Diffusion of Distances: Dialogues Between Chinese and by Wai-Lim Yip

By Wai-Lim Yip

During this selection of passionately argued essays, the the world over acclaimed poet and critic Wai-lim Yip calls Western scholarship to account for its treacherous illustration of non-Western literature. Yip strikes from Plato to Hans-Georg Gadamer, from Chuang-tzu to Mao Tse-tung, from John Donne to Robert Creeley, as he makes an attempt to create a double realization that incorporates the mind set of the unique writer and the expressive potentials of the objective language. He goals, first, to show the categories of distortions that experience happened within the strategy of translation from one language to a different and, moment, to suggest instructions that may hinder this sort of linguistic violence sooner or later.

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Next page > < previous page page_22 next page > Page 22 paintings (for the present purpose, let us focus only on the most salient features), it is not difficult to detect that both employ multiple or revolving perspectives as their compositional axes and both aim at the recomposition of synchronous moments of visual experience to constitute the sense of totality. And yet, there is between them such a degree of difference! ) during the painter's mountain stay and excursion (sometimes lasting over five years); the Chinese landscape is an environment re-created in its natural undistorted form and measure for the viewer to move in and about.

In English, as in all Indo-European languages, a sentence is almost always structured in a stipulated direction according to rigid syntactical rules. ) Chow's poem can behave as it does because the classical Chinese language, as it is used in poetry, is free from syntactical rigidities having no articles, personal pronouns, verb declensions, or connective elements such as prepositions and conjunctions and being indeterminate in parts of speech. These facts quite often leave the words in a loosely committed < previous page page_29 If you like this book, buy it!

This division, based mainly on the rise and fall of dynastic power, is somewhat artificial and not entirely satisfactory. It would be better to describe the development of T'ang poetry in terms of three successive phases: a formative phase . . marked by experimentation and relative naivety, a phase of full maturity . . characterized by great creative vitality and technical perfection, and a phase of sophistication . . typified by tendencies toward the exuberant or the grotesque. It is not fanciful to see a parallel between these three phases of T'ang poetry and the quatrocento, cinquecento, and baroque periods of Italian art.

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