{"id":679,"date":"2021-07-16T13:24:00","date_gmt":"2021-07-16T13:24:00","guid":{"rendered":"http:\/\/nclacommunity.org\/newdefences\/?p=679"},"modified":"2021-07-16T13:23:47","modified_gmt":"2021-07-16T13:23:47","slug":"poetry-as-the-defender-of-besieged-human-dignity","status":"publish","type":"post","link":"http:\/\/nclacommunity.org\/newdefences\/2021\/07\/16\/poetry-as-the-defender-of-besieged-human-dignity\/","title":{"rendered":"Poetry as the Defender of Besieged Human Dignity"},"content":{"rendered":"\t\t
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Min-Hua Wu<\/p>\n\n

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I. Priceless Esprit in the Capitalist Word of the Twenty-First Century<\/strong><\/p>\n\n

In Culture and Anarchy<\/em> (1869), Matthew Arnold classifies English society into the Barbarians, the Philistines, and the Populace. He defines culture as \u2018the study of perfection\u2019 (194). In search of the nation\u2019s collective \u2018best self\u2019, the social critic\u00a0sees in the Philistines the key to culture, for they compose the most influential segment of society. The nation\u2019s strength lies in their strength, and her crudeness in their crudeness. As such, it is necessary to educate and humanize the Philistines so that the majority of the society is able to have a taste of the Hellenistic sweetness, if not the Grecian light. In \u2018Dover Beach\u2019 (1867), the Disciple of Culture laments the decline of religion in spite of himself during his honeymoon by the seashore:<\/p>\n\n

The Sea of Faith
Was once, too, at the full, and round earth\u2019s shore
Lay like the folds of a bright girdle furled.
But now I only hear
Its melancholy, long, withdrawing roar,
Retreating, to the breath
Of the night-wind, down the vast edges drear
And naked shingles of the world.

(21-8)<\/p>\n\n

This celebrated Arnoldian stanza serves as a perfect template for us to weep for the condition of poetry in our time. So long as we replace the word \u2018Faith\u2019 in the stanza with \u2018Poetry\u2019, we are perfectly aware of the fact that the Philistines of Victorian England have transmigrated to the fertile soil of twenty-first-century capitalism. The only difference lies in that the Philistinism that Arnold moaned about has gone from bad to worse in our postmodern consumption society driven by nothing but capital, as analyzed in Le Capital au XXIe si\u00e8cle<\/em>.<\/p>\n\n

In the capitalist society of our time, the twenty-first-century Philistine avatars struggle to pan for gold as if the imperative pursuit of human life on earth were reduced to the debris of materialism. In stark contrast, poets alone are rich in soulful profusion and spiritual prosperity \u2014 richesse invisible<\/em> that cannot be told by any ATM in the capitalist universe. By nature, poets usually cannot suffer the unpoeticality of money, machines, and mundanity. It is little wonder that poetics bespeaks \u2018The Road Not Taken\u2019 in the consumerist world of the twenty-first century, for poetry hunts for something priceless \u2014 bels esprits<\/em> and belles lettres<\/em>.<\/p>\n\n

\u00a0<\/div>\n\n

II. Soul Witnessing in a Time of Artificial Intelligence<\/strong><\/p>\n\n

We live in a time of unprecedented development of artificial intelligence. Deep Mind of Google has outsmarted the best human brain in the game of Go. However, as demonstrated in \u2018The Seamless Laws Governing Poetry Recounted\u2019 (Chien 30-40), poesy as an art involves not only human creativity, imagination and sensibility, but it is deeply rooted in the literary tradition of a national language. As far as poetry composition and interpretation is concerned, there is always a boundless universe in the tiny nut. A true poet is no stranger to the poetics of his or her language and literary conventions. Such a poetics allows a poet to witness the existence of human soul, to which artificial intelligence remains a relative stranger at its best.<\/p>\n\n

