The extraction of beautiful sound patterns from Sunthorn Phu’s poem using machine learning technique and internal rhyme rule

The melodious poems have been written from the distinctive features of poetry or based on each country's typical style. Especially, Thai poems which composed by the use of specific forming, such as Internal Rhyme to develop melodiousness. The most attractive and well-known poems were composed by a genius Thai poet named Sunthorn Phu. He is a role model for Thai poets. UNESCO honored him as the world’s great poet and the best role model in poetry works. In this article, we proposed extracting 15,796 sentences (Waks) of the beautiful sound patterns of Phra Aphai Mani’s tales by machine learning technology in conjunction with the rules of internal Rhyme Klon-Suphap by using the Apriori Algorithm. The extraction of vowel rhymes separated by a group of Waks including 1) Poem Wak No. 1; 2) Poem Wak No. 2; 3) Poem Wak No. 3; and 4) Poem Wak No. 4. In this article, “Wak” means sentence. The created tool can extract the internal rhyme patterns and the 25 popular pattern vowels. The popular pattern illustrates the melodiousness of the Poem and sets up a standard of how to melodiously compose a poem. Then, the evaluation of the experiments was done by using 144 Waks selected from the extraction of the beautiful patterns and evaluated by the consistency score from 3 experts. The average accuracy score resulted in 95.30%

Vagueness: Identity and Understanding Across Literatures East and West

The twentieth century witnessed an explosion in cultural exchanges between East and West. Through the increasing ease with which ideas could be communicated across the globe, and with which people, sometimes willingly, sometimes not, could move between distant countries, intercultural cross-fertilization became increasingly important to both “Eastern” and “Western” art. Yet this intellectual and physical movement also brought new forms of art that defied previous modes of interpretation, and called the very concepts of East and West into question. This dissertation uses the great exchange of people and ideas in the twentieth century to ask what identity cross-cultural literature can have and how we as critics should understand the heterogenous materials “East-West” literature presents us. My study addresses itself to debates in comparative literature and world literature. In particular, the concept of “literary worlds,” or of works of literature as imaginative worlds unto themselves, is the starting point of this thesis. Though the theory of literary worlds is rich and informative, it falters when dealing with texts founded on different ontologies as it can run the risk of highlighting superficial similarities without attending to deep-level differences. Recent work in philosophical logic, philosophical approaches to vagueness, and Asian Analytic Philosophy fortifies the theory, and the strengthened concept of literary worlds serves as a methodological framework throughout this dissertation. The ensuing chapters compare literary responses to East Asian texts or sets of texts, then consider what sort of epistemic and ontological relations obtain between these different literary works. Chapter II looks at Ted Hughes’ and Chou Wen-Chung’s unfinished operatic adaptation of the Bardo Thödol. Hughes and Chou worked to make the Eastern and Western material from which they were constructing the Bardo fuse in a coherent East-West text. The process by which they attempted to carry out that fusion is the subject of the chapter. Chapter III considers two adaptations, one by Paul Claudel and one by Mishima Yukio, of the classical Japanese Nō play Kantan. The ways in which Claudel and Mishima borrowed from Kantan to suit their own aesthetic and philosophical visions provides a fascinating case study of identity relations between literary worlds bearing the same origins but having different coherences. Chapter IV compares the poetry of Paul Claudel and Kuki Shūzō written in the 1920s, during which time Claudel lived in Kuki’s native Tokyo and Kuki in Claudel’s native Paris. To craft short poems on life in one another’s cities, Claudel and Kuki drew from similar sources and experiences, yet, as their critical writings show, held divergent views of the fundamental structure of art and, indeed, of the universe. The extent to which these divergent metaphysical viewpoints affect the structure of each poet’s poetic worlds is considered. Finally, Chapter V treats the exile poetry of Bei Dao along with Ted Hughes’ rewriting of a poem on his native Calder Valley into a “Chinese history”. Both Bei Dao and Hughes have spoken in depth about the effects of tradition on poetic composition and reception, and the chapter ruminates on how that conception changes over time, and what it means for Bei Dao’s and Ted Hughes’ poetry and our comprehension of it. The Conclusion reconsiders the modified theory of literary worlds advanced at the start of the dissertation, and reflects on how the findings of the previous five chapters might affect future study of East-West and comparative literature

