1 Introduction 11-49 1.1 Theme of the Research 11 1.2 Background of the Research 11-33 1.2.1 Significances 11-12 1.2.2 Background 12-22 1.2.2.1 Pound‘s Imagism and Vorticism 13-15 1.2.2.2 Pound’s Theory of Translation 15-17 1.2.2.3 Pound‘s Cathay 17-21 1.2.2.4 History of Translation Theory 21-22 1.2.3 Motivations 22-24 1.2.4 Previous Researches 24-33 1.2.4.1 Shi(势)in Chinese Poetics 24-25 1.2.4.2 Concept of Energy in Language 25-27 1.2.4.3 Pound’s Theory of Translation 27-31 1.2.4.4 Pound‘s Cathay 31-32 1.2.4.5 Significances of Pound’s Theory of Translation 32-33 1.3 Claims of the Research 33-36 1.3.1 Method 33 1.3.2 Framework 33 1.3.3 Development 33-36 1.3.4 Thesis 36 1.4 Energy in Language Fenollosa‘s The Chinese Written Character as a Medium for Poetry 36-46 1.4.1 Energy in the Chinese Ideograms and Poetry 37-41 1.4.2 Energy in Language in the Chinese Ideograms and Chinese Poetry 41-46 1.4.2.1 Phanopoeia: Vividness of Painting 42-43 1.4.2.2 Melopoeia: Mobility of Sounds 43-44 1.4.2.3 Logopoeia: Visibility of the Metaphor 44-46 1.5 Summary 46-49 2 Shi(势)in Chinese Tactics, Calligraphy, Painting and Poetics 49-65 2.1 Shi(势)Defined 50 2.2 Shi(势)in Chinese Tactics, Calligraphy and Painting 50-53 2.2.1 Shi(势)in Tactics 51 2.2.2 Shi(势)in Calligraphy 51-52 2.2.3 Shi(势)in Painting 52-53 2.3 Shi(势)in Chinese Poetics 53-62 2.3.1 Shi(势)in Dragon Carvings of a Literary Mind 53-55 2.3.2 Shi(势)in Discourse on the Secret Treasury of the Mirror of Literature 55-57 2.3.3 Shi(势)in Exempla of Poetry 57-59 2.3.4 Shi(势)in Remarks on Poetry in Study Jiangzhai 59-61 2.3.5 Attributes of Shi(势) 61-62 2.3.5.1 Truth 61 2.3.5.2 Emotion 61-62 2.3.5.3 Motion 62 2.4 Xingwen(形文)& Shengwen(声文)& Qingwen(情文) 62-63 2.5 Summary 63-65 3 Energy in Language in Pound’s Poetics 65-88 3.1 Energy in Language Defined 65-66 3.2 Energy in Pound‘s Poetics 66-75 3.2.1 Method of Luminous Detail 66-69 3.2.2 Doctrine of the Image 69-71 3.2.3 Doctrine of the Vortex 71-72 3.2.4 Attributes of Energy 72-75 3.2.4.1 Truth 73-74 3.2.4.2 Emotion 74-75 3.2.4.3 Motion 75 3.3 Energy in Language in Pound’s Poetics 75-84 3.3.1 Phanopoeia 77-79 3.3.2 Melopoiea 79-82 3.3.3 Logopoeia 82-84 3.4 Case Study: In the Station of the Metro 84-86 3.5 Summary 86-88 4 Energy in Language in Pound‘s Theory of Translation 88-104 4.1 Pound’s Motivations in Translation 88-91 4.2 Energy in Pound‘s Translation 91-96 4.3 Energy in Language in Pound’s Translation 96-103 4.3.1 Phanopoeia 97-100 4.3.2 Melopoeia 100-101 4.3.3 Logopoeia 101-103 4.4 Summary 103-104 5 Energy in Language in Pound‘s Cathay 104-148 5.1 Energy in Pound’s Cathay 104-106 5.2 Energy in Language in Pound‘s Cathay 106-146 5.2.1 Phanopoeia 106-124 5.2.1.1 Omission of Verb and Particles 107-109 5.2.1.2 Juxtaposition of Images 109-116 5.2.1.3 Isolation of Images in Lines 116-119 5.2.1.4 Contrast of Images by Space 119-120 5.2.1.5 Use of Anaphoric Construction 120-122 5.2.1.6 Simplification of Allusions 122-124 5.2.2 Melopoeia 124-138 5.2.2.1 Rhythm 124-135 5.2.2.1.1 Phrasal Rhythm 124-125 5.2.2.1.2 Repetition in Rhythm 125-127 5.2.2.1.3 Variation in Rhythm 127-133 5.2.2.1.4 Power in Rhythm 133-135 5.2.2.2 Sound 135-138 5.2.3 Logopoeia 138-146 5.3 Summary 146-148 6 Significances of Pound’s Energy:Based theory of Translation 148-158 6.1 Epistemological Significanees 148-153 6.1.1 Translation: a Criticism of the Original 149 6.1.2 Translation: a New Work in its own Right 149-152 6.1.3 Translation: A Transfer of Energy in Language 152-153 6.2 Methodological Significances 153-157 6.2.1 Method of Foreignization 153-154 6.2.2 Method of Content-Derivative, or Organic Form 154-156 6.2.3 Method of Melopoeia, Phanopoeia, and Logopoeia 156-157 6.3 Summary 157-158 7 Conclusion 158-165 7.1 General Postulates 158-164 7.2 Implications 164-165 Acknowledgement 165-168 Bibliography 168-177 Publications 177-178 Appendix 1 Cathay with Source Texts 178-199 Appendix 2 Fenollosa’s Notes 199-204 |
