Abstract
In the history of translating classical Chinese poetry, there are two kinds of translators. The first kind translate classical Chinese poetry “by way of intellectual, directional devices” (Yip, Wai-lim. 1969. Ezra Pound’s Cathay. Princeton, NJ: Princeton University Press: 16). What these translators are concerned with most is the coherence of their translations. They give little attention to the ideogrammic nature of Chinese characters. I call them traditional translators. These translators include those in the history of translating classical Chinese poetry from its beginning to the first decade of the twentieth century, although there are still some who translate classical Chinese poetry in this way later. The second kind of translator is highly interested in the images created by ideogrammic Chinese characters and tries to convey them in target language. We call them modernist translators. These translators are represented by some American modernist poets such as Ezra Pound, Amy Lowell, Florence Ayscough, etc. From the point of view of iconicity, modernist translators’ contribution lies in their concern with the iconic characteristics of Chinese characters. But they did not give enough attention to syntactical iconicity and textual iconicity in classical Chinese poetry.
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© 2018 Walter de Gruyter GmbH, Berlin/Boston
Artikel in diesem Heft
- Frontmatter
- Transmedia branding: Brands, narrative worlds, and the mcwhopper peace agreement
- Translating iconicities of classical Chinese poetry
- Lexical trends in Facebook and Twitter texts of selected Nigerian Pentecostal churches: A stylistic inquiry
- Approach to the new videographies analysis: Case study of immigrant representations in the Social Innovation Laboratory videos (SIL UBIQA)
- A report on the reports of the stanford literary lab: A reason why the digital humanities may find it difficult to change literary history
- Lotman’s semiotic theory of culture or Laclau’s political ontology?
- Peirce’s resonances on Deleuze’s concept of sign: Triadic relations, habit and relation as semiotic features
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Artikel in diesem Heft
- Frontmatter
- Transmedia branding: Brands, narrative worlds, and the mcwhopper peace agreement
- Translating iconicities of classical Chinese poetry
- Lexical trends in Facebook and Twitter texts of selected Nigerian Pentecostal churches: A stylistic inquiry
- Approach to the new videographies analysis: Case study of immigrant representations in the Social Innovation Laboratory videos (SIL UBIQA)
- A report on the reports of the stanford literary lab: A reason why the digital humanities may find it difficult to change literary history
- Lotman’s semiotic theory of culture or Laclau’s political ontology?
- Peirce’s resonances on Deleuze’s concept of sign: Triadic relations, habit and relation as semiotic features
- Iconically modeling a demolition process in the photobook Palast Der Republik
- Rethinking Milton Singer’s semiotic anthropology: A reconnaissance
- Representing indigenous lifeways and beliefs in U.S.-Mexico border indigenous activist discourse
- Legislative exploration of domestic violence in the People’s Republic of China: A sociosemiotic perspective
- A medium-centered model of communication
- “Language” and “discourse”: Two perspectives on linguistic philosophy
- Lotman, Leibniz, and the semiospheric monad: Lost pages from the archives
- Review Article
- Embodied X Figures and Forms of Thought