剑桥大学国王学院合唱团发布中文歌曲,2010英国游记

亚洲必赢官网app( 3

剑桥大学国王学院合唱团发布中文歌曲,2010英国游记

亚洲必赢官网app( 1北卡罗来纳教堂山分校大学君主大学

剑桥大学国王学院合唱团发布中文歌曲,2010英国游记。Keywords: 唐诗

Credit goes to: 霁溪.

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亚洲必赢官网app( 2天王高校康河边的石碑

次第:原版的书文、自身的译文、参考译文、笔记


小编去了这几个地点:
King

At the Backs of King’s College there is a memorial stone in white marble
commemorating an alumnus of the College, renowned Chinese poet Xu Zhimo.
Moving to the UK in 1921, Zhimo spent a year studying at King’s, where
he fell in love not only with the romantic poetry of English poets like
John Keats, but also with Cambridge itself.

宋词(Chinese Tang poetry)泛指创作于东汉(61八年-90七年)的诗。
Chinese Tang poetry means poems composed from 618 to 907.
Chinese Tang poetry generally refers to poems written during the Tang
Dynasty(618 A.D. – 907 A.D.).

Poetry has never been my forte. My AP Literature experience with poetry
last year was quite a bummer: a poem either degenerate into fragmented
meters, syntaxes, or rhymes, or assemble together into an indecipherable
murmur, vainly conveying messages. Back then, I could readily literature
terminologies, but independently understanding a poem was beyond my
expectation.

发表于 2010-10-25 10:40

Day 八,9/30: Cambridge 我们是在the train
line上订的高铁票,到Cambridge的轻轨票价格相对稳定,不会因为早买或晚买而有何变动,单程价格都以£1玖.1。我们本来想早晨早点去的,所以买了anytime
day return,每人£2七.5,假如买off-peak time day
return就更便于。但是那天早上要么尚未能马上起床,所以其实依然在off-peak
time乘的火车。 深夜乘District Line到Earl’s Court换乘Piccadilly
Line到London King’s cross Station。在Self service的fast
ticket机器上购票,购票时须要刷一下定票时候用的信用卡,认证身份,然后票子就打字与印刷出来了。
从King’s cross到Cambridge Station,大约要开壹时辰,然后在火车站旁边的bus
站乘坐city1或city3到city
center下。大家到的时候已经接近早上了,天气很好。去的那天刚好是壹些大学的开学报到日,所以能够看见路上三3两两的学员。
Cambridge真是太美了,不仅美在她的古老建筑,不仅美在River
Cam,更加美观在人文气息。穿梭在她的小街中,Punting在River
Cam上,你都能感受到那种弥漫在氛围中的学术氛围。 大家本着King’s
Parade走到了King’s College,那所高校是Henry
VI在14肆一年的时候创建的,迄今已有550多年的历史,学校的修建和他的名字同样,有着王者风仪。大学是急需订票参观的,每人£五。Chapel是King’s
College最著名的山色之一,每年圣诞夜,the Festival of Nine Lessons and
Carols都会在这里举办,并向全世界转播。King’s College的北部紧邻着River
Cam,当年《人间15月天》中徐章垿和林徽音的很多场戏都以在此取景的。大家专门找到位于King’s
College中的徐章垿的开封石诗歌碑,那是二〇〇9年才竖立在此的。说到来,最初对Cambridge的印象就源于徐章垿的《再别康桥》,而喜欢Cambridge也有一部分缘故是因为喜欢徐章垿,当年她在King’s
College做过旁听生。石碑并相当小,也不在话下,上边刻着《再别康桥》的壹段诗篇,但以此小碑对于每一个来此的中夏族民共和国人恐怕都装有尤其的意义。Cambridge的学员尽管可能搞不清徐章垿的名字,但大千世界都晓得那里有个中夏族民共和国Poet的Marble,并知道他写的那首诗在炎黄醒目。
从King’s College出来大家在city center周围的广场上吃了午饭,一家名称叫Don
Pasquale
Restaurant的意国餐厅。正午的时候,艳阳高照,懒懒的坐在餐厅的户外座位上,享受着意国美味的吃食,心里装满了欢腾。
上午的时候天气早先转为多云,大家本着River Cam又参观了Trinity
College和St. John’s
College,大学里十分坦然,游客也卓殊少。大家穿行在那一个古老的大学中,心中觉得分外温和。Cambridge正是如此二个town,让你安静下来,让您不用躁动。途中遇见3个United States旅行者,他也以为用peaceful形容Cambridge是最确切的。
之后来临Quayside的Punts码头,那里的老大都以Cambridge的美男子学生,每一遍Punting的流年大致四四分钟。River
Cam是一条并不宽的河,但尤其清秀,它的明白来自于双方连绵的university各种大学。泛舟河上,两岸随处是美景,淡宝石红的太阳洒下来,你会感到那是贰个在你梦中早就现身过的地点,是四个您不情愿离开的地点,这才是贰个体协会调的地点。而脑海中萦绕的是那首《try
to remember》“try to remember, the kind of September, when life was slow
and also mellow…”。
在punting的时候,偶然发现了几年前来的时候吃过的东瀛餐厅,记得及时是下午,笔者和2个好情人还有另1个越南同学合伙在这家位于河边的Teri-Aki里吃的东瀛菜,看到这家客栈时,当年的景色永不忘记。于是在punting甘休时,又过来这家酒店吃了晚餐。
甘休了壹天的Cambridge行程,真的恋恋不舍,在自个儿眼里,Cambridge大约每一处都以山水,那么些建筑并不是漠不关切的宜宾石,你能够透过它感受到它背后的野史以及那座town的文化底蕴。现在如果有时机,一定要在此间住上多少个夜晚。

