The Poetry of Negligence

Poetry and legal rhetoric are both forms of what the ancient Greeks called poēsis: the art of the word. Tradition nonetheless assigns poetry to the realm of art and beauty, and legal rhetoric to the different realm of law and truth. The late William Matthews' poem ``Negligence' transgresses the boundaries that we have erected between art and law, and beauty and truth. The poem presents a well-crafted piece of legal rhetoric in the form of art. This essay draws out the implications of Matthews' transgression, and suggests that in the end poetry and law have a lot in common: both are forms of manipulation by means of words. The essay develops this connection in order to join with Emmanuel Levinas in calling for a ``breakup in the omnipotence of the logos.' This revised version was published online in August 2006 with corrections to the Cover Date.     

Law Like Poetry – Burnt Norton

Poetry and law are usually cast in opposition but there is a little regarded dimension of responsiveness in law which would incline them towards similarity. The opposition and the similarity are amplified in various instances. Then similarity is affirmed in an involvement in the first of T.S. Eliot'sFour Quartets, ``Burnt Norton'. This revised version was published online in August 2006 with corrections to the Cover Date.     

论隋诗在诗歌发展史上的价值

南北诗风的融合是南北朝诗歌向唐代诗歌发展的总趋势 ,而隋诗则是该阶段的重要一环。隋前期北方诗人的崛起 ,使得南北朝以来北方诗歌首次在诗坛占据主导地位。更值得注意的是 ,这时的诗歌创作在刚健厚重中融入了南方诗歌的精巧流丽。隋后期由于大批南人北上 ,因而出现了南朝诗风的复归。但这并不是简单的重复 ,而是在保持浮靡清丽本色的同时也融入了北方诗歌的阔大沉厚。“北人学南”、“南人学北”,正是这种双向交流 ,推动着诗歌朝着南北诗风融合的方向发展     

试论皎然诗学对权德舆诗论及诗作的影响

皎然诗学理论对权德舆的诗学主张及创作的影响要从两方面看 :权氏承继了皎然诗学的儒家诗教观、“取境”说、“诗家之中道”,但在“齐梁诗”的创作上却背离了皎然的主张 ,从而在贞元后期掀起了齐梁诗风的逆流。可以说皎然诗学在中唐前期从韩孟诗派和权德舆文学集团两个方向上影响了中唐诗坛     

Capricious Intentions in Stevie Smith’s Poems and Drawings

Abstract

There is a contradiction in how Stevie Smith saw the relationship between her poems and drawings. On the one hand, she looked at her doodles as vital to her poetry and backed with a great deal of intentionality. She painstakingly cut and pasted them into her drafts and left detailed notes to her publishers when those placements were not to her exact specifications. On the other hand, though, she talked about her doodles as if they were ephemeral and backed only by caprice. This essay argues that Smith’s doodles play at the intersection of intentionality and caprice; in doing so, they become deliberately detachable objects that signify both placed with and when displaced from her poetry. Decisions, whether by Smith or by her editors, to move or remove an image have both subtle and dramatic changes for readers’ experiencing of her poems. This paper relies on archival and published sources to provide readings of several of Smith’s poems including ‘Do Take Muriel Out,’ ‘The Rehearsal,’ ‘The After-Thought,’ and ‘Not Waving but Drowning.’ In their continual ability to be removed and reattached to her poetry, Smith’s doodles destabilize the texts that they supposedly compliment, while at the same time also revitalizing them by allowing them to remain open to new interpretations.     

诗歌翻译的模糊性

诗歌具有模糊性 ,其模糊语言创造美。它必然给诗歌翻译带来许多问题 ,包括翻译标准与方法。本文试图对汉诗英译翻译标准的模糊把握和翻译方法的灵活运用进行探讨 ,为译者进行艺术再创造提供依据。     

浅谈古典诗歌中的地名英译问题

意象是融入了主观情意的客观物象,或者是借助客观物象表现出来的主观情意,。在诗歌中,地名既可作为一般意义上的地理名词存在,也可寄寓诗人的主观情感而构成诗歌意象。"三化"理论(深化、等化、浅化)作为传达诗歌"意美"的有效手段,也是诗歌地名英译的重要方法。将意象的概念引入诗歌地名英译中,在"三化"理论的框架下探讨古典诗歌地名英译的具体方法,或可为诗歌英译提供些微思路。     

反思与弃绝：“保钓”视野下唐文标的现代诗创作

唐文标早年颇具现代色彩的新诗创作中，就已潜藏着对现代主义抽象的超越、救赎精神的疑虑反思，并隐约可见现实关切、社会实践等思想特质，这为其后来参与“保钓”等左翼实践并最终与现代诗彻底决裂，埋下了思想的种子。在经受20世纪60年代后期欧美社会运动和“保钓”运动洗礼后，他将左翼的精神和理想带至台湾，其对现代诗的发难重新激起台湾思想文化上的左翼现实批判精神。因此，联系唐文标早期的现代诗创作活动，全面考察其左翼文学思想的发展历程，才能更深入把握左翼革命理想中激荡的种种对现实、历史、民族的深切寄托。     

优美的音乐形式,丰富的主题内涵——英诗的艺术美赏析

英诗是一座知识的宝库，也是一门美的艺术。作为美的艺术，英诗能给我们带来快乐；作为知识的源泉，英诗能给我们增添才智。英诗涉及的主题非常广，其功用多种多样。它的知识含量丰富，又是多种情感和想象力的反映。诗人提供给我们的是如何看待生活和解决问题的方式。它还有优美动人的旋律，甚至能谱曲歌唱，悦耳动听。朗读或背诵诗歌能得到音乐美的熏陶，是一种真正的艺术享受。因此，英诗能给予我们无穷的智慧和快乐。