Chinese Shakespeares : an intercultural study of adaptations across performance genres

My dissertation uses the proliferation of contemporary adaptations and performances of Shakespeare in Mainland China from the 1980s to the present as an example to demonstrate the complicated language, historical, cultural, and socio- political interactions between the Chinese and the Anglophone world during the last three decades. It is an inquiry of the (re)presentation, (re)construction, and perception of Shakespeare in contemporary China, in a period of dramatic local, social and economic changes, vis-à-vis the increasingly powerful impact of the global consumption of literary, cultural artefacts. Focusing on the interactions that take place among Shakespearean text and performance and Chinese culture, the dissertation addresses the following issues: Why should Shakespeare be associated with China? To what extent can Chinese interpretations of Shakespeare tell us about social changes in China? How has Shakespeare affected Chinese theatre and Chinese culture? How can Chinese Shakespeares contribute to the general interpretive possibilities of Shakespeare and to the global awareness of foreign Shakespeares?Theorizations of theatrical interculturalism began in the 1970s, but until now, there has not emerged a unanimously agreed theory to explain intercultural theatre. My dissertation deploys cross-disciplinary approaches of translation studies, performance theories, cultural studies, comparative literature and the sociological theory of locality criticism to examine the mechanisms of adapting Shakespeare into Chinese theatrical forms and offers a thick account of the producing, promoting and perceiving of Shakespeare in today’s China. My analysis focuses on shifting localities that cluster around the artists, their works, and their audiences. The first chapter reviews the complexity of encounter between Shakespeare and China, laying the ground for my premise that Chinese performances of Shakespeare are invariably informed by ideological, political or cultural norms and constraints of Chinese society. Three genres of performances—huaju (spoken drama), xiqu (Chinese opera) and dianying (films)—are singled out in this study to discover key cultural and aesthetic moments of their encounter, influence and reception. Nine stage and screen productions are examined as products of the interculturalism of Chinese Shakespeares. My contention is that these intercultural productions have consciously interweaved Shakespeare and Chinese theatrical forms to resonate with the issues of Chinese society and construct the image of China in the globalised world

Film Hierophany: Analysing the Sacred in Avant-garde Films from the 1920s to 1950s

I am focusing my dissertation on the concept of ‘hierophany’ as established by Mircea Eliade in order to formulate a theory of the ultimately cooperative relationship between the sacred and the avant-garde. On the outer surface, the relationship between the two seems intensely characterised by contention and conflict, due to the sacred being bound to the timeless, mythical dimension and the avant-garde being conventionally defined as a modern movement. However, I intend to re-theorise the avant-garde as being much more than a historically and culturally constrained phenomenon, that avant-garde — much like the sacred — is an inherent predisposition within the consciousness with transhistorical and transcultural qualities. And even though the sacred is normally associated with the archaic while the avant-garde is defined by a constant newness, I am setting out to establish that the archaic can indeed exhibit avant-garde aspects, and this is where my study of Antonin Artaud’s theoretical material enters to help resolve such difficulties. Apart from upholding a dream cinema that detaches from (modern) conventions of aural narrative, Artaud proposes a revival of a mythical theatre, especially in his romantic idealisations of the Balinese theatre where the playing out of images and gestures is as he posits a process of transmutation channelled by the gods. Correspondingly, with a mechanical assemblage such as a work of cinema revealing mythical images and symbols, such an idea of radically mixed connotations goes to show that film may not be exclusively modern afterall. Film may in fact be essentially aligned with the primitive tendency to seek divine meaning and empowerment in everyday objects, places, and events — that through the cinematic medium, objects that are normally considered inanimate and even ordinary would come to possess sacred significance, acquiring a life force that magnifies the object’s relationship with higher dimensions. Ultimately, my attempt to show that film inherently possesses such animistic qualities would lead to a dismantling of the dichotomy between the sacred — which Eliade so insists is a separate dimension completely alien to this world — and the profane — which predominantly characterises modernity, of which both the avant-garde and the cinematic medium are considered by conventional standards to be two of the main components. The films I focus upon either express an idealisation of Eastern philosophy — regardless of whether or not such an idealisation is directly articulated — or provide an answer, or rather a replenishment, for a vision of higher fulfillment that the modern Western cultural attitude is severely missing. My original contribution is — not exactly to play one cultural attitude against another, as that would be the greatest fallacy — but to discern, by way of the intrinsic film form, the nature of those themes, images, and symbols that profoundly resonate with the mythical/sacred imagination, so much so that such operative patterns within the consciousness can be considered universal. In that connection, I set out to examine those aspects of the sacred that are inherently predisposed towards expanding creativity, which is that intense area of hybridity where the sacred and the avant-garde converge. Apart from analysing some interpretations of Germaine Dulac’s The Seashell and the Clergyman (1928) in Chapter 2 — or more precisely, Artaud’s ideas of this film that is based upon his original scenario — I discuss in detail specific scenes from the following films, all of which break open modern secular norms and enter completely uninhibited into the mythical realm where conventional definitions of reality become radically challenged: 1.) Maya Deren’s Meshes of the Afternoon (1943) 2.) Jean Cocteau’s Orpheus (1950) 3.) Kenji Mizoguchi’s Sansho the Bailiff (1954), Ugetsu (1953), Utamaro and His Five Women (1946), and The Life of Oharu (1952

