Titlebook: American Modernist Poetry and the Chinese Encounter; Zhang Yuejun,Stuart Christie Book 2012 The Editor(s) (if applicable) and The Author(s

臭名昭著

Collision

Grievance of the Gendered Self: Chinese , Elements in Carolyn Kizer’s PoemsGrievance” placing emphasis on emotion. It can also be translated to mean “Chinese Boudoir Poems,” placing emphasis on the boudoir scenario. Rather than separating these two elements, translation of this type of Chinese poetry in my view should combine both affective and spatial dimensions. . (閨) re

閑逛

Jane Hirshfield’s Poetic Voice and Zen Meditationy is tactfully linked to the control and activity of the mind. Furthermore, her poems—pregnant as they are with spiritual awareness and insight into the human psyche—move beyond this early modernist concern for imagery. Take her short poem “The Clock” as an example:

來就得意

t American poets with their imagined ‘Chinese‘ subject. The method is historical and materialist, insofar as the contributors to the volume read the claims of specific poems alongside the actual and tumultuous changes China faced between 1911 and 1979. Even where specific poems are found to be erron

macrophage

https://doi.org/10.1007/978-3-662-44018-6 of such an appreciation. By refusing to impose images of China upon a corresponding Chinese “reality,” then, Ginsberg came to acknowledge the na?veté of all image-making. He sought, in a word, to encounter China as the transcendence of its particular images.

強(qiáng)制性

他去就結(jié)束

Book 2012n imagination. The audience of the volume is international, including the growing number of scholars and graduate students in Chinese universities working on American literature and comparative cultural studies, as well as already established commentators and students in the west.

善變

Die Kritiker der klassischen ?konomie20 in total after 1930—promotes the Chinese example as a metonymy for global liberation, including the achieving of greater rights and freedoms, outside the Marxist context, for African Americans within his own homeland.

LASH

China and the Political Imagination in Langston Hughes’s Poetry20 in total after 1930—promotes the Chinese example as a metonymy for global liberation, including the achieving of greater rights and freedoms, outside the Marxist context, for African Americans within his own homeland.

enmesh