"Byronic hero"is first created by Byron as a proud, cynical and rebellious man, or villain-hero. Fascinated by Byron, Emily Bronte also created a Byronic hero -Heathcliff in Wuthering Heights, exemplified by..."Byronic hero"is first created by Byron as a proud, cynical and rebellious man, or villain-hero. Fascinated by Byron, Emily Bronte also created a Byronic hero -Heathcliff in Wuthering Heights, exemplified by his darkness, rebellion, individualism, frustration in love, merciless revenge, tragic death, and duality of being both villain-like and hero-like.展开更多
By focusing on two texts by Kitamura Tokoku and Su Man-shu, this article aims to explore an alternative mode of comparative literature and whether it is a valid disciphne to examine the evolution of world literature. ...By focusing on two texts by Kitamura Tokoku and Su Man-shu, this article aims to explore an alternative mode of comparative literature and whether it is a valid disciphne to examine the evolution of world literature. The usual practice of influence study tends to deprive comparative literary studies of its multiple dimensions and rich substance and produces stereotyped impressions. This article distills Byronic moments from two texts by early modern East Asian writers and historicizes them against the overall backdrop of modern nation-making ideology. In this way, a shared cosmos of exiled self emerges, which indicates that the Byronic link highlights a hterary moment of individual metamorphosis in the mapping of modernity.展开更多
The paper deals with the image of English, i.e., the way the English were represented, the country and the people, in translations of the poetry of major English Romantic poets into the Serbo-Croatian language, the of...The paper deals with the image of English, i.e., the way the English were represented, the country and the people, in translations of the poetry of major English Romantic poets into the Serbo-Croatian language, the official language of former Yugoslavia： Wordsworth, Coleridge, Byron and Shelley. The first translation of an English Romantic poem was published in 1831 at the time when Yugoslav peoples were split under foreign governments of Austro-Hungarian and Ottoman Empires and later, during the twentieth century, they were healing the wounds of the two world wars. The English were seen, or wanted to be seen as liberal, rebellious, ready to die for the just cause, through the verses of their major Romantic poets; in both centuries, some of them seemed apposite for translation while encouraging national liberation spirit and social justice, patriotism, and some were read in that key despite the original, thanks to translators＇ efforts to make it look that way. Translators were not solely guided by the assessment of the source culture readership and critics, but by the needs of the target culture too. As a result of such tendencies of adjusting Romantics to national purpose, Byron＇s satirical works remained completely neglected, Wordsworth was primarily seen as a poet of nature, and Coleridge＇s irrational visions were inappropriate for the 20th century dominant communist doctrine relying on rational, material rather than spiritual; Shelley＇s longer poems were not translated in its entirety, only its excerpts, explicitly emphasizing liberty and equality.展开更多
Fibich＇s opera Hedy （premiered in 1896） was received as a succesfull work, although many reviewers did not know how to call the prevailing style （mixture ofwagnerianism, Grand opera, verismo exotico, the second Do...Fibich＇s opera Hedy （premiered in 1896） was received as a succesfull work, although many reviewers did not know how to call the prevailing style （mixture ofwagnerianism, Grand opera, verismo exotico, the second Don Giovanni composed for Prague because of reminiscences on Mozart＇s dramma giocoso）. It is not uneasy to find clear musical hints on Puccini in Fibich＇s next opera Sarka （premiered 1897）, but it was already in Hedy where drastic and geographically clearly determined subject was mixed with Wagnerian gesture of love extasy, which is everywhere and endless. Obviously, Fibich, as a mature artist, was able to connect rules of both Czech declamation and contemporary veristic fashion. This study tries to identify main stylistic features which shaped Fibich＇s fifth opera, and analyses receptive expectations from the side of Czech audience and its influence on Fibich＇s opera composition.展开更多
Li Bai and George Gordon Byron can be regarded as the most outstanding romantic poets of China and Britain respectively. By making a comparative study, both the similarities and differences between their literary work...Li Bai and George Gordon Byron can be regarded as the most outstanding romantic poets of China and Britain respectively. By making a comparative study, both the similarities and differences between their literary works are to be figured out. For one thing, despite the different times and cultural background they lived in, there exists similarities between their works in pursuit of freedom and writing techniques, such as the portrait of sublime and the use of mythological imageries. For another, besides these similarities, there still remains subtle differences between their works in political ideal, tone and themes.展开更多
Not long after he withdrew from medical studies at Sendai and returned to Tokyo in 1906, Lu Xun began research on the history and philosophy of science, modern European thought, and comparative literature which produc...Not long after he withdrew from medical studies at Sendai and returned to Tokyo in 1906, Lu Xun began research on the history and philosophy of science, modern European thought, and comparative literature which produced five treatises he eventually published in an archaistic classical prose style influenced by that of Zhang Taiyan. Central to, and the longest among these essays is Moluo shi li shuo （On the power of Mara Poetry）, which focuses on literature East and West and, in particular, the Byronic poets and their international legacy. In translating, annotating, and analyzing this essay, one meets with a number of quotations and terms derived originally from Western sources, sometimes through a secondary Japanese, German, or English translation. This article will focus on issues that arise in the translation and interpretation of that essay, in particular on the question of determining the source text, what bearing that has or should have on scholarly translation and how the study of textual issues can shed light not only on texts but also on literary and intellectual history. It offers an analysis of Lu Xun＇s own interpretation of the source texts as well as conclusions reflecting on the significance of his literary career and broader mission.展开更多
Byron＇s literary fortune in China starts with the debut of ＂The Isles of Greece＂ in the opening of the twentieth century. Even though such reading proves to be deliberate misreading, no serious effort has been made...Byron＇s literary fortune in China starts with the debut of ＂The Isles of Greece＂ in the opening of the twentieth century. Even though such reading proves to be deliberate misreading, no serious effort has been made so far to explore the contextual ambiguities of the poem with particular regard to the identity of the singer. In this paper, I intend to take three steps to discuss how the identity of the singer varies with the context and how his shifting identity affects the meaning of the lyric. As a rich locus of historicity, ＂The Isles of Greece,＂ together with its preamble and its concluding notes, may project up multiple layers of a romantic cosmos ; and its reading in China is a typical example of ＂culture in action. ＂展开更多
文摘"Byronic hero"is first created by Byron as a proud, cynical and rebellious man, or villain-hero. Fascinated by Byron, Emily Bronte also created a Byronic hero -Heathcliff in Wuthering Heights, exemplified by his darkness, rebellion, individualism, frustration in love, merciless revenge, tragic death, and duality of being both villain-like and hero-like.