For example, if we try Google Translate with Shakespeare\u2019s Sonnet 18, \u2018Shall I Compare Thee to a Summer\u2019s Day?\u2019 (1), we will be treated with a translation that is ni rime ni raison<\/em>. Indeed, artificial intelligence beats human intelligence in a good number of domains in the twenty-first century. Notwithstanding the software\u2019s general dominance over the wetware, racking its boldest baldless head, Google Translates the Shakespearean line, \u2018And every fair from fair sometime declines\u2019 (7) into \u5f9e\u516c\u5e73\u5230\u516c\u5e73\u7684\u6bcf\u4e00\u6b21\u4e0b\u8dcc (Every time you fall down from justice to justice). By the same token, Google renders the line, \u2018When in eternallines to time thou grow\u2019st\u2019 (12) into \u5728\u6c38\u6046\u7684\u6642\u5149\u4e2d\uff0c\u4f60\u9577\u5927 (You grow up in eternal time). Curious enough, using poetry as a touchstone of Artificial Intelligence, we end up bringing the edge of human esprit to the fore. Not only does the translation by artificial intelligence ignore the entire rhyme scheme of the poem, but it also neglects the nuanced transformation of rhyme in the concluding couplet. Needless to say, it would be a mission impossible for Artificial Intelligence to fathom the Bard of Avon\u2019s artistic appropriation of Anglo-French and Anglo-Saxon etymology, which is respectively displayed in the banquet of sense across his quatrains and showcased in the finale of sensibility wrapped up by his sincerest couplet (Wu 2021). In other words, the sonnet architectonics, composed of either an octave and a sestet or three quatrains followed by a couplet, remains a black hole to today\u2019s most advanced and sophisticated Artificial Intelligence, one that boasts of defeating the most intelligent human brains in fair open games of Go. Such intellectual rivalry fought between the software and the wetware via games of Go have been simultaneously witnessed by the humanity across the globe on the Internet ever since 2016. The AlphaGo vs. Lee Sedol games of Go, also known as the Google DeepMind Challenge Match, was a five-game Go match between eighteen-time world champion Lee Sedol and AlphaGo, a computer Go program developed by Google DeepMind. The match was played in Seoul, South Korea from March 9 to 15, 2016. Shocking all humankind, AlphaGo won all but the fourth game; what\u2019s more, all games were won by resignation. Rumors had it that AlphaGo deliberately lost the fourth game as a vanity project for the mankind. The next year, the Chinese world champion of Go games stood up to brave Artificial Intelligence. Hours later, the news media pronounced that \u2018Machine wins three-game Go series after defeating Ke Jie in close game\u2019 (Li 2017). Only this time, AlphaGo won all the games in a row regardless of salvaging human dignity, which forced the young Chinese grandmaster to escape into the bathroom in the middle of the games to burst into burning tears \u2014 tears that he shed for all human beings.<\/p>\n\n

As such, poetry justly stands for the arena in which human beings dare to take up the gauntlet against Artificial Intelligence technology; poetry in a sense endows human beings of the twenty-first century with desperately needed dignity when Google Translate cannot help but throw in the towel. Seen in this light, it is no exaggeration to say that poetry champions human soul that, when occasion arises, tends to make artificial intelligence a laughingstock. In the arena of poesy, even if artificial intelligence may succeed in not making itself a spectacle, it serves at best as a backburner, so to speak, in front of the God-given human wetware that features Blakean divine vision. Although \u2018Poetry makes nothing happen\u2019, as W. H. Auden claims (II.5), it stands for the gem of human cultures and civilizations. In every language, its poetry has established a Great Wall against the gazing of the curious others. The most frustrating task for Hercules is to appreciate a poem written in a foreign language rather than to carry out the Twelve Labours. Poetry immortalizes what it intends to celebrate: \u2018So long as men can breathe and eyes can see, | So long lives this and this gives life to thee\u2019 (Shakespeare 13-14), which Google Translates into \u53ea\u8981\u7537\u4eba\u80fd\u547c\u5438\u6216\u773c\u775b\u770b\u5f97\u898b\uff0c\u5982\u6b64\u9577\u58fd\uff0c\u9019\u8ce6\u4e88\u4e86\u4f60\u751f\u547d (So long as a man, not a woman, can breathe or eyes can see; such a longevity endows you with life).<\/p>\n\n

