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The volume explores how comparative thematics can be approached via translational issues to show how Western and Eastern literatures and traditions may be defined, in terms of imagery and contrastive botanical lexicography, from English and into English. Examples take into account several Western languages (French, Spanish, Italian), ancient languages (Greek, Latin, Hebrew) and Creoles. The choice of a common theme highlights how theological ascendancy through the rose mystique from the Bible may be juxtaposed to the harmony principle of the ‘queen peony’ in poems. In terms of thematics, the biblical ‘rose’ was a translational ‘fraud’ and did not exist as such in the Aramaic Song of Songs. In terms of context, Sino-English translators were of Jewish descent and translated during the years of Nazism. Leading Sinologists suffered purges and accusations in UK and US, Chinese translators were conversely expatriates or diasporic members of the community.
A uniquely international anthology--in a beautiful pocket-sized hardcover--that explores the richly symbolic expressiveness of flowers through poems from around the world and through the ages. AN EVERYMAN'S LIBRARY POCKET POET. Floral symbols adorn the earliest poetry, and over the centuries they became increasingly entwined with myth and legend, with religious symbolism, and with herbal folklore. By the early nineteenth century the "Language of Flora" was an elaborately refined system, especially in England and America, where books listing flower meanings and illustrating them with verse were perennial bestsellers. Transcending the charm of its Victorian predecessors, this anthology creates an extended, updated, and more robust floral anthology for the twenty-first century, presenting poets through the ages from Sappho, Shakespeare, and Shelley to Ted Hughes, Mary Oliver, and Louise Glück, and across the world from Cuba to Korea, Russia to Zimbabwe. Eastern cultures, rich in flower associations, are well represented: Tang poems celebrating chrysanthemums and peonies, Zen poems about orchids and lotus flowers, poems about jasmine and marigolds from India, and roses and narcissi from Persia, the Ottoman empire, and the Arabic world. The most timeless human emotions and concepts--love, hope, despair, fidelity, grief, beauty, and mortality--find colorful expression in The Language of Flowers.
This book is the first comprehensive study combining and integrating advertising, culture and translation within the framework of colonial, Commonwealth, and postcolonial studies, and globalization. It addresses a number of controversial issues evident in two relatively young disciplines, as a result of decades of research and teaching in university courses. A cross-cultural approach to translational issues and the translatability of advertising cohesively is adopted here, exploring the dynamics of the conflict between the ‘centre’ and the ‘periphery’. It introduces the concept of advertising English as lingua franca (AELF), marking new trends in the domain of varieties of English around the world (VEAW). The data examined here show the ambivalent polarity conditioning advertising and translation: both have been mutually exclusive, and both have been subject to bans, censorship and ideological control, racism, propaganda, and stereotyping. In their fundamental principles and concepts of theories and applications, however, neither discipline cannot exist outside a free market and total freedom of expression and trust.
This book is about interjections and their transcultural issues. Challenging the marginalization of the past, the ubiquity of interjections and translational practices are presented in their multilingual and cross-cultural aspects. The survey widens the field of inquiry to a multi-genre and context-based perspective. The quanti-qualitative corpus has been processed on the base of topics of relevance and thematization. The range of examples varies from adaptation of novels into films, from Shakespeare, from Zulu oral epics to opera, from children’s narratives to cartoons, from migration literature to gangster and horror films and their audiovisual translation. The use of American Yiddish, Italian American, South African English, and Jamaican account for the controversial aspects of interjections as a universal phenomenon, and, conversely, as a pragmatic marker of identity in (post)colonial contexts.
This is the first book written about Maria Monaci Gallenga (1880-1944), the enigmatic fashion artist and designer marginalized after decades of fortune and fame. The daughter of Ernesto Monaci, the illustrious philologist and mentor of Luigi Pirandello, Gallenga was the wife of Pietro Gallenga, a medical scientist related to the Gallenga Stuart family. The text outlines Maria Monaci Gallenga’s impact on the world of fashion, contextualizing her work and that of other forgotten fashion designers in the 1920s and 1930s. It sheds light on her cultural impact and idealism as a business entrepreneur in Europe and America promoting Italian art and culture. It also highlights her engagement in social and educational activities after she retired from the world of fashion, and explains the reasons behind her marginalization and disappearance, and the obstacles and constraints she faced during the years of Fascism. The book also considers the influence of the British arts and crafts movement and the vision of the Pre-Raphaelite Brotherhood on her aesthetic vision, and, in turn, investigates Maria Gallenga’s influence on late Pre-Raphaelite paintings (Frank Cadogan Cowper) inspired by her designs and fabrics. The discovery of her fabrics and accessories by the Fendi sisters in the collections of the Tirelli House eventually sparked a new interest in her models, now enhanced by digital media.
Faerie Stones explores the Faerielore and Folklore associated with different stones and various crystal formations, from the ancient Neolithic arrows known as Elfshot to magical Faerie dusted geodes known as Fairy Cavern Quartz. It deals with the metaphysical aspects of the stones, their traditional uses and healing qualities, and discusses which types of Faerie and which Deities/Faerie Monarchs are associated with each stone. It also offers practical tips and two meditations for working with Faeries and stones for spiritual development. Aimed at all those who love Faeries and Crystals, it is ideal for the beginner or the more experienced practitioner.
The first book on the central importance of literary sources in the paintings of Cy Twombly Many of Cy Twombly's paintings and drawings include handwritten words and phrases—naming or quoting poets ranging from Sappho, Homer, and Virgil to Mallarmé, Rilke, and Cavafy. Enigmatic and sometimes hard to decipher, these inscriptions are a distinctive feature of his work. Reading Cy Twombly poses both literary and art historical questions. How does poetic reference in largely abstract works affect their interpretation? Reading Cy Twombly is the first book to focus specifically on the artist’s use of poetry. Twombly’s library formed an extension of his studio and he sometimes painted with a book open in front of him. Drawing on original research in an archive that includes his paint-stained and annotated books, Mary Jacobus’s account—richly illustrated with more than 125 color and black-and-white images—unlocks an important aspect of Twombly’s practice. Jacobus shows that poetry was an indispensable source of reference throughout Twombly’s career; as he said, he "never really separated painting and literature." Among much else, she explores the influence of Ezra Pound and Charles Olson; Twombly’s fondness for Greek pastoral poetry and Virgil’s Eclogues; the inspiration of the Iliad and Ovid’s Metamorphoses; and Twombly’s love of Keats and his collaboration with Octavio Paz. Twombly’s art reveals both his distinctive relationship to poetry and his use of quotation to solve formal problems. A modern painter, he belongs in a critical tradition that goes back, by way of Roland Barthes, to Baudelaire. Reading Cy Twombly opens up fascinating new readings of some of the most important paintings and drawings of the twentieth century.
The author traces the romance of Julian Bell and Shuhua Ling, placing Ling, known as a Chinese Katherine Mansfield, squarely in the Bloomsbury constellation. But she encounters East-West polarities and suggests forms of understanding to inaugurate a new kind of cultural criticism.