du Fu poems as a case to study the translation strategies adopted by Rexroth. This explores translation strategies of Du Fu poetry from the perspective of functional reciprocity theory, and is supposed to provide references for the English translation of the ancient Chinese poetry in the future. The above examples all reflect the faithfulness and accuracy of the free translation under the theory of functional equivalence, and accurately express the connotation of the original poem. Above all, the translator has adopted literal translation when translating the above verse. in order to achieve the requirement of the theory of functional equivalence, which enabled the target readers to have the same experience as the original readers. This was the most fundamental purpose of using the literal translation here.

On the Faithful Creation in Ezra Pound’s English Translation of Chinese Poetry in Cathay

Ezra Pound’s English translation of Chinese poetry has played a great role in promoting the spread of Chinese ancient poetry to the outside world. However, Pound’s translation has not been fully recognized in China due to his free and creative translation, and even criticized in the translation circle. Based on the interpretation of Pound’s own translation thoughts and analysis of some examples of Pound’s translation of Chinese poetry, this paper demonstrates that Pound’s translation is completely faithful to the original in terms of images, form and effect. And his creative translation indeed makes the translation more in line with the emotional expression of the original poem, revealing the unique poetic and aesthetic significance of Chinese poetry. Through this paper, the author believes that the greatest fidelity to poem translation lies in the intensify of the emotion and the preservation of the meeting point of poetics, so that to reproduce its aesthetic significance and achieve unity with the soul of the original poem.

THEODOR KORSCH’S ANCIENT GREEK AND LATIN WORKS IN HIS SCHOLARLY AND CREATIVE ACTIVITY

The paper deals with the sources of the biography of Theodor Korsch, Professor of the Department of Classics of the Imperial Moscow University, which are collected and analyzed (Theodor Korsch’s autobiography, works by Apollo Hrusch ka, Nikolai Dmitriev, Anatoly Bogdanov, the Baskakovs (Nikolai and Nikolai), Vera Smyshlyaeva, etc.); the main milestones of Korsch’s life as an academic are described; his close connection with the Moscow University is emphasized. The paper demonstrates that Ancient Greek and Latin composition was an integral part of Korsch’s scholarly and creative activity and allowed him to establish the connection with the Ancient tradition. At the same time, Korsch cannot be classified as the type of a pedantic classicist often portrayed in the popular culture of the time (v. Chekhov): on the contrary, he was always characterized by scientific enthusiasm and Anacreontic humor. Despite the fact that Korsch can be described as half-forgotten, many prominent philologists recognized his merits as an academic and a poet (Sergei Sobolevsky, Jozef IJsewijn, etc.), noting Korsch’s extraordinary giftedness and the versatility of his talent. The second part of the paper analyzes the peculiarities of both Korsch’s artistic works and scientific papers in Ancient Greek and Latin. In order to accomplish this task, archive materials from the Manuscript Department of the Russian State Library, the Archives of the Russian Academy of Sciences and the Rare Books and Manuscripts Department of the Science Library of Lomonosov Moscow State University are involved. Special attention is paid to Ἐφημερίς (1860–1862), Korsch’s student diary, and the only published collection of his original poems and translations in Ancient Greek and Latin called Στέφανος (1886).

Xu Yuanchong’s Theory of “Three Beauties” and His Poetry Translation Practice

Xu Yuanchong is a master of English translation of ancient Chinese poetry. In the long translation practice, Xu Yuanchong has formed his own unique translation style. He applied Lu Xun’s theory of “three beauties” to English and French translation of classical Chinese poetry, and put forward the theory of “three beauties” in poetry translation, that is, translation of poetry should convey the beauty of meaning, beauty of sound and beauty of form of the original poem as far as possible. At the same time, he pointed out that among the three beauties, beauty of meaning is the most important, beauty of sound is the second, followed by beauty of the form. However, a general survey of Xu Yuanchong’s poetry translation practice showed that in the specific process of poetry translation, Xu started more from the beauty of form, and then to the beauty of sound and beauty of sense, and gradually achieved the perfect state of “three beauties” in poetry translation.

Manipulating Through Poems: Composition, Emotions, and Agency in Amelia Opie’s The Only Child; or, Portia Bellenden

ABSTRACT Amelia Opie’s novels have typically been received as following the structure of the fallen-woman plot. This article reveals how Opie’s late understudied novel The Only Child; or, Portia Bellenden (1821) forms a radical departure from this genre as the heroine uses her skill in writing and poetry composition to orchestrate for another character to die in her place. Using recent approaches in cognitive narratology, in particular the theory of predictive processing, I analyse how Portia utilises composition to manipulate emotions and genre expectations, and thus attain agency over plot events. This new cognitive account of composition’s representation demonstrates how the novel’s original poems model a method for constructing decisions that depart patriarchal scripted narratives. The cognitive approach to composition reveals how the novel’s radical politics lie, not in offering specific political values, but in demonstrating how the reader can use composition to interrogate gendered ideologies that are represented as moral behaviour.