在国君学院的后面,有一块汉白玉记忆石碑,纪念大学的一个人同学,盛名的中原小说家徐章垿。一九二一她移居英帝国,花了一年时光在主公学习,在那里她爱上的不唯有英帝国作家约翰·济慈的罗曼蒂克主义散文,还有加州伯克利分校本人。

泛指:generally refers to

The culprit, as I once identified, was the barrier. The language barrier
distanced me from the erudite dictions—strenuously resolving to the
dictionary eventually discouraged my pursue. Adding insult to injuries,
the subtle nature of poetry pushed me another step further from enjoying
this art form. Connotation, deeply rooted in the cultural context
specific to one group of people, was almost impossible to decipher for
an outsider. Once the subtleties assemble into a poem, in which every
diction and every syntax are arranged under much deliberation, I could
only gape with gnawing frustration. The barrier between poetry and me
wouldn’t be deconstructed, thought I.

His poem, 再别康桥 (variously translated as Second Farewell to
Cambridge), is arguably his most famous poem, and is now a compulsory
text on Chinese literature syllabuses, learnt by millions of school
children across the country every year. The poem paints an idyllic
portrait of King’s and the River Cam, and serves as a reminder of Xu
Zhimo’s fondness for his time in Cambridge.?

宋词是达斡尔族最弥足尊敬的文化遗产之一,同时也对普遍民族和国家的学问进步发生了巨大影响。
Chinese Tang poetry is one of Chinese Han people’s rarest cultural 遗产.
Meanwhile it makes great influences on the development of surrounding
民族 and countries’ cultures.
Chinese Tang poetry is one of the most valuable cultural heritages of
the Han nationality. Meantime, it also has a great influence on the
cultural development of neighbouring nations and countries.


徐章垿的诗《再别康桥》能够说是他最知名的诗,它未来是中夏族民共和国语文化工学大纲必修文本之一,中华夏族民共和国历年有上百万学童读书。那首诗描绘了一幅田园诗般的君主高校和康河,并显现出徐章垿对伊利诺伊香槟分校时光的友爱。

最弥足爱护的文化遗产:the most valuable cultural heritages
文化遗产:cultural heritages
产生巨大影响:have a great influence

That was before meeting Camille Paglia’s Break, Blow, Burn. An extremely
well-versed collection of her literature analysis to forty-three “best
poems,” this book is resonating from the preface. Instead of filling her
book with a daunting academical tone, Paglia states that her book aims
for “the general audience.” No poetry jargons, no unexplained social
contexts, only her perfuse passion for poetry. Needless to say, reading
her analysis is like savoring a grand British afternoon tea.

While the poem has been set to music many times before, King’s has
commissioned the first musical setting of the text by a mainstream
classical composer. The new piece, by renowned English composer John
Rutter, has been written and recorded in celebration of the near
100-year link between King’s College and Xu Zhimo, and has been released
on 26 January 2018 on a new album on the King’s College Record Label.