Seeing beauty in a face: a framework for poetry translation & its criticism

The thesis aims to propose a framework for poetry translation and its criticism. It is demonstrated how criticism on poetry translation can discuss the source text and target text in a way that they may well be two pieces of prose and miss a very important point: their aesthetic value as poetry. The thesis goes on to investigate an important issue of poetry translation: what makes �·poetry poetry. For if poetry is to be translated into poetry and criticized as poetry, this will be a highly relevant issue. An investigation into both Chinese and Western traditions shows that the common ground shared is that poetry in a poem is something holistic and coming from those aesthetically effective contextual relations from the poem. Gestalt Theory is introduced as the backbone of the framework to embody how those contextual relations function and a new term for the poetry one reads in a poem is coined, poestalt-combining poem and gestalt. The framework then is applied to investigate three issues and its significance to the criticism of poetry translation: Firstly, how poestalt may emerge mid the condition for this to happen, i.e. aesthetic coherence. Secondly, the significance of the creative involvement of the reader/translators, which is an important element of poetry reading/translation. Thirdly, the nature of the contextual relation and poestalt, which is highly related to the former two.issues. With this framework, the thesis shows that the poestalt emerging from the source text is the relevant object of poetry translation and its comparison with the poestalt emerging from the target text is the object for the criticism of poetry translation

Rethinking Binarism in Translation Studies A Case Study of Translating the Chinese Nobel Laureates of Literature

The theorisation of translation originated in a binary opposition embodied by the debate of word-for-word vs. sense-for-sense translation methods. It is true that by now, theories in Translation Studies (TS) have become significantly more elaborate and sophisticated. However, it cannot be denied that some of its most dominant and pertinent concepts continue to get portrayed in binary concepts, such as translation vs. original, translatability vs. untranslatability and translation vs. interpreting, among many others. This study believes that TS, not different from most intellectual inquiries of the human mind, has been built upon binarism. The current research project aims to identify the traces of this epistemological tradition in the different stages of the discipline’s development, encompassing various theoretical models in the field, while reflecting upon the evolution of TS that marks its departure from such a tradition. It approaches the issue by examining three prevailing dichotomies in the field, namely source vs. target, prescriptive vs. descriptive and translation vs. non-translation. To propose an alternative to the existing binary perspective, this study borrows from the sociological models of Parsons and Giddens to portray translation as a social action. The binary concepts are then evaluated against empirical evidence obtained through a case study of two translators of Chinese Nobel Laureates, Howard Goldblatt and Mabel Lee. Both paratexts and metatexts are consulted to demonstrate that the scenario is much more complex than what is suggested by these dichotomies. It should be clarified that this study does not advocate that scholars discard these terms altogether. Instead, it acknowledges that dichotomies serve a definite purpose in certain contexts, but aims to problematise their uncritical application. Eventually, it seeks to heighten the awareness of binarism in the discipline and strives for a balance between the precision and standardisation of the metalanguage employed in discussing translation