On the other hand, if we try today\u2019s up-to-date online translation APP with Du Fu\u2019s reputed Chinese wuyen lushi <\/em>(regular verse of five characters in each line), entitled \u6625\u671b (Spring View):<\/p>\n\n

\u570b\u7834\u5c71\u6cb3\u5728\uff0c
\u57ce\u6625\u8349\u6728\u6df1\u3002
\u611f\u6642\u82b1\u6ffa\u6dda\uff0c
\u6068\u5225\u9ce5\u9a5a\u5fc3\u3002
\u70fd\u706b\u9023\u4e09\u6708\uff0c
\u5bb6\u66f8\u62b5\u842c\u91d1\u3002
\u767d\u982d\u6414\u66f4\u77ed\uff0c
\u6e3e\u6b32\u4e0d\u52dd\u7c2a\u3002

(Du 265)<\/p>\n\n

we will be given the following English translation:<\/p>\n\n

The country broke mountains and rivers\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0
in the city spring grass and wood deep.
Feel when splashing tears,
hate other birds startled.
In March, the family book arrived at Wanjin.
Whiteheads are shorter and more wanty.<\/p>\n\n

One needs not be a Sinologist to see how ridiculous the English rendition done by Artificial Intelligence is. The translation in itself is poetry-free in that it represents neither rhyme nor reason of Du Fu\u2019s immortal masterpiece of the Tang dynasty. The perfect rhyme scheme in the Tang poem evaporates; the poetic form of eight lines is turned into one of seven lines\u2014A most intolerable odd number that ruins the formal poetics that governs the perfectly symmetrical lushi<\/em> of the Tang Dynasty. Du Fu\u2019s alchemistic word-scaping in the magic employment of Chinese characters has been reduced into utterly infantine illogicality and sheer mystery, if not misery. In this case, it holds water to say that Du Fu\u2019s poetry makes it to defend human dignity, which is itself a fortress besieged by Artificial Intelligence in the twenty-first century. Robert Frost is renowned for his unique definition: \u2018Poetry is that which gets lost in translation\u2019. If it is totally lost in machine translation, it is only very partially lost in human translation:<\/p>\n\n

On war-torn land streams flow and mountains stand;
In vernal town grass and weeds are o\u2019ergrown.
Grieved o\u2019er the years, flowers make us shed tears;
Hating to part, hearing birds breaks our heart.
The beacon fire has gone higher and higher;
Words from household are worth their weight in gold.
I cannot bear to scratch my grizzling hair;
It grows too thin to hold a light hairpin.

(Xu, \u2018Spring View\u2019 1-8)<\/p>\n\n

Although the original perfect rhyme scheme is also largely lost in this translation rendered by Mr. Xu Yuanchong, the human brain does prove to outwise Artificial Intelligence in poetry translation in this case, a timely case that speaks volumes for the human vs. machine intellectual confrontation. Evidently, poetry provides human beings a moment and a stage for them to witness the existence of soulful timelessness in a time when artificial intelligence assumes sweeping hegemony over dwindling human calibres and competences.<\/p>\n\n

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III. Immortalizing Collective Consciousness of Humankind<\/strong><\/p>\n\n

In Revolution in Poetic Language<\/em>, Julia Kristeva theorizes how French avant-garde poets subvert the symbolic to hark back to the semiotic chora <\/em>(25-26) that features maternity. It is in poetic language alone that the reader is favored with a transport of the semiotic jouissance <\/em>(S\u00e8m\u00e9iotik\u00e8<\/em> 270-77). In addition to the enrichment of individual subjectivity as well as subjective experiences, poetic language symbolizes another God-given, most elevated and perfectly sublimated national language for either the community of human subjects or the communication amongst human subjects. Admittedly, the language of poetry is no other than a new language within a national language that communicates the finest element of human soul, the most unforgettable experience of human life, and the most inexpressible moment in human history.<\/p>\n\n

