Chinese classical poetry has long been known for its unique artistic conception of mixture of sentiments andscenery, the conception beyond image and the refinement out of rhyme. From the perspective of receptionaesthe...Chinese classical poetry has long been known for its unique artistic conception of mixture of sentiments andscenery, the conception beyond image and the refinement out of rhyme. From the perspective of receptionaesthetics theory, this paper analyzes translation strategies of the classical poetry, probes into the problems thatretaining “indeterminacy” and satisfying the readers “horizon of expectations” when translate Chinese classicalpoetry. It is necessary to keep enough aesthetic space, and to give full play to the translator’s aesthetic creativitywhen translate Chinese classical poetry, so as to reproduce the artistic conception of Chinese classical poetry.展开更多
In accordance to Langerian aesthetic theory, Mark Campbell （1992） concludes that Cage＇s 4 33＂ （1952） is by no means aesthetic music. I argue the antithesis： Cage＇s 433＂ satisfies Langerian aesthetic theory, a...In accordance to Langerian aesthetic theory, Mark Campbell （1992） concludes that Cage＇s 4 33＂ （1952） is by no means aesthetic music. I argue the antithesis： Cage＇s 433＂ satisfies Langerian aesthetic theory, and is indeed ＂aesthetic＂ music. Cage does something more： he satisfies Langerian aesthetic theory, yet he is not limited by it. He does not simply create music, nor does he offer listeners a musical space. He creates what Gilles Deleuze and Fe1ix Guattari （1987） call a line of becoming that passes between music making and a musical space. In 4 minutes and 33 seconds of silence, Cage presents a sense of emptiness and numbness felt simultaneously with fullness and explosion. In what appears to be stillness, the listener experiences the flux of movement; what appears to be devoid of depth, is filled with complexities. 433＂ embraces chance, uncertainty, and the unknown; it is an experimental process; it is becoming-music in 4 minutes and 33 seconds.展开更多
The non-linear theory of vibration has recently been applied to a number of problems in physics and was found to give many interesting results which were absent in the case of linear vibration. It is natural to think ...The non-linear theory of vibration has recently been applied to a number of problems in physics and was found to give many interesting results which were absent in the case of linear vibration. It is natural to think of the outcome of application of non-linear theory to raga music, a topic which has hitherto been unexplored. It has been found that a new realm of musical idea is obtained if one considers the effects of non-linearity in physics on the understanding of the aesthetics and beauty in raga music when two notes are sounded simultaneously.展开更多
基金This paper is sponsored by the Postgraduate Creative Foundation of Gannan Normal University entitled“模因论视域下康达维辞赋译本中文化负载词的英译研究”(YCX20A042).
文摘Chinese classical poetry has long been known for its unique artistic conception of mixture of sentiments andscenery, the conception beyond image and the refinement out of rhyme. From the perspective of receptionaesthetics theory, this paper analyzes translation strategies of the classical poetry, probes into the problems thatretaining “indeterminacy” and satisfying the readers “horizon of expectations” when translate Chinese classicalpoetry. It is necessary to keep enough aesthetic space, and to give full play to the translator’s aesthetic creativitywhen translate Chinese classical poetry, so as to reproduce the artistic conception of Chinese classical poetry.
文摘In accordance to Langerian aesthetic theory, Mark Campbell （1992） concludes that Cage＇s 4 33＂ （1952） is by no means aesthetic music. I argue the antithesis： Cage＇s 433＂ satisfies Langerian aesthetic theory, and is indeed ＂aesthetic＂ music. Cage does something more： he satisfies Langerian aesthetic theory, yet he is not limited by it. He does not simply create music, nor does he offer listeners a musical space. He creates what Gilles Deleuze and Fe1ix Guattari （1987） call a line of becoming that passes between music making and a musical space. In 4 minutes and 33 seconds of silence, Cage presents a sense of emptiness and numbness felt simultaneously with fullness and explosion. In what appears to be stillness, the listener experiences the flux of movement; what appears to be devoid of depth, is filled with complexities. 433＂ embraces chance, uncertainty, and the unknown; it is an experimental process; it is becoming-music in 4 minutes and 33 seconds.
文摘The non-linear theory of vibration has recently been applied to a number of problems in physics and was found to give many interesting results which were absent in the case of linear vibration. It is natural to think of the outcome of application of non-linear theory to raga music, a topic which has hitherto been unexplored. It has been found that a new realm of musical idea is obtained if one considers the effects of non-linearity in physics on the understanding of the aesthetics and beauty in raga music when two notes are sounded simultaneously.