Chinese Poetry in Times of Mind, Mayhem and Money

Chinese Poetry in Times of Mind, Mayhem and Money is a groundbreaking study covering a range of contemporary authors and issues, from Haizi to Yin Lichuan and from poetic rhythm to exile-bashing. Its rigorous scholarship, literary sensitivity and lively style make it eminently fit for classroom use

In their own words: British Sinologists’ studies on Chinese literature, 1807–1901

Adopting a narrow sense of “literature” as the umbrella term for poetry, drama, and fiction, this research examines the British sinologists’ studies on Chinese literature from 1807 to 1901, and addresses the specific question of how both the knowledge about, as well as the collective discourse on, Chinese poetry, drama, and fiction were gradually constructed, narrated, accumulated, and standardized in the English-speaking world in the nineteenth century. This study brings together, for the first time, a wide range of little studied sinologists’ writings on Chinese literature, including monographs, journal articles, prefaces and introductions to translations, and chapters on Chinese literature in books surveying different aspects of China. Based on extensive archival investigations, this thesis reconstructs a panoramic view of how these diverse sinological texts acted collectively to create a body of knowledge about Chinese literature. Considering sinological literary studies within the historical and literary contexts which are sketched out in Chapter 2, the remaining three chapters of this thesis examine the three narrative forms I have identified in the sinologists’ writings on Chinese literature: the expository, or, direct description and explanation of the characteristics of Chinese literature, the comparative studies between Chinese and English or European literatures, and the historical accounts of Chinese literature. With systematic discourse analysis of these writings, this research aims to unfold the vocabulary and rhetoric, the frameworks and perspectives, and the narrative strategies employed by the sinologists in the discursive formation of the knowledge about Chinese literature. I argue that such knowledge and discourse produced in the sinologists’ studies must be understood as the result of the complex dynamics among multiple literary and cultural factors including the English and Chinese literary concepts and criticism, the ambivalent cultural attitudes towards China, the implied influence of British imperial power in China, and the varied purposes and criteria of individual sinologists. A study on the nineteenth-century British sinologists’ studies on Chinese literature enables us to trace and explain the historical origins of studies on Chinese literature in the English scholarship

Chinese Poetry in Times of Mind, Mayhem and Money

Chinese Poetry in Times of Mind, Mayhem and Money is a groundbreaking study covering a range of contemporary authors and issues, from Haizi to Yin Lichuan and from poetic rhythm to exile-bashing. Its rigorous scholarship, literary sensitivity and lively style make it eminently fit for classroom use

In The Eye Of The Selector: Ancient-Style Prose Anthologies In Ming Dynasty (1368-1644) China

The rapid growth of woodblock printing in sixteenth-century China not only transformed wenzhang (“literature”) as a category of knowledge, it also transformed the communities in which knowledge of wenzhang circulated. Twentieth-century scholarship described this event as an expansion of the non-elite reading public coinciding with the ascent of vernacular fiction and performance literature over stagnant classical forms. Because this narrative was designed to serve as a native genealogy for the New Literature Movement, it overlooked the crucial role of guwen (“ancient-style prose,” a term which denoted the everyday style of classical prose used in both preparing for the civil service examinations as well as the social exchange of letters, gravestone inscriptions, and other occasional prose forms among the literati) in early modern literary culture. This dissertation revises that narrative by showing how a diverse range of social actors used anthologies of ancient-style prose to build new forms of literary knowledge and shape new literary publics. In this dissertation, I focus on a corpus of roughly 100 anthologies dating from the early sixteenth century to the fall of the Ming in 1644. I begin with an overview of what a prose anthology was, how and where they were produced, and what kinds of selection strategies their editors employed. I first argue that government schools served as sites for reconstructing a more or less uniform canon of classical prose across the empire, and demonstrate how the figure of the anthologist enabled printers to codify seemingly universal “rules” (fa) of prose for an empire-wide student reading public. Having delineated this process, I then turn to a group of xiaopin (“minor appraisal”) anthologies produced by commercial printers in the Jiangnan region, and argue for reading their contents as a feminized ancient-style prose counter-canon embodying the values of an urban counterculture which valorized women writers. Thus, what twentieth-century scholarship viewed as an encounter between the individual writer and a monolithic tradition is better understood, I argue, as the emergence of an empire-wide student reading public followed by the creation of a print counterculture, in which male anthologists used female prose to signify alterity