Application of the Academic Research Consortium High Bleeding Risk criteria in patients treated with coronary bioresorbable polymer everolimus-eluting stents: Insights from the POEM trial

BackgroundPrevious studies have investigated a 1 to 6-month short dual antiplatelet therapy (S-DAPT) after percutaneous coronary intervention (PCI) with modern drug eluting-stents to reduce bleeding events. ObjectivesTo investigate cardiovascular outcomes in patients at high bleeding risk (HBR) according to the Academic Research Consortium for High Bleeding Risk (ARC-HBR) criteria after PCI with the Synergy bioresorbable-polymer everolimus-eluting stents (EES). MethodsWe applied ARC-HBR criteria in the population of the prospective, single-arm, multicenter POEM (Performance of Bioresorbable Polymer-Coated Everolimus-Eluting Synergy Stent in Patients at HBR Undergoing Percutaneous Coronary Revascularization Followed by 1-Month Dual Antiplatelet Therapy) trial. The primary endpoint was a composite of cardiac death, myocardial infarction, or definite or probable stent thrombosis at 12 months. ResultsThe original POEM cohort included 356 patients (80.4 %) fulfilling ARC-HBR criteria. Oral anticoagulant (OAC) usage and age ≥75 years were the most frequent major and minor ARC-HBR criteria, respectively. The ARC-HBR group was mainly represented by men (71.1 %), with 74.4 ± 9.3 years and a high burden of cardiovascular risk factors. DAPT was prescribed in 79.3 %, and single antiplatelet (SAPT) with OAC in 18.7 %. 12-month follow-up was completed in 96.2 %. The primary endpoint occurred in 5.2 % (95 % CI 3.29–8.10) of patients, whereas bleeding Academic Research Consortium type 3–5 occurred in 2.7 % (95 % CI, 1.39 %–5.05 %). ConclusionPrevious results of the POEM trial showed positive outcomes regarding ischemic and bleeding events with an S-DAPT regimen after Synergy EES. These results are also confirmed in sub-group analysis when ARC-HBR criteria are applied.

A Comparative Study of the Translation of Shakespeare’s Sonnets from the Perspective of “Three Beauties”

The sonnet is a relatively old form of poetry that originated in Italy and was later introduced to England. Shakespeare’s sonnets are a type of sonnet composed of rhyme, pentameter and iambic pentameter, which occupy an important place in the world’s poetry and literature and have been translated in various ways in China. Chinese translators have gone through various explorations on the way to translate Shakespeare’s sonnets and have tried many different translation methods. However, when we look back at previous translation studies, most of them analysed the translations from the perspectives of meter, style, and rhetoric, but few of them analysed the translations in perspective of contemporary Chinese poetry translation theory, for reveal the extent to which different translators reproduced the aesthetic characteristics of the sonnets. Xu Yuanchong’s translation theory system has inherited the essence of traditional Chinese translation thought, among which the principle of “three beauties” takes “beauty” as the principle of pursuit, which breaks the traditional “faithfulness-centered” translation idea and concentrates on the aesthetic requirements of contemporary poetry translation. The two Chinese translations of Shakespeare’s sonnets, namely Tu An and Dai Liuling’s translation, have different identities and reproduce the beauty of the original poem to different degrees. Under the guidance of the translation principle of “three beauties”, this thesis compares and analyses the two translations, and studies the aesthetic reproduction of “sense, sound and form” by the two translators, aiming to enlighten the translators in the process of poetry translation and to inspire the cause of Chinese poetry translation.

The Comparative Study of Metaphorical Images Translation Strategies in Tang Poetry

In Tang poetry, metaphorical images serve as powerful tools for poets to convey their emotions and experiences in a vivid and imaginative manner. These images, drawn from nature, mythology, history, and daily life, allow poets to create rich and layered meanings that resonate with readers across time and culture. The use of metaphorical images in Tang poetry reflects the deep poetic tradition and artistic sensibility of Chinese literature. Translating metaphorical images from Tang poetry into English poses a unique challenge for translators due to the cultural and linguistic differences between the two languages. However, this challenge also presents an opportunity for translators to exercise creativity and interpretation in conveying the essence of the original poems. By carefully selecting appropriate English equivalents for the metaphorical images, translators can capture the beauty and complexity of Tang poetry for English-speaking audiences. Through a comparative analysis of translation strategies employed in representative cases of Tang poetry, this paper combines case study and corpus analysis methods to explore the concept and function of metaphorical images in Tang poetry, analyzes the possibility and importance of its English translation, and provides a comparative analysis of translation strategies for metaphorical images using representative cases of Tang poetry translation. It reveals the rationality and fidelity of translating metaphorical images.

