1,721,109 research outputs found
Dante and Han-shan: masters of visual communication
No full textThis paper explores the works of poets Dante Alighieri and Han-shan, focusing on their communication through detailed visual descriptions of their subjects. This technique results in a vivid literary painting, informed by the poet's religiosity and personal experience. Dante was a known public figure in 12th century Florence, who later suffered exile from his home. His work is both political and overtly religious. He expresses a dynamic, dogmatic spirituality informed by the theology of 12th century Christianity. He was educated, versed in the science of optics and utilized allegory in his work. Han-shan was an educated recluse, his poems not as overtly religious. In his poetry, he addresses Buddhist concepts of stillness, endurance, and close observation of nature. The beauty of nature largely influenced his work. Both poets observe, criticize, and comment upon the spiritual and political issues of their time. Their poems enlighten, instruct, and provide inspired insight upon spirituality and the human condition
Gardens and Gateways: Journeys within the Vision of Han-shan
No full textAlthough rooted in the work of the T’ang poet Han-shan, this paper is ultimately about the ways in which writers and artists engage with what they experience in the world. The work of filmmaker Trin T Minh-Ha, poems by W.S. Merwin, Burtin Watson’s translations, and the thoughts on the creative process of translation by Tony Barnstone and Gary Snyder have all informed my work as an artist and the images I present here
寒山子詩集 : 不分卷 / (唐)寒山子撰
No full textComprend : Qiu ying han shan zi shi ji xu ; 丘胤寒山子詩集序 ; Wang li yi mou wang cong mu han shan shi xu ; 萬曆已卯王宗沐寒山詩序Avec mode text
Cold Mountain poems Zen poems of Han Shan, Shih Te, and Wang Fan-Chih
No full textThe incomparable poetry of Han Shan (Cold Mountain), Shih Te, and Wang Fan-chih--rebel poets who became icons of Chinese poetry and Zen--by a premier translato
La naturaleza y Zen en la traducción de los poemas de Han Shan // Nature and Zen in the Translation of Han Shan\u27s Poems
No full textEl Zen es una de las diez escuelas principales del budismo chino que fue fundada por Bodhidharma, y Han Shan es uno de los poetas chinos más conocidos de la escuela Zen. Aunque no se conoce mucho de su vida, a través de sus versos hemos llegado a saber que dejó atrás el mundo laico, yéndose a la Montaña Tiantai, donde llevó una vida de ermitaño y escribió unos trescientos poemas. La mayor parte de estos poemas es sobre su comprensión de las enseñanzas del Zen. A través de la descripción del medio ambiente y del uso de las imágenes naturales que casi siempre son metáforas del camino espiritual, sus poemas logran producir una concepción artística del Zen. Es por ello que a Han Shan también se le conoce como el poeta del Zen. Ya sabemos que con frecuencia es imposible reproducir un poema de un idioma a otro, incluyendo la rima, la forma, y la concepción artística. De esta manera, nuestro objetivo es a través de nuestro trabajo, mejorar la comprensión de los lectores meta del Zen en la poesía de Han Shan y ofrecer nuestras sugerencias sobre cómo trasladar este Zen. Además nos complacería que los resultados de nuestro análisis puedan emplearse en el entendimiento y la traducción de las obras de otros poetas de la Escuela Zen, tales como Wang Wei, Bai Juyi, etc. Abstract Zen is one of the ten principal schools of Chinese Buddhism which was founded by Bodhidharma, and Han Shan is one of the most well-known Chinese poets of the Zen school. Although we do not know very well about his life, through his verses we know today that he left the lay world and went away to the Mountain Tiantai, where he lived as a hermit and wrote approximately three hundred poems. Most of his poems are about his understanding of the Zen education. Through the description of the environment and the use of natural images which are nearly always metaphors of the spiritual way, these poems manage to produce an artistic conception of Zen. This is why Han Shan was also known as a poet of Zen. Most of the time, it is impossible to reproduce a poem from one language to another, including the rhyme, the structure and the artistic conception of the original poem. So the aim of our work is to improve the target reader’s comprehension about the Zen in Han Shan’s poetry and offer our suggestions about how to translate it. Besides, we also expect that the results of our analysis could be used in the understanding and translation of other poets of Zen, such as Wang Wei, Bai Juyi, and so on
Study of Han-Shan''s Poetry -Focus on the Thought
