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Chinese Poetry and Translation: Rights and Wrongs offers fifteen essays on the triptych of poetry + translation + Chinese. The collection has three parts: "The Translator's Take," "Theoretics," and "Impact." The conversation stretches from queer-feminist engagement with China's newest poetry to philosophical and philological reflections on its oldest, and from Tang- and Song-dynasty classical poetry in Western languages to Baudelaire and Celan in Chinese. Translation is taken as an interlingual and intercultural act, and the essays foreground theoretical expositions and the practice of translation in equal but not opposite measure. Poetry has a transforming yet ever-acute relevance in Chinese culture, and this makes it a good entry point for studying Chinese-foreign encounters. Pushing past oppositions that still too often restrict discussions of translation-form versus content, elegance versus accuracy, and "the original" versus "the translated"-this volume brings a wealth of new thinking to the interrelationships between poetry, translation, and China.

China --- Poetry --- Translation, poetry, China.

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S16/0210 --- S16/0245 --- China: Literature and theatrical art--Traditional poetry and poets: texts, translations and collections --- China: Literature and theatrical art--Modern poetry and poets: texts and translations --- Poetry --- Theory of literary translation --- Chinese literature

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First published in 1919 by Ezra Pound, Ernest Fenollosa’s essay on the Chinese written language has become one of the most often "ed statements in the history of American poetics. As edited by Pound, it presents a powerful conception of language that continues to shape our poetic and stylistic preferences: the idea that poems consist primarily of images; the idea that the sentence form with active verb mirrors relations of natural force. But previous editions of the essay represent Pound’s understanding—it is fair to say, his appropriation—of the text. Fenollosa’s manuscripts, in the Beinecke Library of Yale University, allow us to see this essay in a different light, as a document of early, sustained cultural interchange between North Americaand East Asia.Pound’s editing of the essay obscured two important features, here restored to view: Fenollosa’s encounter with Tendai Buddhism and Buddhist ontology, and his concern with the dimension of sound in Chinese poetry.This book is the definitive critical edition of Fenollosa’s important work. After a substantial Introduction, the text as edited by Pound is presented, together with his notes and plates. At the heart of the edition is the first full publication of the essay as Fenollosa wrote it, accompanied by the many diagrams, characters, and notes Fenollosa (and Pound) scrawled on the verso pages. Pound’s deletions, insertions, and alterations to Fenollosa’s sometimes ornate prose are meticulously captured, enabling readers to follow the quasi-dialogue between Fenollosa and his posthumous editor. Earlier drafts and related talks reveal the developmentof Fenollosa’s ideas about culture, poetry, and translation. Copious multilingual annotation is an important feature of the edition.This masterfully edited book will be an essential resource for scholars and poets and a starting point for a renewed discussion of the multiple sources of American modernist poetry.

Chinese language --- Chinese poetry --- Grammar, Comparative and general. --- Ideography --- Chinese literature --- Comparative grammar --- Grammar --- Grammar, Philosophical --- Grammar, Universal --- Language and languages --- Philosophical grammar --- Linguistics --- Philology --- Writing. --- History and criticism. --- Grammar, Comparative

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Slovenian poetry --- Slovenian poetry. --- Slovenian literature --- Šalamun, Tomaž. --- Šalamun, Tomaž