With poetry, a short single line may arouse collective memory and consciousness. For instance, Du Fu\u2019s aforementioned \u5bb6\u66f8\u62b5\u842c\u91d1 (A family letter is worth a thousand gold nuggets in a wartime of endless devastations) arouses Chinese people\u2019s haunting memories of diasporic odyssey during chaotic periods of war. Furthermore, poetry possesses magic power to make ordinary things, like a bridge, immortal. In French literature, Guillaume Apollinaire\u2019s \u2018Le Pont Mirabeau\u2019 has immortalized Le Pont Mirabeau as a human construction in the capital of lights, love and fashion. With the French poet\u2019s murmering lines: \u2018Sous le pont Mirabeau coule la Seine | Et nos amours | Faut-il qu\u2019il m\u2019en souvienne | La joie venait toujours apr\u00e8s la peine || Vienne la nuit sonne l\u2019heure | Les jours s\u2019en vont je demeur<\/em>e\u2026\u2019 (Under the Mirabeau Bridge flows the Seine | And our love | Must I remember it | Joy always followed pain || The night falls and the hour tolls | The day goes by and I remain\u2026), the iron bridge across La Seine has been magically poeticized and thusly eternalized as the endless water flowing beneath (1-6). Miraculously, once an architecture in Paris is kissed by poetry, it becomes immortal in history and literature. In a similar timbre, the poetic phenomenon of immortalizing objects remains the same in Chinese literature. For example, \u6953\u6a4b\u591c\u6cca (\u2018Mooring at the Maple Bridge at Night\u2019) was written by Chang Chi (715-779), a young scholar who just failed his imperial exams of the Tang Dynasty when he composed the lines. This chiyan jueju<\/em> poem (a style of poetry composed of seven-character lines) of but four lines, which is a household poem even in Japan, reads with natural images accompanied by a smooth and suave rhyme: \u6708\u843d\u70cf\u557c\u971c\u6eff\u5929 | \u6c5f\u6953\u6f01\u706b\u5c0d\u6101\u7720 | \u59d1\u8607\u57ce\u5916\u5bd2\u5c71\u5bfa | \u591c\u534a\u9418\u8072\u5230\u5ba2\u8239 (501). The single poem has been passed down from generation to generation. It immortalizes not only the poet as a scholar who fails in imperial exams, but it contributes to eternalizing the commonplace locale as well. Today, tourists \u2013 literary pilgrims to be more precise \u2013 from the Sinophone world, inside or outside the Chinese mainland, keep swarming to Chiangsu Province to do homage to this celebrated historical site, albeit a small temple per se<\/em>. I myself brought back to Taiwan a souvenir from the legendary Hanshan Temple (\u5bd2\u5c71\u5bfa) \u2013 a polished bead made of local pine cone. As the Hanshan Temple has been perfectly poeticized by the chiyan jueju <\/em>poem, so has the nut of the pine trees about the temple been charmed of its literary genius loci<\/em>. The power of words in poetry is to a certain extent more powerful than nuclear explosion. It traverses farther across geographical boundaries and it travels further across generations to defy the edges of both space and time.\u00a0<\/p>\n\n

When one needs to express his\/her greatest pain of losing a child, Victor Hugo\u2019s \u2018Demain, d\u00e8s l\u2019aube\u2026\u2019 appears to be the common language in the French-speaking world:<\/p>\n\n

Demain, d\u00e8s l\u2019aube, \u00e0 l\u2019heure o\u00f9 blanchit la campagne,
Je partirai. Vois-tu, je sais que tu m\u2019attends.
J\u2019irai par la for\u00eat, j\u2019irai par la montagne.
Je ne puis demeurer loin de toi plus longtemps.

Je marcherai les yeux fix\u00e9s sur mes pens\u00e9es,
Sans rien voir au dehors, sans entendre aucun bruit,
Seul, inconnu, le dos courb\u00e9, les mains crois\u00e9es,
Triste, et le jour pour moi sera comme la nuit.