而流传最广的当属《宋词三百首》(Three Hundred Poems of the Tang
Dynasty),里面收音和录音的无数杂文都为后代所了解。
While the widest-spreading one must be Three Hundred Poems of the Tang
Dynasty, in which many poems are known by 后人.
The most widespread ones among Tang poems are definitely Three Hundred
Poems of the Tang Dynasty, in which many poems are quite familiar to
people of later generations.

But the first moment she reconnected me with the distant realm of poetry
was when she claimed in the preface, “The best route into poetry is
through the dictionary. (xvii)” According to Paglia, the accumulation of
language sensitivity and the final condensation of expression comes from
the original source—dictionary. It was then that I discovered how
nuances, far from being a natural talent, could be cultivated via
practice. My confidence was then rekindled.

就算那首诗已反复被配乐演绎,但皇上大学委托了主流古典作曲家依照诗的文字举办创作。新创作由盛名的U.K.作曲家John·Lut(JohnRutter)担纲,以难忘主公高校和徐章垿之间近十0年的不解之缘,并已由国君高校的唱片公司于二〇一八年1二月贰五日宣告。

流传最广的:the most widespread
流传:widespread

An overarching theme in the preface is the mission of poetry as an
independent art form. What defines a good poem? What can a good poem
bring us? Paglia’s answer is the connection with the popular vocabulary,
the physical throbs the words bring to the body, and the emotional
expressiveness. According to her, poetry, through erudite and sometimes
daunting, shall not be removed from the popular voices. Irrationally
pursuing the archaic vocabulary not only distances the audience but also
will create an esoteric mix of voices. Good poems should bring people a
moment of explosive understanding, either through emotions or through
rational senses.

“Many intellectual transformations happened for him while he was here
and in some ways the whole seed of his development as a person who
became an intellectual poet, through the medium of poetry, all sort of
connected up with his visit to Cambridge and the people we met.”

秦代的作家很多,个中李十二、杜10遗等都以世界知名的宏伟作家,他们的文章有举不胜举都以有口皆碑的诗文。
The number of Tang Dynasty’s poets was large, includes Li Bai, Du Fu who
are world famous great poets. Many of their works are widely spread.
There are a great many poets in the Tang Dynasty, and among them are
world-famous Li Bai and Du Fu, many of whose works are household poems
with great popularity.

Like philosophy, poetry is a contemplative form, but unlike
philosophy, poetry subliminally manipulates the body and triggers its
nerve impulses, the muscle tremors of sensation and speech. (xiv)

……

Poetry does not simply reconfirm gender or group identity; it develops
imagination and feeds the soul. (xivii)

亚洲必赢官网app( 3清华大学国君大学官网上关于《再别康桥》专辑的牵线

卓绝的诗词:household poems with great popularity

Break, Blow, Burn is a great textbook guiding curious pursuers into the
realm of poetry. From syntaxes to dictions, Paglia gives an analysis
thorough enough to be understood. Every cultural connotation is cited
with an explanation, even the poet’s cultural background is incorporated
into the passages. We can say that Paglia is a faithful custodian of the
masterpieces: the entire background knowledge and interpretation of one
poem are all diligently presented, all we readers need to do is to gape
in awe and digest.

“君王高校非常大程度支持徐章垿实行了文化,并种下领会后改为一名才识过人的作家的种子,”皇帝大学副院刺Steven·切力(史蒂夫Cherry)表示,“通过对那首诗的音乐创作,大家把大学的美丽点滴和徐章垿自个儿在此地的光明体验结合起来,重新带给因他而寻访的中华公民。”

了不起的->无人不晓的:household

However, if the book ends here, it would be no more different than any
other well-crafted textbook—faithfully presenting information and
diligently conveying facts. This book stands out in a way that it is
more contemplative than normal textbooks like Campbell’s Biology or
Vander’s Human Physiology. In Break, Blow, Burn, the voice of Paglia is
unusually strong. She is not simply appraising the poem (of which she
has done pretty well)—she takes the liberty of expanding on the theme of
the poem to convey her understanding of art, conflicts, and humanities.
It is her own voice lamenting the annihilating power of nature in Percy
Shelley’s “Ozymandias,” and her own voice recapturing the despair in
Sylvia Plath’s “Daddy.” Somehow through analyzing poems, she manages to
examine—poem by poem—the ultimate mission of poetry. Is it venting all
the hoarded emotions? Is it being beautiful for beauty’s sake? Is it
tugging the heartstring because of genuine sensitivity? She doesn’t
offer an absolute answer (as if any will ever exist!), but her
examination can still provide us with some insights.