No full text寒山詩在正統文學中，向來因其詩過於白話、欠缺詩味而不被重視，研究寒山詩者也多半聚焦在寒山生平的考據方面，將寒山詩作為考據資料來研究，而非針對寒山詩作文本作透徹的解析，讓寒山寫詩的用意重新展現，這對寒山詩的研究而言，無疑是相當可惜的事。因此本論文便以發掘寒山寫詩的用意為目標，以寒山詩文本作為研究對象進行研究。 寒山詩的重心在其內涵，內涵的部分又包括道理與實踐兩部分。就道理這一部分而言，詩文中所駁雜的釋儒道三家思想，是寒山欲透過詩文傳達生命意義的真相，以及人生可以開闊的方式，寒山認為只要把握了這個永恆不變的原則，則可以從容的坐看無常的變幻，而這點也是寒山不在意詩作無詩味、在詩作中沒有太多個人資料、以及駁雜釋儒道三家思想而無創新的共同原因。就前者而言，只要能夠把握住那個永恆不變的原則，則無關乎外在的美醜，對寒山而言，讀者若是能穿越表象的乏味，形同克服了第一步受外觀左右的障礙，然後才能進一步領會更深刻的道理；就次者而言，寒山寫詩的目的在傳達生命真相的意義，則寒山不將自己的生平資料放入詩中，按照寒山的思維，生平資料也不過是無常變幻的一部分，不是他想要傳達給讀者的重點；就最後者而言，寒山認為生命意義的道理只有一個，而說道理的方法卻有許多種，因此就本來存在的唯一真理而論，無所謂獨創或學步的問題，寒山希望讀者領會的是道理的那部份，而非止於表象作分類工作。 而寒山詩的內涵除了道理的部分以外，還有實踐的部分，而這個部分也是很容易被研究寒山者所忽略的，但道理的領會與實際的踐履，在寒山詩中卻是缺一不可，二者同時並進才能完整表現寒山詩的價值。Han Shan Shi, with its vernacular language, is not used to take an important part in traditional literature. People who study Han Shan Shi usually tend to focus on Han Shan’s life and the background but not Han Shan Shi itself. In order to realize Han Shan Shi more, the thesis is going to focus only on Han Shan Shi itself. an Shan Shi’s point is about the truth of life and how to practice the truth in one’s life. As for the former one, the truth of life is trying to explain some puzzles, such as what life is, what death is, or what the meaning of life is. According to Han Shan Shi, if one can truly realize the truth, one can lead a happy life. However, understanding the truth is not enough, one has to practice it in one’s life. The principle is to be honest and no two faces. In other word, theory and practice should be put together, and then one can make his life different.ll the Han Shan Shi is talking about the truth and practice. Without which one of both will not work. The reason why Han Shan Shi talked about this is because he thought it is the way to promote one’s life and wisdom. And it is also the reason why Han Shan Shi is full of vernacular but without poetic language. In front of the truth that can promote one’s life, beautiful appearance is not the priority anymore.目 錄試委員會審書………………………………………………………… i文摘要…………………………………………………………… ii文摘要…………………………………………………………………... iii一章 緒論…………………………………………………………… 1一節 研究寒山詩的動機………………………………………………… 1二節 研究寒山詩的方法..……………………………………………… 3二章 如何閱讀寒山詩..……………………………………………………….. 9一節 〈寒山子詩集序〉所揭示的意義…………………………… 9二節 考據不能行於寒山的理由…………………………………20三節 寒山詩不能取相的原因……………………………………29 小 結……………………………………………………………………. 35三章 寒山詩的內涵（上）—見地……………………………37一節 對生命的錯誤認知………………………………………37二節 生命的真正所在…………………………………………48三節 生命的絕對自主…………………………………………57 結…………………………………………………………… 69四章 寒山詩的內涵（下）—行履…………………………71一節 修養德行與生命本質的關係…………………………71二節 修養的方法……………………………………………81 小 結………………………………………………………… 100五章 「寒山」的意象運用與其內涵的關係………………101 語………………………………………………………………107考文獻……………………………………………………………109
Patrick Carré, Le mangeur de brumes : l'œuvre de Han-shan poète et vagabond, 1985
No full textHolzman Donald. Patrick Carré, Le mangeur de brumes : l'œuvre de Han-shan poète et vagabond, 1985. In: Études chinoises, vol. 5, n°1-2, Printemps-Automne 1986. pp. 262-265
La naturaleza y Zen en la traducción de los poemas de Han Shan
Get PDFEl Zen es una de las diez escuelas principales del budismo chino que fue fundada por Bodhidharma, y Han Shan es uno de los poetas chinos más conocidos de la escuela Zen. Aunque no se conoce mucho de su vida, a través de sus versos hemos llegado a saber que dejó atrás el mundo laico, yéndose a la Montaña Tiantai, donde llevó una vida de ermitaño y escribió unos trescientos poemas. La mayor parte de estos poemas es sobre su comprensión de las enseñanzas del Zen. A través de la descripción del medio ambiente y del uso de las imágenes naturales que casi siempre son metáforas del camino espiritual, sus poemas logran producir una concepción artística del Zen. Es por ello que a Han Shan también se le conoce como el poeta del Zen. Ya sabemos que con frecuencia es imposible reproducir un poema de un idioma a otro, incluyendo la rima, la forma, y la concepción artística. De esta manera, nuestro objetivo es a través de nuestro trabajo, mejorar la comprensión de los lectores meta del Zen en la poesía de Han Shan y ofrecer nuestras sugerencias sobre cómo trasladar este Zen. Además nos complacería que los resultados de nuestro análisis puedan emplearse en el entendimiento y la traducción de las obras de otros poetas de la Escuela Zen, tales como Wang Wei, Bai Juyi, etc.Zen is one of the ten principal schools of Chinese Buddhism which was founded by Bodhidharma, and Han Shan is one of the most well-known Chinese poets of the Zen school. Although we do not know very well about his life, through his verses we know today that he left the lay world and went away to the Mountain Tiantai, where he lived as a hermit and wrote approximately three hundred poems. Most of his poems are about his understanding of the Zen education. Through the description of the environment and the use of natural images which are nearly always metaphors of the spiritual way, these poems manage to produce an artistic conception of Zen. This is why Han Shan was also known as a poet of Zen. Most of the time, it is impossible to reproduce a poem from one language to another, including the rhyme, the structure and the artistic conception of the original poem. So the aim of our work is to improve the target reader’s comprehension about the Zen in Han Shan’s poetry and offer our suggestions about how to translate it. Besides, we also expect that the results of our analysis could be used in the understanding and translation of other poets of Zen, such as Wang Wei, Bai Juyi, and so on