Je ne regarderai ni l\u2019or du soir qui tombe,
Ni les voiles au loin descendant vers Harfleur,
Et quand j\u2019arriverai, je mettrai sur ta tombe
Un bouquet de houx vert et de bruy\u00e8re en fleur.

(1-12)<\/p>\n\n


Tomorrow, at dawn, when day breaks on the countryside,
I\u2019ll set out. You see, I know you are waiting for me.
I\u2019ll go by the forest, and I\u2019ll go by the mountain.
I cannot stay far away from you any longer.

I will walk with my eyes fixed on my thoughts,
Seeing nothing outside, nor hearing any noise,
Alone, unknown, the back hunched, the hands crossed,
Sad, and the day for me will be like the night.

I\u2019ll not look at the gold of the evening which falls,
Nor the faraway sails descending towards Harfleur.
And when I arrive, I will put on your tomb
A bouquet of green holly and flowering heather. 1<\/sup><\/p>\n\n

In a like manner, the literary tradition of the Chinese language also provides lamentation of a similar nature. Wang Anshi (1021-1086), politician and writer of the Song Dynasty, wrote a jueju<\/em> poem (a poem of four lines) titled \u2018Adieu to my Daughter Buried in Yin County\u2019 (\u5225\u911e\u5973) to record the most tragic moment of his life as a father. The poem serves as a common language in the Chinese-speaking world for such a heart-rending occasion. Language is merely language, but the poetry written in a certain language forms a more elevated and purified language within the triteness and banality of that very language, which serves to convey something otherwise almost unconveyable. To a certain degree, this poetic moment best accounts for what Sir Phillip Sidney calls \u2018this purifying of wit\u2019: \u2018[T]his enriching of memory, enabling of judgement, and enlarging of conceit\u2014which commonly we call learning, under what name soever it come forth, or to what immediate end soever it be directed, the final end is to lead and draw us to as high a perfection as our degenerate souls, made worse by their clayey lodgings, can be capable of\u2019 (510).<\/p>\n\n

\u5225\u911e\u5973<\/p>\n\n

\u884c\u5e74\u4e09\u5341\u5df2\u8870\u7fc1\uff0c
\u6eff\u773c\u6182\u50b7\u53ea\u81ea\u653b\u3002
\u4eca\u591c\u6241\u821f\u4f86\u8a23\u6c5d\uff0c
\u6b7b\u751f\u5f9e\u6b64\u5404\u897f\u6771\u3002

(Wang 960)<\/p>\n\n

Adieu to my Daughter Buried in Yin County<\/em><\/p>\n\n

In the prime of life, I look like an old fellow;
Sadness in my eyes overwhelms my soul.
Tonight, on a boat I bid adieu to my daughter
And Hades has ever since forced us asunder. 2<\/sup><\/p>\n\n

By the same token, in the age of global village, couples and families can no longer avoid experiencing separation from each other in a certain phase of their lifetimes. \u4f46\u9858\u4eba\u9577\u4e45\uff0c\u5343\u91cc\u5171\u5b0b\u5a1f (Though miles apart, we\u2019ll share the beauty she [the moon] displays), a short line in Su Tongpo\u2019s (1037-1101) celebrated ci<\/em> poem of the Song Dynasty remains the most ideal language to express the separatee\u2019s candidest longing and sincerest good wish (Xu, Tang<\/em> 93). The most beautiful thought in the most beautiful language created by poets amounts to the aforementioned Arnoldian study of perfection. Even though \u2018poetry makes nothing happen\u2019, as W. H. Auden declares in his poem, \u2018In Memory of W. B. Yeats\u2019, its existence is a greatest happening par excellence<\/em>. In A Defence of Poetry<\/em>, the most visionary poet of British Romantic period contends: \u2018A poet is a nightingale, who sits in darkness and sings to cheer its own solitude with sweet sounds; his auditors are as men entranced by the melody of an unseen musician, who feel that they are moved and softened, yet know not whence or why\u2019 (Shelley 784). Perchance, the Modern Parnassus has lagged far behind the all-in-all intellectual progression, such as mathematicians, astronomers, chemists, moralists, metaphysicians, historians, politicians, and political economists who, one after another, came to occupy the summit of the humanity\u2019s intellectual pyramid early in thenineteenth century (Peacock 500-01). Nevertheless, as demonstrated in the defeat, if not defeatism, of the AlphaGo vs. human Go champions contests, and as discovered in the dignified victory of the Artificial Intelligence vs. human brain in poetry translation, we human beings are justified to say that \u2018Poetry is indeed something divine\u2019 (Shelley 788). As Emily Dickinson chants in her secluded life, it is poetics that privileges human beings to dwell in possibility (Yu 125); it is poetry that lends human beings a pale light when we live on a darkling plain (Arnold \u2018Dover Beach\u2019 35); again, it is poetry that asserts human beings to hold the battlefield, one that has been invaded by the invisible yet inescapable \u201cbandits\u201d of our time, namely postmodern capitalism and artificial intelligence. By endowing humanity with divinity, poetry alone defends the besieged fortress, la forteresse assi\u00e9g\u00e9e<\/em>, as the French call it, a fragile fortress whose courtesy name is human dignity. In a nutshell, preferably of the Hanshan Temple, poetry itself stands for a human friend in need and a human friend indeed. Alas! It is humanity, not poetry, that calls for new defences.<\/p>\n\n

