Chinese traditional poetry is an important art form, and it is a meaningful task to use artificial intelligence algorithm to generate poetry. In the past, researchers have proposed different ...generation algorithms, but these algorithms have some limitations.This paper mainly tries to use BART and other pretrained models, proposes FS2TEXT and RR2TEXT to generate metrical poetry text and even specific style poetry text, and solves the problem that the user's writing intention gradually reduces the relevance of the generated poetry text. Finally, in order to test the effect of the algorithm, this paper imitates Turing test and finds more than 600 testers to distinguish the works generated by the algorithm from the works of real human poets, and the results show that they can't tell whether the work is from an algorithm or a human.This shows that the algorithm proposed in this paper works well.
This study aims to describe the effectiveness of Augmented Reality technology-based Classical Chinese Poetry visualization in literature learning. The population of this study were 46 students of ...Universitas Negeri Malang and Universitas Negeri Surabaya. This research is a pre-experimental study using the One Group Pretest-Posttest Design. Learning using modules accompanied by Augmented Reality Technology-based applications is carried out in three face-to-face and one post-test. The instrument used in this study was a multiple choice formative test. The results showed a significant change in the mean value between the pre-test and post-test, namely an increase of 14 with an average pre-test of 65.75 to 79.75 on the average post-test. The N-gain calculation is in the medium category. Paired Sample T-test results obtained a significance level (effective). Based on the results of several tests, it was concluded that the visualization of Classical Chinese Poetry based on Augmented Reality could be used as a companion medium for textbooks or as a medium that can help students become learning subjects.
The translation of classical Chinese poetry has usually been dealt with from aesthetic and appreciative perspectives, focusing on the comparison of the source poetry and the target translation. In ...this process the features of the original poetry are discussed and translations by specialists and experts are set as models and criteria for learning and research. Classroom instruction on the genre is done during the secondary education period but no longer a practice in tertiary education as part of foreign language learning curriculum. This study argues that translation undertaken by college learners in the classroom setting is helpful building awareness of the genre. Experiment lectures with them focus on setting models and short workable and less challenging tasks and activities on fragments of a piece of poem, ranging from initial comprehension to rhyming production. The paper holds that comparative linguistics in such a way reviews learners' previous learning experience in terms of structure, syntax, rhythm, resonance on sentential and textual levels. The results show the learners' basic translation skills and the ability to arrange sentences systematically both improve. Index Terms--classical Chinese poetry, translation, features, learning, tasks
Classical Chinese poetry is a kind of formatted text with phonological patterns. It has been a big challenge for the classical Chinese poetry generation. Because deep learning technology has made ...great progress in image and text processing, we present a classical Chinese poetry generation model based on Transformer-XL that can capture longer-term dependency than the original transformer. Our model creates the first character according to the title specified by a user and then concatenates the generated character as the input to predict the next character until reaches the predefined number of characters. Experimental results show that our model can generate poems that have good format, consistency and rhythm.
Allen Ginsberg and China Yu, Min
Theory and practice in language studies,
04/2012, Volume:
2, Issue:
4
Journal Article
Peer reviewed
Open access
After the Second World War, because of their dissatisfaction of the extreme materialism and industrialization and the indifference of the government, some American poets of the Beat Generation turned ...to the East, especially turning to China to learn the classical Chinese poetry and the philosophy of Lao Tzu and Chuang Tzu implied in the poetry, which advocates the harmonious relationship of human beings and the universe, and incorporated what they learned in their own poetry to stress humanity and harmony between man and nature. Allen Ginsberg is one of the most revered Beat poets. He is quite familiar with Chinese culture and has assimilated its essence into his own poems. Ginsberg not only uses the Chinese-style approach of image juxtaposition but exaggerates it to the most so as to express his indignation to the dirty society to his heart's content. The power of meditation of Buddhism and Ch'an has also transformed Ginsberg's poems from the angry "Howl" to the calm and tolerant "Wichita Vortex Sutra", and helped him reach the "beatific" spiritual realm. PUBLICATION ABSTRACT
We address the issue of poetic discourse in classical Chinese poetry and propose the use of imageries as characteristic anchors that stylistically differentiate poetic schools as well as individual ...poets. We describe an experiment that is aimed at the use of ontological knowledge to identify patterns of imagery use as stylistic features of classical Chinese poetry for authorship attribution of classical Chinese poems. This work is motivated by the understanding that the creative language use by different poets can be characterised through their creative use of imageries which can be captured through ontological annotation. A corpus of lyric songs written by Liu Yong and Su Shi in the Song Dynasty is used, which is word segmented and ontologically annotated. State-of-the-art techniques in automatic text classification are adopted and machine learning methods applied to evaluate the performance of the imagery-based features. Empirical results show that word tokens alone can be used to achieve an accuracy of 87% in the task of authorship attribution between Liu Yong and Su Shi. More interestingly, ontological knowledge is shown to produce significant performance gains when combined with word tokens. This observation is reinforced by the fact that most of the feature sets with ontological annotation outperform the use of bare word tokens as features. Our empirical evidence strongly suggests that the use of imageries is a powerful indicator of poetic discourse that is characteristic of the two poets concerned in the study.