文摘By focusing on two texts by Kitamura Tokoku and Su Man-shu, this article aims to explore an alternative mode of comparative literature and whether it is a valid disciphne to examine the evolution of world literature. The usual practice of influence study tends to deprive comparative literary studies of its multiple dimensions and rich substance and produces stereotyped impressions. This article distills Byronic moments from two texts by early modern East Asian writers and historicizes them against the overall backdrop of modern nation-making ideology. In this way, a shared cosmos of exiled self emerges, which indicates that the Byronic link highlights a hterary moment of individual metamorphosis in the mapping of modernity.
文摘The paper deals with the image of English, i.e., the way the English were represented, the country and the people, in translations of the poetry of major English Romantic poets into the Serbo-Croatian language, the official language of former Yugoslavia： Wordsworth, Coleridge, Byron and Shelley. The first translation of an English Romantic poem was published in 1831 at the time when Yugoslav peoples were split under foreign governments of Austro-Hungarian and Ottoman Empires and later, during the twentieth century, they were healing the wounds of the two world wars. The English were seen, or wanted to be seen as liberal, rebellious, ready to die for the just cause, through the verses of their major Romantic poets; in both centuries, some of them seemed apposite for translation while encouraging national liberation spirit and social justice, patriotism, and some were read in that key despite the original, thanks to translators＇ efforts to make it look that way. Translators were not solely guided by the assessment of the source culture readership and critics, but by the needs of the target culture too. As a result of such tendencies of adjusting Romantics to national purpose, Byron＇s satirical works remained completely neglected, Wordsworth was primarily seen as a poet of nature, and Coleridge＇s irrational visions were inappropriate for the 20th century dominant communist doctrine relying on rational, material rather than spiritual; Shelley＇s longer poems were not translated in its entirety, only its excerpts, explicitly emphasizing liberty and equality.
文摘Fibich＇s opera Hedy （premiered in 1896） was received as a succesfull work, although many reviewers did not know how to call the prevailing style （mixture ofwagnerianism, Grand opera, verismo exotico, the second Don Giovanni composed for Prague because of reminiscences on Mozart＇s dramma giocoso）. It is not uneasy to find clear musical hints on Puccini in Fibich＇s next opera Sarka （premiered 1897）, but it was already in Hedy where drastic and geographically clearly determined subject was mixed with Wagnerian gesture of love extasy, which is everywhere and endless. Obviously, Fibich, as a mature artist, was able to connect rules of both Czech declamation and contemporary veristic fashion. This study tries to identify main stylistic features which shaped Fibich＇s fifth opera, and analyses receptive expectations from the side of Czech audience and its influence on Fibich＇s opera composition.
文摘Li Bai and George Gordon Byron can be regarded as the most outstanding romantic poets of China and Britain respectively. By making a comparative study, both the similarities and differences between their literary works are to be figured out. For one thing, despite the different times and cultural background they lived in, there exists similarities between their works in pursuit of freedom and writing techniques, such as the portrait of sublime and the use of mythological imageries. For another, besides these similarities, there still remains subtle differences between their works in political ideal, tone and themes.
文摘Not long after he withdrew from medical studies at Sendai and returned to Tokyo in 1906, Lu Xun began research on the history and philosophy of science, modern European thought, and comparative literature which produced five treatises he eventually published in an archaistic classical prose style influenced by that of Zhang Taiyan. Central to, and the longest among these essays is Moluo shi li shuo （On the power of Mara Poetry）, which focuses on literature East and West and, in particular, the Byronic poets and their international legacy. In translating, annotating, and analyzing this essay, one meets with a number of quotations and terms derived originally from Western sources, sometimes through a secondary Japanese, German, or English translation. This article will focus on issues that arise in the translation and interpretation of that essay, in particular on the question of determining the source text, what bearing that has or should have on scholarly translation and how the study of textual issues can shed light not only on texts but also on literary and intellectual history. It offers an analysis of Lu Xun＇s own interpretation of the source texts as well as conclusions reflecting on the significance of his literary career and broader mission.
文摘Byron＇s literary fortune in China starts with the debut of ＂The Isles of Greece＂ in the opening of the twentieth century. Even though such reading proves to be deliberate misreading, no serious effort has been made so far to explore the contextual ambiguities of the poem with particular regard to the identity of the singer. In this paper, I intend to take three steps to discuss how the identity of the singer varies with the context and how his shifting identity affects the meaning of the lyric. As a rich locus of historicity, ＂The Isles of Greece,＂ together with its preamble and its concluding notes, may project up multiple layers of a romantic cosmos ; and its reading in China is a typical example of ＂culture in action. ＂