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Notes<\/strong><\/p>\n\n

1. The French-English translation is rendered by the author of the essay. It is done to facilitate the reading of the English language reader. It does not represent the perfect rhyme scheme of the French poem, nor does it duplicate the flawless Alexandrine meter of the original by Monsieur Victor Hugo.\u00a0<\/p>\n\n

2. The Chinese-English translation is rendered by the author of the essay. The translator has tried his best to retain some rhyming effect in a somewhat domesticated manner. The original poetic meter, however, tends to fall outside the translator\u2019s command if absolute fidelity to the formal poetics be regarded as the standard.<\/p>\n\n

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\n


Works Cited<\/strong><\/p>\n\n

\u2018AlphaGo versus Lee Sedol\u2019. Wikipedia<\/em>, 9-15 March 2016. https:\/\/en.wikipedia.org\/wiki\/AlphaGo_versus_Lee_Sedol<\/a>. Accessed 20.6.2021. Web.<\/p>\n\n

Apollinaire, Guillaume. \u2018Le Pont Mirabeau\u2019, Alcools<\/em>. University of California Press, 1965.<\/p>\n\n

Arnold, Matthew. \u2018Culture and Anarchy\u2019, in Selected Poetry and Prose<\/em>. Ed. by Frederick L. Mulhauser. Rinehart, 1956.<\/p>\n\n

Arnold, Matthew. \u2018Dover Beach\u2019, in Selected Poetry and Prose<\/em>.<\/p>\n\n

Auden, W. H. \u2018In Memory of W.B. Yeats\u2019, in Selected Prose and Poetry. <\/em>Rinehart, c.1950.<\/p>\n\n

Chang, Chi \u5f35\u7e7c. \u2018fengchiao yehpo\u2019\u3008\u6953\u6a4b\u591c\u6cca\u3009(\u2018Mooring at the Maple Bridge at Night\u2019). Hsinyi tangshi sanbaishou\u300a\u65b0\u8b6f\u5510\u8a69\u4e09\u767e\u9996\u300b(300 Newly Translated Poems of the Tang Dynasty<\/em>). \u90b1\u71ee\u53cb\u6ce8\u8b6f. \u53f0\u5317\u5e02\uff1a\u4e09\u6c11\u66f8\u5c40, 2011. 501-03..<\/p>\n\n

Chien, Chin-sung\u7c21\u9326\u677e. \u2018Mitien falu hsitanshi\u2019\u3008\u5f4c\u5929\u6cd5\u5f8b\u7d30\u8ac7\u8a69\u3009(\u2018The Seamless Laws Governing Chinese Poetry Recounted\u2019).\u300a\u4e2d\u5916\u6587\u5b78\u300b(Chung-Wai Literary Monthly<\/em>)11\u53779\u671f(1983\/02). Pp. 22-50.<\/p>\n\n