Call to Prayer

“Call to Prayer” is a poem that attempts to capture and portray the experience of standing in the malu (shade and protection) of the sacred. Whether that malu is cast by monument, an altar, or a mountain, the poem depicts the kuleana (responsibilities and privileges) of recognizing our pilina (intimacy and relationship) to that which is kapu (sacred). The poem travels through the knowledges of faith, courage, devotion, fear, and aloha via the perspective of a Kanaka Maoli wahine who lives in the malu of our kupuna (ancestors) while continuing to endure the ongoing wake of settler colonialism, displacement, and alienation.&#x0D; Call to Prayer stands in the malu of the Mihrab, Shangri La’s most sacred stolen artifact. And in her magnificent shadow we come face to face with the violence that resulted in her displacement to Hawai‘i. We cannot look away, not from her outstanding beauty, and certainly not from the generations of brutality that has allowed us to be in her company. The Mihrab powerfully calls us back to our own sacred places, and in that moment we are invited into a mutual recognition, an unexpected intimacy between peoples, ʻāina (lands, or that which feeds), and mo‘olelo (stories and histories).&#x0D; While this original poem was written in 2021, the most recent genocidal attacks on our Palestinian ‘Ohana in Gaza by the State of Israel have further deepened and expanded its meaning. While our loved ones face genocidal extermination, we stand, around the world, insisting on a critical truth: all life is sacred, all ‘āina are sacred. We condemn any oppressive regimes that would attempt to exterminate our peoples (whether kanaka or Palestinian) and contaminate, bombarded, and settle our lands. Any national project that requires wholesale extermination and displacement of Indigenous peoples is an affront not only to justice, but to life itself. Our commitment to each other will not allow us to be silent. Our duty to our shared histories, will not allow us to stand idly by. May all our akua (gods and elemental forces) and kūpuna (ancestors) gather around us, may they cast their malu of protection upon us, may they strengthen us in this lifelong pursuit of liberation, justice, and freedom for all occupied and oppressed peoples. Amamua noa.

Exploring Translation Theories and Literary Criticism: Translating Al-Jawahiri's Poem 'O Sir! Inspire me' (in Praise of King Hussein bin Talal of Jordan) into English

This study examines the translation of Al-Jawahiri’s Arabic classical poem “'O Sir! Inspire me” into English. It is interdisciplinary, using translation studies together with literary criticism, cultural analysis and poetic theory.The goal is to determine the way in which cultural peculiarities, social subtexts, and poetic features formulate major concepts of a poem and how these aspects are transmitted in translation. The study uses an eclectic model to analyze the figurative language, coherence, compatibility, rhythm patterns, and rhyme scheme of this poem as well as its stylistics. It also discusses translation theories like domestication and foreignization to evaluate the translator’s decisions. The results show that the translation does indeed reflect the spirit and cultural meaning of the original poem, while at the same time adapting it to English. The translator succeeds in depicting the poet’s appreciation of King Hussein, his ancestry and what he did for Jordan. The translation also retains the complex poetic devices and figurative language used by Al-Jawahiri. The research highlights the importance of a holistic approach to Arabic poetry translation, which takes into account both linguistic and cultural challenges. It emphasizes the need to have translators who understand both languages and their cultural backgrounds so that they are able to communicate the intended meaning as well as the impact of an original work. Keywords: Al-Jawahiri, Arabic poetry, Coherence, Compatibility, Figurative interpretation, King Hussein bin Talal, Meters, Translation theories

Реализация поэтического дискурса в рекреативной фазе перевода (на примере перевода стихотворения Сергея Гонцова «В красном тереме» на английский язык)

The study aims to determine the ways of implementing some factors of discursivity, namely cultural-historical and psychological factors, in the process of poetic translation based on Sergei Gontsov’s poem “In a red tower-room”. The paper examines the views on poetic translation as a meaning-extracting and meaning-forming process. The study emphasizes the expediency of highlighting the recreational phase, during which the translator first becomes the recipient and decoder of the author’s idea, then encodes the mastered material by means of another language. Special attention is paid to the notions of discourse and a communicative block, the possibility of correlating them is considered. Using Gontsov’s poem “In a red tower-room” as an example, a sample of dividing the poem into communicative blocks is given, along with predictions of the reader’s questions for each block and ways of implementing these discursive factors when translating the poem into English. The scientific novelty lies in the fact that translations of S. A. Gontsov’s poems have not been published to date, the paper is the first to present an English-language version of this poem and offer an analysis of the stylistic devices used in the rendering of the original from the perspective of the semio-discursive model of translation. As a result, it was possible to identify the means by which cultural-historical and psychological discursive factors are expressed in the original poem and the means by which they are projected in the English text.

