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dc.contributor.authorZheng, Tiwu-
dc.date.accessioned2017-05-10T09:36:36Z-
dc.date.available2017-05-10T09:36:36Z-
dc.date.issued2016-12-
dc.identifier.citationZheng Ti wu. How Do We Translate the Poems in China: The Poetic Aspect. Vestnik SPbSU. Series 9. Philology. Asian Studies. Journalism, 2016, issue 4, pp. 142–161.en_GB
dc.identifier.other10.21638/11701/spbu09.2016.411-
dc.identifier.urihttp://hdl.handle.net/11701/6232-
dc.description.abstractTranslation of poetry in China is rich in history. Any account of how poetry has been translated is closely related to the processes of Chinese poetry development. Long identified as the most fundamental is the distinction made between the old and new forms. Early in its history, when the long glory of the classical (traditional) Chinese literature was coming to an end — though it still retained its prominent in history — poetry was translated into the classical (traditional) verse metre. These old forms, apparently awkward and inappropriate at times in poetry translation, gave way to the new form and the poetry consequently was translated into new verse metre, as the new Chinese literature emerged and literary history ushered into a new era reaching its climax in “The May Fourth Movement”. Today poetry translation in China primarily focuses on the new verse metre incorporating various rhymes and rhythms. Refs 14.en_GB
dc.language.isoruen_GB
dc.publisherSt Petersburg State Universityen_GB
dc.relation.ispartofseriesVestnik of St Petersburg University. Series 9. Philology. Asian Studies. Journalism;Issue 4-
dc.subjectChinese poetryen_GB
dc.subjectliterary translationen_GB
dc.subjectrhymeen_GB
dc.subjectmetreen_GB
dc.subjectmetricsen_GB
dc.titleHow Do We Translate the Poems in China: The Poetic Aspecten_GB
dc.typeArticleen_GB
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