Acknowledgements --Conventions --List of figures --Introduction : The Great Wall and the Tower of Babel : on Chinese poetry as translation --Discerning the Soil : dual translation and the world poetics of Bian Zhilin --By the Brush : Yang Lian and...
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Universitätsbibliothek der Eberhard Karls Universität
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Acknowledgements --Conventions --List of figures --Introduction : The Great Wall and the Tower of Babel : on Chinese poetry as translation --Discerning the Soil : dual translation and the world poetics of Bian Zhilin --By the Brush : Yang Lian and the translated poetics of Ethnography --Indic Echoes : form, content, and contested Chineseness in regulated verse --Composing foreign words : canons of nativization in the poetry of Du Fu --An awakening dream : borders and communication in the translation of Li Shangyin --Conclusion : realms of transformation : Chinese dreams and translational realities --Character glossary of names, titles, and terms --Works cited --Index. What makes a Chinese poem "Chinese"? Some call modern Chinese poetry insufficiently Chinese, saying it is so influenced by foreign texts that it has lost the essence of Chinese culture as known in premodern poetry. Yet that argument overlooks how premodern regulated verse was itself created in imitation of foreign poetics. Looking at Bian Zhilin and Yang Lian in the twentieth century alongside medieval Chinese poets such as Wang Wei, Du Fu, and Li Shangyin, 'The Organization of Distance' applies the notions of foreignization and nativization to Chinese poetry to argue that the impression of poetic Chineseness has long been a product of translation, from forces both abroad and in the past
