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Writing in crisis: Translation, genre, and identity in modern Chinese poetry.

机译：危机中的写作：中国现代诗歌的翻译，体裁和身份认同。

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This dissertation engages aspects of cultural studies, translation studies, and genre theories and examines issues of continuity and change, cultural values and genre-formation in the development of modern Chinese poetry with an emphasis on the theme of its continuing struggle to claim a legitimate identity in the scene of China's cultural renaissance. As it fights for breathing room between the specters of traditional and Western influences, modern Chinese poetry exhibits a desire both to resist and to admit such influences, which makes the construction of a viable generic identity a highly volatile affair: the cultural identity of modern Chinese poetry has been very elusive as it constantly supersedes itself with one new form after another. The reason that modern Chinese poetry is able to sustain its on-going search for significance and meaning, the author submits, is its use of translation as a generative force, a literary matrix upon which various experiments are tested and new questions are raised. Translation practice, as it is invoked in this context, is more than the usual linguistic transference; it involves a whole range of studying and borrowing for the condition of writing and reading literature, both in time (traditional aesthetics) and in space (Western poetics). Using translation as a point of entry, the dissertation investigates the subtle revolution of late Qing poetry, the aesthetic dilemma in the choice between free verse and regulated verse, the ideological values undercutting the debate on the forms of xiaoshi (little poetry) and the sonnet, the positionality of the modern Chinese poet vis-a-vis the reader and the world, and the cross-cultural confluence in the phenomenon of Menglongshi (Misty poetry). As illustrations of these paradoxical choices, a number of prominent poets including Huang Zunxian (1848-1905), Hu Shi (1891-1962), Zhu Xiang (1904-1933) and Bei Dao (1949-) are studied in depth with the purpose of accentuating modern Chinese poetry as a writing in crisis and its discourse on modernity as translation and revision.

机译：本论文涉及文化研究，翻译研究和体裁理论的各个方面，并研究了现代中国诗歌发展中的连续性和变化，文化价值和体裁形式等问题，重点是其为争取合法身份而进行的持续斗争。在中国文化复兴时期。在争取传统和西方影响力之间的喘息空间时，现代中国诗歌表现出既要抗拒又要接受这种影响的愿望，这使得构建可行的通用身份成为高度易变的事情：现代中国人的文化身份诗歌一直难以捉摸，因为它不断地被一种新的形式取代。作者认为，现代中国诗歌之所以能够持续不断地寻求意义和意义，是因为它把翻译作为一种生成力，将其作为文学基础来检验各种实验并提出新的问题。在这种情况下，翻译实践比通常的语言迁移更为重要。它涉及到在时间上（传统美学）和空间上（西方诗学）在写作和阅读文学的条件下进行的全部学习和借阅。本文以翻译为切入点，考察了晚清诗歌的微妙革命，自由诗与受规诗之间选择的审美困境，意识形态价值削弱了小诗和十四行诗形式的争论。，现代中国诗人对读者和世界的定位，以及蒙龙诗现象的跨文化融合。为了说明这些矛盾的选择，对黄遵宪（1848-1905），胡适（1891-1962），朱翔（1904-1933）和北岛（1949-）等著名诗人进行了深入研究，旨在达到这一目的。强调中国现代诗歌在危机中的写作及其关于现代性的翻译和修订的论述。

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作者
Li, Dian.;
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作者单位

University of Michigan.;

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授予单位 University of Michigan.;
学科 Literature Asian.; Literature Comparative.
学位 Ph.D.
年度 1997
页码 194 p.
总页数 194
原文格式 PDF
正文语种 eng
中图分类文学理论;
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Writing in crisis: Translation, genre, and identity in modern Chinese poetry.

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