整首曲目以男高中文独唱(soli tenor voice
choir)为主,配以长笛独奏(soli flute)。

清朝诗句的创作技巧五种,题材丰硕,是作者国小说发展的万丈成就。
Chinese Tang poetry is full of create tricks and has abundant articles,
which is the greatest achievement of out country’s poetry’s
development.
Chinese Tang poetry has reached the highest achievement of poetry due to
its diversified techniques and rich themes.


“John Rutter is a very resourceful composer, and I was delighted with
the way he conceived of doing this, presenting most of the text through
the tenor voice for which we engage the Chinese tenor. Well, I wanted to
have a go myself at making an arrangement of it which would express
something of what we do at King’s.”

是参天成就->取得了参天成就:reach the highest achievement

To discuss the mission of poetry, the first step is to understand the
role of the poet in poetry production. Poets assemble words into
sentences, sentences into stanzas, until the final combination gives
readers the chills of emotions. Like William Wordsworth once said,
“Poets pick out the sublime from normal lives.” In the eyes of poets,
placid lives can be filled by outbursts of artistic inspirations, and
they are the ones to capture the scene, condense it into words, and
spread them with readers.

“很光荣能够约请到John·卢特(JohnRutter)来为大家作曲。他是个经验丰裕的作曲家,这一次也透过与一名中中原人民共和国男高歌星的搭档充裕呈现了大家想发挥的宗旨。其实自个儿直接希望能够做出1首表明出帝王高校气质的创作”,负责那首《再别康桥》曲指标编曲家,同时也担任国君高校合唱团总指挥的斯蒂芬·克劳伯里(StephenCleobury)说。

Art is natural, but poets do the sorting. William Carlos Williams’s poem
“The Red Wheelbarrow” pictures the image of a red wheelbarrow glazing in
the rain, with a group of chickens chirping nearby. The static idyllic
picture can have multiple meanings: the sudden discovery of beauty in
the next corner, the art of focusing on the “right” object at the
“right” time, and the harmonious juxtaposition of the quiet (“a red
wheel / barrow”) and the sound (“the white / chickens”). For Williams,
the wheelbarrow is similar to the role of a poet, collecting and
transporting the beauty from one place to another, meanwhile being able
to tell the sublime from the backdrop.

“The inspiration I think came from the poem which is on the tablet by
the bridge by the river camp here in the college. Apart from the tourist
self and the words, which of course are quite big elements in it, it’s
not specifically intended to be a Chinese piece. It’s the sort of
arrangement I would make for something like that, and it’s a very
beautiful melody.”?

Sometimes when the art is hidden deep, the poets turn the prosaic into
poetry. In Paul Blackburn’s “The Once-Over,” the storyline is as simple
as a car-load of metropolitan outcasts scrutinizing a young blond.
However, the rendering of such a depiction readily delivers Blackburn’s
central theme: the surge of lust and despondency under the brittle
surface of urban life. Blackburn is a virtuoso in the using of lists.
The three lists given in the poem—a list of all the boarding passengers,
a list of the blond’s appearance, and a list of the young man’s
actions—are precise and succinct in a manner that each object broadens
an aspect of perception. A careful analysis of the listed objects not
only clarifies the theme of the poem, but also shows how Blackburn can
condense his ideas in such few words. Although what he pictures is not
peculiar, the way he concentrates his lists and how he phrases his words
achieve to create a strong, coherent central theme for readers.

“康桥边石板上篆刻的诗给本身带来了灵感。除去诗歌自己是粤语小说及大气就此而来的炎黄观光客等要素,作者未有刻意追求音乐小编的中中原人民共和国化。作者只是觉得这么的编曲和韵律是最符合的。”

To sum it up, poets transform normal scenes with their graceful
manipulation of language to convey themes. Although sometimes poets
write poems for certain audiences, poetry itself can have healing powers
for its creators. Art can be a form of salvation, monument, even weapon.

Poets are probably the last group to yield to any form of restrains
stymieing imaginations. Such clashes between surging passion and
restrains—be them social conventions, bleak cosmopolitan debris, or
ongoing materialism—catalyst dissatisfactions and (hopefully!) great
poems. In Wallace Stevens’s “Disillusionment of Ten O’clock,” there is a
subtle clash between the “white night-gowns” (conservatism and social
pressure) and the imagination, as embodied by the colorful gowns,
seductive beads, and the crazy tiger-hunting sailor. Sternly I believe
that Stevens is the sailor dreaming of tigers in red weather, though
Stevens’s tiger might be free expression of art in his social context.
Unable to straightforwardly address his dissatisfaction, Stevens has to
conceal his emotions in a well-crafted poem, by which he manages to vent
his pathos. In this sense, poetry is Stevens’s microphone-like
salvation.