Si les Poésies de l’époque des Thang (1862) de Hervey-Saint-Denys est apprécié des savants et des poètes, le Livre de Jade (1867) de Judith Gautier touche les non-spécialistes et diffuse la poésie ...chinoise en Occident. Regardé du point de vue de la poésie classique chinoise, le Livre de Jade porte plusieurs transformations : le changement du lyrisme à la narration, la perte inévitable des images et des formes poétiques classiques chinoises. Considéré du point de vue de la poésie française du XIXème siècle, le Livre de Jade porte les grands thèmes lyriques du romantisme et manifeste les récents développements du Parnasse : son enthousiasme pour le poème en prose et son goût pour la peinture. A la fin nous prendrons à la fois le point de vue de la poésie classique chinoise et celui de la poésie romantique française. Bien que le Livre de Jade possède deux caractéristiques communes à ces deux poésies, nous n’y trouvons pas de point de rencontre idéal. Tant de différences par rapport aux poèmes originaux justifient les réticences, depuis son apparition, à considérer Le Livre de Jade comme une traduction. Nous nous proposons de considérer ce livre du point de vue de la première rencontre poétique entre la France et la Chine. A travers cette rencontre, ces deux poésies se renvoient leur image comme un miroir l’une de l’autre et, ce faisant, leur fait découvrir ce qu’elles ne voyaient pas de leur propre culture.
If Hervey-Saint-Denys’s Poésies de l’époque des Thang (1862) have touched French sinologists and men of letters, the Judith Gautier’s Livre de Jade (1867) properly initiated classical Chinese poetry into the vision of the Western reader. Seen from the perspective of classical Chinese poetry, Poésies de l’époque des Thang can be taken as a reference for the Livre de Jade about what scholars and poets have in common when translating poetry. This demonstrates the influence and limitation that the Chinese and French languages, cultures, and literary traditions exert on poetic translation. Examined from the perspective of the 19th-century French poetry on the other hand, the Livre de Jade possesses qualities of romantic themes, but it also bears Parnassian imprints in its imitation of the newly emerging prose poetry and its transplantation of ideas of painting. Besides, in analyzing the two obvious features of the Livre de Jade, namely its abundant metaphors and the omnipresence of nature, this thesis juxtaposes French romantic poetry keen on figures of speech, especially metaphor, with classical Chinese poetry immersed in its tradition of bi-xing. The above analysis reveals that the Livre de Jade is by no means translation in the strict sense of the word. However we might regard it as the first encounter between Chinese and French poetry which enables them to reflect and rediscover each other before they finally merge into one.
Notre thèse est consacrée à la réception de la poésie chinoise classique chez les poètes français à travers notamment les anthologies. Elle est divisée chronologiquement en trois parties. La Partie I ...couvre la période 1735-1860, antérieure à la première anthologie de poésie chinoise et où il n’est donc question que de morceaux choisis. Nous estimons que cette partie est indispensable sur les plans à la fois historique et comparatif. Sans elle, nous apprécierions peut-être moins l’arrivée des anthologies et leur contribution à l’évolution de la réception de la poésie chinoise chez les lecteurs-poètes. La Partie II commence par la parution de Poésies de l’époque des Thang. Nous débutons ainsi par un aperçu général des anthologies parues entre 1862 et 1949. Puis nous abordons la traduction de cette période et les anthologies majeures. Nous entrons par la suite dans le vif du sujet qu’est la réception de ces anthologies chez les lecteurs-poètes, tels que Paul Claudel, Segalen et Saint-John Perse. La Partie III concerne la période 1953-2008. Nous abordons d’abord la diffusion et la traduction des anthologies de cette période. Puis nous parlons en détail des trois sortes d’anthologies produites par les traducteurs professionnels, les sinologues et les poètes, sans oublier de réserver un chapitre à des anthologies majeures. Enfin, nous étudions les poètes contemporains qui lisent la poésie chinoise traduite avec leurs différentes modalités de réception. Dans la réception, le plus intéressant n’est peut-être pas de connaître la poésie chinoise classique mais bien de s’interroger sur la façon dont les poètes français l’interprétèrent. Nous espérons avoir pu répondre à cette interrogation à travers le long parcours historique déployé dans cette thèse.
This thesis addresses the reception of Classical Chinese poetry by French poets, particularly by means of anthologies. It is organised chronologically in three parts. Part One covers the period 1735–1860, before the first anthology of Chinese poetry, and is therefore concerned only with excerpts. An understanding of this first period is essential if we are to appreciate the significance of the anthologies that followed, and their role in the changing reception of Chinese poetry by reader-poets. Part Two begins with the publication of the anthology Poésies de l’époque des Thang. After a general overview of the anthologies published between 1826 and 1949, there is a more detailed account of translation practices over this period, and of the most influential anthologies. It is then possible to address the central issue of this thesis: the reception of these anthologies by reader-poets, such as Paul Claudel, Victor Segalen and Saint-John Perse. Part Three is concerned with the period 1953–2008. Following an account of the dissemination and translation practices of anthologies from this period, there is a detailed discussion of the three types of anthologies produced by professional translators, Sinologists and poets respectively, and a further chapter is devoted to the most influential anthologies. Finally, a study is made of contemporary poets who read Chinese poetry in translation, and of their different forms of reception. This reception is of interest, not so for much for what it tells us about Chinese poetry itself, but rather for the way it has been interpreted by French poets. The long historical trajectory of this thesis provides an important insight into this interpretation of Chinese poetry.
Classical Chinese Poetry (CCP) is a valuable but almost locked treasure chest of human wisdom and civilization since 2000 years. With the advent of the Web 2.0 a renaissance of CCP is possible even ...outside Chinese-speaking communities world-wide. With mobile technologies and educational games we can address new learning communities for CCP and open the chest again. In this paper, we introduce a Web 2.0 personal learning environment for CCP. We have developed a generic and interoperable data model for CCP we utilize not only for mobile learning scenarios but also for educational gaming with different levels of difficulty. Learners are empowered to learn Chinese poetry, language, history, and culture. This research work shows how modern information technologies assist users to diffuse knowledge across the borderlines of communities and societies.
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