An Ecocritical Study of Gary Snyder’s Translation of Han Shan Poetry
Get PDFGary Snyder, a contemporary American ecological poet, is deeply influenced by East-West ecological wisdom, forming his own unique ecological philosophy. Gary Snyder’s ecological philosophy influences his selection of poems to translate and translation methods in his English translation of Han Shan poetry. In turn, Gary Snyder’s translation also promotes the formation of his ecological philosophy to a certain extent. Faced with the increasingly serious ecological crisis, this study attempts to examine Gary Snyder’s translation of Han Shan poetry from the ecocritical perspective, exploring its ecological connotations and values from three aspects: translation selection, translation methods, and translation impact. The ecocritical study in this article aims to insert an ecological dimension to the study on English translation of poetry, and give advice to the strategy “Chinese Culture Going Global”, especially “Chinese Ecological Culture Going Global”
A STUDY OF THE HAN SHAN CHI
Get PDFThe drama Han-shan-chi (汗衫記) by Chang K'u-p'in (張酷貧) of the Yüan (元) dynasty is a story of the parting and reunion of parents, their son and his wife, and their grandson. The drama is so named, because the undergarment (han-shan 汗衫) the mother tore and gave half of which to the son's wife at their parting proves they are relatives at the time of reunion. We can find a similar story in the T'ai-p'ing-kuang-chi (太平廣記), so we can say this drama is grounded on a story well-known at that time. In studying the Yüan tsa-chü (元雜劇), one of the most important subjects concerns the differences among various versions of the text. Generally speaking, these versions are classified into three types. The first is the version printed in the Yüan (元) dynasty, the next is the manuscript of the play-book owned by the Ming (明) Court, and the third is the version printed in the Ming (明). The Han-shan-chi (汗衫記) is the only drama which is completely available in these three versions; namely the Yüan-k'an ku-chin tsa-chü (元刊古今雜劇), the Mo-wang-kuan ch'ao-hsiao-pên ku-chin tsa-chü (脈望館抄校本古今雜劇), and the Yüan-ch'ü-hsuan (元曲選). In this study, the Yüan-k'an ku-chin tsa-chü (元刊古今雜劇) version is regarded as a script used for actual performances in the Yüan (元) dynasty, and the Mo-wang-kuan ch'ao-hsiao-pên ku-chin tsa-chü (脈望館抄校本古今雜劇) as a Ming (明) dynasty script, but the Yüan-ch'ü-hsuan (元曲選) as a version revised by its editor, Tsang Chin-shu (臧晉叔). The most important difference among these versions is the character of the supporting role of Ch'ao Hsing-sun (趙興孫), who was indebted to the lead Chang Yi (張義), as found in the opening scene. At the denouement Ch'ao Hsing-sun (趙興孫) is portrayed as a robber in the Yüan-k'an ku-chin tsa-chü (元刊古今雜劇) and the Mo-wang-kuan ch'ao-hsiao-pên ku-chin tsa-chü (脈望館抄校本古今雜劇). A character such as that possessed by Ch'ao Hsing-sun (趙興孫) is similar to Sung Pin (宋彬) who occupies the supporting role in the Ku-han-t'ing (酷寒亭), in that, having first received a favor, he later appears before his benefactor as a robber. Furthermore, the act of the favor being returned is not necessarily stressed in the Yüan-k'an ku-chin, tsa-chü (元刊古今雜劇). The original form of the Han-shan-chi (汗衫記) may thus be seen as having been made up by putting together two well-known stories, that is, the T'ai-p'ing kuang-chi (太平廣記) and the Ku-han-t'ing (酷寒亭). However in the Yüan-ch'ü-hsuan (元曲選) version Ch'ao Hsing-sun (趙興孫) is portrayed as a government official who arrests robbers, while his repayment of kindness to his benefactor is also stressed. Thus, this version is revised according to Tsang Chin-shu (臧晉叔) 's own inclinations. Surely, it is difficult to determine the original form and the general interest of Yüan tsa-chü (元雜劇), and we have a tendency to discuss these subjects based on the Yüan-ch'ü-hsuan (元曲選). However, in this respect, we need to re-evaluate the importance of the Yüan-k'an ku-chin tsa-chü (元刊古今雜劇) and the Mo-wang-kuan ch'ao-hsiao-pên ku-chin tsa-chü (脈望館抄校本古今雜劇)
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