Beyond self-helping, poetry can also set monuments for significant
personal or social episodes. The most touching poem in Break, Blow, Burn
is Sylvia Plath’s “Daddy.” Protesting her childhood trauma perpetuated
by her oppressive father, Plath uses this poem to demonstrate her
eventual yet belated outburst of anger and protest. In her glaring
sentences, readers can see how her trauma gradually led her to
self-denial (“And a love of the rack and the screw / And I said I do, I
do”) and near-demise (“At twenty I tried to die”). This poetry is
probably dedicated to Plath’s shadowed life as a monument of her
struggles to survive under oppressions, but just as Paglia points out,
“her best poem belongs to her father; Father and daughter are locked in
the psychic struggle for eternity. (176)” Poetry became a funeral
monument for both Plath and her father. Similarly, poetry can document
the collective trauma of one society. Normal Russell’s “Tornado” depicts
a family’s near-death experience escaping the sweeping tornado. Unlike
media broadcasts, poetry captures the subtle moment of humans losing
their fragile dignity in the face of a destructing nature. The subtle
reaction is brought about by an accumulation of transient details: the
collapse of their wardrobe (which stands for the collapse of their
mortal collection of wealth), their holding hands in a shelter, and
more. It is these details that transforms the static news reports into
tangible emotions tracking the terror in the fave of disasters. Here,
poetry is a societal monument.

Even, poetry can be a weapon. The strongest weapon proudly possessed by
poets is language. They wear this emblem in their powerful diction, in
their flaming syntax, in every design possible, until the turmoil—the
initiating emotion that prompts them into crafting this poem—is
thoroughly eclipsed by their words. One such example is Wanda Coleman’s
“Wanda Why Aren’t You Dead,” in which Coleman faithfully and diligently
documents the verbal attacks she has shouldered since born—her
complexion, her social status, her looks, her weight, everything about
her. Several lines are almost firing, “if i were you were you were you”
“i’m sorry didn’t remember that that that / that that that was so
important to you” “wanda wanda wanda i wonder / why ain’t you dead.” I
can almost see her forcefully swallowing tears behind these jammed
grammar. But only one sentence has intact grammar, which happens to be
the only sentence not from her peers’ attack: the title. The transition
from “ain’t” to “aren’t” is her response to the past menaces,
demonstrating that she is back on her feet with her powerful poetry. To
Coleman, poetry is her weapon against her memory being bullied and later
abused.


Why do people need poetry in this world of gaudy entertainment? Poetry
is analogous to vegetables. Granting no stable supply of calories,
vegetables can be excluded if one were to cross the desert. But to live
long, to live healthy? Vegetables is not an accessory but a must-have.
Without poetry, one can live a carefree life, exempted from the doubts
and fears of strenuous thinking and intense sensations. However, once
the sensations are savored, one can hardly forget the way that
iridescent poems torching fires in the soul. Though the world is like a
kaleidoscope of thumping changes, what has profoundly moved us—the
sincere collection of emotions—remains unchanged. One of such collection
is poetry.

One can only live that long and experience that much. In less that a
century, the flesh will perish, regardless of how many unfulfilled dying
wishes the flesh owner pockets. But poetry is a window for us to
experience the past, the emotions, and the dreamt future—the despair of
chimney sweepers in industrial London, the ultimate dominance of human
vestige by nature, the crying of fettered female, and more. Readers get
to savor these experience which, in normal cases, would exceed their own
scope of space and time.

Also, different from prose or play, poetry is compact and experimental
in its own fascinating ways. Themes are not offered in the first
sentence—everything can use a little digging. Cramming the entire
“atmosphere” into several lines of words requires sophisticated
deliberation: the “feelings” can be hidden in an unusual syntax, a fresh
diction, or, like postmodernism, an entirely new way of expression.
Demystifying these hidden treasures is a process that is complicated
enough to have the words imprinted on the memory, until one day the
themes and emotions become the readers’ own possessions.

Poetry is not my forte, but nor is it exclusive! With a little help
(like that of Paglia’s Break Blow Burn), we can all share the fun.

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