The Lone Swan
| Author | : Manshu Su |
| Publisher | : |
| Total Pages | : 170 |
| Release | : 1924 |
| Genre | : |
| ISBN | : |
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The Lone Swan
| Author | : Manshu Su |
| Publisher | : |
| Total Pages | : 174 |
| Release | : 1934 |
| Genre | : Buddha (The concept) |
| ISBN | : |
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The Lone Swan
| Author | : Su Manshu |
| Publisher | : |
| Total Pages | : 147 |
| Release | : 1938 |
| Genre | : |
| ISBN | : |
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The Lone Swan
| Author | : Reverend Mandju |
| Publisher | : |
| Total Pages | : 147 |
| Release | : 1925 |
| Genre | : |
| ISBN | : |
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斷鴻零雁記
| Author | : 蘇曼殊 |
| Publisher | : |
| Total Pages | : 292 |
| Release | : 1960 |
| Genre | : |
| ISBN | : |
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The Lone Swan. Translated Into English by George Kin Leung
| Author | : George Kin Leung |
| Publisher | : |
| Total Pages | : 147 |
| Release | : 1924 |
| Genre | : |
| ISBN | : |
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The Late Tang
| Author | : Stephen Owen |
| Publisher | : BRILL |
| Total Pages | : 608 |
| Release | : 2020-03-17 |
| Genre | : Literary Criticism |
| ISBN | : 1684174317 |
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" The poetry of the Late Tang often looked backward, and many poets of the period distinguished themselves through the intensity of their retrospective gaze. Chinese poets had always looked backward to some degree, but for many Late Tang poets the echoes and the traces of the past had a singular aura. In this work, Stephen Owen resumes telling the literary history of the Tang that he began in his works on the Early and High Tang. Focusing in particular on Du Mu, Li Shangyin, and Wen Tingyun, he analyzes the redirection of poetry that followed the deaths of the major poets of the High and Mid-Tang and the rejection of their poetic styles. The Late Tang, Owen argues, forces us to change our very notion of the history of poetry. Poets had always drawn on past poetry, but in the Late Tang, the poetic past was beginning to assume the form it would have for the next millennium; it was becoming a repertoire of available choices--styles, genres, the voices of past poets. It was this repertoire that would endure. "
Translation and Creation
| Author | : David E. Pollard |
| Publisher | : John Benjamins Publishing |
| Total Pages | : 343 |
| Release | : 1998-03-15 |
| Genre | : Language Arts & Disciplines |
| ISBN | : 9027283478 |
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In the late Qing period, from the Opium War to the 1911 revolution, China absorbed the initial impact of Western arms, manufactures, science and culture, in that order. This volume of essays deals with the reception of Western literature, on the evidence of translations made. Having to overcome Chinese assumptions of cultural superiority, the perception that the West had a literature worth notice grew only gradually. It was not until the very end of the 19th century that a translation of a Western novel (La dame aux camélias) achieved popular acclaim. But this opened the floodgates: in the first decade of the 20th century, more translated fiction was published than original fiction. The core essays in this collection deal with aspects of this influx according to division of territory. Some take key works (e.g. Stowe’s Uncle Tom’s Cabin, Byron’s “The Isles of Greece”), some sample genres (science fiction, detective fiction, fables, political novels), the common attention being to the adjustments made by translators to suit the prevailing aesthetic, cultural and social norms, and/or the current needs and preoccupations of the receiving public. A broad overview of translation activities is given in the introduction. To present the subject in its true guise, that of a major cultural shift, supporting papers are included to fill in the background and to describe some of the effects of this foreign invasion on native literature. A rounded picture emerges that will be intelligible to readers who have no specialized knowledge of China.
The Chinese Recorder
| Author | : |
| Publisher | : |
| Total Pages | : 896 |
| Release | : 1925 |
| Genre | : Missions |
| ISBN | : |
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Black Swan
| Author | : Susan Anderson |
| Publisher | : |
| Total Pages | : 90 |
| Release | : |
| Genre | : |
| ISBN | : |
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Nina is an exceptionally talented ballerina in a New York City ballet company. When artistic director Thomas Leroy decides to replace prima ballerina Beth Macintyre for the opening production of their new season, Swan Lake, Nina is his first choice. But she has competition: new dancer Lily, who impresses Leroy as well. Swan Lake requires a dancer who can play both the White Swan with innocence and grace, and the Black Swan, who represents guile and sensuality. Nina fits the White Swan role perfectly but Lily is the personification of the Black Swan. As the two young dancers expand their rivalry into a twisted friendship, Nina begins to get more in touch with her dark side - a recklessness that threatens to destroy her. | Originally produced as an American motion picture in 2010. | Performed by: Natalie Portman, Vincent Cassel, Mila Kunis, Barbara Hershey, Winona Ryder. Directed by Darren Aronofsky ; screenplay by Mark Heyman, Andres Heinz and John McLaughlin ; story by Andres Heinz ; produced by Mike Medavoy, Arnold W. Messer, Brian Oliver, Scott Franklin ; director of photography, Matthew Libatique ; production designer, Therese DePrez ; editor, Andrew Weisblum ; costume designer, Amy Westcott ; original score, Clint Mansell ; visual effects supervisor, Dan Schrecker ; ballet choreography, Benjamin Millepied ; ballet costumes designed by Kate and Laura Mulleavy ; music for 'Swan Lake' composed by Pyotr Ilyich Tchaikovsky. | In English, English audio descriptive for the visually impaired, Castilian Spanish, Italian; with optional subtitles in English for the hearing impaired, Castilian Spanish, Danish, Finnish, Italian, Norwegian, Swedish. | R16 - Restricted to persons 16 years and over. Note: Violence, sex scenes and content that may disturb. | Region 4, PAL.