앤드류 로이드 웨버의 뮤S. 엘리엇 시의 각색연구

This study is an attempt to analyze the issues of patriarchy and gender in Andrew Lloyd Webber’s adaptation of T. S. Eliot’s verses to produce the 1981 megamusical Cats. Reading the textual differences of Eliot’s original poems and Lloyd Webber’s adapted lyrics in terms of patriarchy and gender, this study puts a focus on the concepts of ‘fallen woman’ and ‘phallic woman’ in the light of the gendered reception of the female protagonist Grizabella the Glamour Cat and her historical predecessor Mary Magdalene, the female prototype of ‘fallen woman’ in the biblical era. Lloyd Webber’s adaptation of T. S. Eliot’s poems offers the spectators of Cats the chance to identify the foregrounding of gender issues by Grizabella regardless of her creator Lloyd Webber’s creative intention to regale his audiences. Let alone Lloyd Webber’s authorial design, the spectators and reviewers of Cats tend to miss or underestimate the problematics of aging, gender and patriarchy, which construct Grizabella’s subjectivity because spectacles overwhelm spectators’ desire to seek coherent story of the ruined Grizabella. The influence of Thatcherism of 1980s will be a clue to appreciate the political context of the theatrical spectacles in Cats.

A Comparative Analysis of "Jawab e Shikwa": A Vinay and Darbelnet Model-based Examination of Two English Translations

This research explored the translation of the Urdu poem "Jawab-e-Shikwa" by Muhammad Iqbal into English, focusing on two versions by Altaf Hussain and Frances W. Pritchett. The study employed the Vinay and Darbelnet model to analyze translation strategies such as equivalence, modulation, and oblique translation. The analysis revealed differences in linguistic accuracy, cultural relevance, and literary style between the two translations. Through a qualitative and quantitative approach, the study aimed to provide a comprehensive understanding of the impact of translation on the interpretation of "Jawab-e-Shikwa" in both Urdu and English-speaking contexts. From the Result of the analysis it was found that Hussain employed an oblique translation approach with techniques such as equivalence and modulation, capturing the essence of the original poem with a sense-for-sense translation. Pritchett, on the other hand, adopted a direct translation strategy, offering a word-for-word rendition that maintains clarity but may lack the nuanced impact of the Urdu original. Both translations effectively conveyed the overall meaning of the poem, Hussain's version demonstrated a greater adherence to the cultural and literary nuances of the original Urdu, providing a more intricate and contextually rich interpretation. Pritchett's literal approach, while clear and accurate, may compromise the poetic and cultural depth inherent in Iqbal's work. Keywords : Jawab e Shikwa; Vinay and Derbelnet model; Translation Technique

Kisses of a Chameleon: A Collection of Poems

The events of life unfold. Many of the life’s issues are outside the scope of man’s ability to control while others are controllable. In all situations, one thing remains common- how the stories are told. Storytelling, songs, drama are but a few ways to carry the issues of a generation to the other. Kisses of a chameleon: a collection of poems is a rich outpour of original poems written to portray general life issues. These poems are a reflection of the writer’s environment and seeks to carry the reader on a journey across the ‘oceans of life’.Though a marketing professional, the writer is blessed with a natural talent of writing poems, oratory, Kente weaving, among others. Reading through these poems will take your mind to the writer’s African setting while speaking to some issues on the global seen in poetic language.

Tension in Modernist Art and Lyric Poetry at the Beginning of the 20th Century in Estonian Culture: Ernst Enno and Others

The Young Estonia group (1905–1919) was at the centre of Estonian literature at the beginning of the 20th century, when Estonian poetry was both experimental and imitative. Gustav Suits was officially the creator of modern Estonian poetry. At the same time there were poets who wrote original poems that did not imitate previous work. Juhan Liiv was one of these, and Villem Grünthal Ridala and Ernst Enno continue in the same vein. Enno’s nature poetry is pantheistic and symbolic, emotional and sensitive to nature, at times suggesting transcendental cognition. He was interested in Oriental religion, which influenced his poetry to become less rational and more mystical. Ridala and Enno also used visual effects, and their texts have been set to music as well as becoming part of the visual arts in films and serials. The paper analyses the verbal texts of Enno and Ridala, and the interaction between visual and verbal texts.