Chiu, Hsieh-yu \u90b1\u71ee\u53cb \u6ce8\u8b6f. Hsinyi tangshi sanbaishou\u300a\u65b0\u8b6f\u5510\u8a69\u4e09\u767e\u9996\u300b(300 Newly Translated Poems of the Tang Dynasty<\/em>). \u53f0\u5317\u5e02\uff1a\u4e09\u6c11\u66f8\u5c40, 2011.<\/p>\n\n

Du, Fu \u675c\u752b. \u2018chun wang\u2019\u3008\u6625\u671b\u3009(\u2018Spring View\u2019). Hsinyi tangshi sanbaishou<\/em>\u300a\u65b0\u8b6f\u5510\u8a69\u4e09\u767e\u9996\u300b(300 Newly Translated Poems of the Tang Dynasty<\/em>). \u90b1\u71ee\u53cb\u6ce8\u8b6f. \u53f0\u5317\u5e02\uff1a\u4e09\u6c11\u66f8\u5c40, 2011. 275-76.<\/p>\n\n

Google Translate. https:\/\/translate.google.co.uk\/<\/a>. Accessed 24.06.2021.<\/p>\n\n

Hugo, Victor. \u0152<\/em>uvres po\u00e9tiques<\/em>. Ed. by Pierre Albouy. Gallimard, 1974.<\/p>\n\n

Kristeva, Julia. S\u00e8m\u00e9iotik\u00e8:<\/em> Recherche pour une s\u00e9manalyse<\/em>. Edition du Seuil, 1969.<\/p>\n\n

Kristeva, Julia. Revolution in Poetic Language: With an Introduction by Leon S. Roudiez<\/em>. Translated by Margaret Waller. Columbia University Press, 1984.<\/p>\n\n

Li, Qiaoy. \u2018AlphaGo Beats Chinese Grandmaster\u2019. Global Times<\/em>, 25 May 2017. https:\/\/www.globaltimes.cn\/content\/1048699.shtml<\/a>. Accessed 20.06.2021.<\/p>\n\n

Peacock, Thomas Love. \u2018The Four Age of Poetry\u2019, in The Norton Anthology of English Literature<\/em>. Gen. ed. M. H. Abrams. 5th ed. 2 vols. Norton, 1986. Vol. 2, pp. 489-501.<\/p>\n\n

Shakespeare, William. \u2018Sonnet 18\u2019, in The Complete Sonnets and Poems of William Shakespeare<\/em>. Ed. by Colin Burrow. Oxford UP, 2002.<\/p>\n\n

Shelley, Percy Bysshe. \u2018A Defence of Poetry\u2019, in The Norton Anthology of English Literature<\/em>. Vol. 2, pp. 778-96.<\/p>\n\n

Sidney, Sir Phillip. \u2018The Defence of Poesy\u2019, in The Norton Anthology of English Literature<\/em>. Vol. 1, pp. 504-26.<\/p>\n\n

Wang, Anshi \u738b\u5b89\u77f3. Wangchingkung Shichu Puchian<\/em>\u300a\u738b\u834a\u516c\u8a69\u6ce8\u88dc\u7b8b\u300b (Complimentary Commentary to the Annotation of Wang Anshi\u2019s Poetry<\/em>). \u6210\u90fd\uff1a\u5df4\u8700\u66f8\u820d, 2002.<\/p>\n\n

Wu, Min-Hua. \u2018Sense and Sensibility in Shakespearean Sonnets: Of the Bard\u2019s Artistic Convergence of Anglo-French and Anglo-Saxon Lexicons\u2019. The International Conference on Kunqu and Shakespeare in Contemporary Culture.\u00a0 By Taiwan Shakespeare Association and National Central University. Taoyuan City, 21-22 May 2021.<\/p>\n\n

Wu, Min-Hua. Trans. \u2018Emily Dickinson: A Bee Gatecrashing Eternity\u2019, in Yu Kwang-chung. The Emily Dickinson Journal<\/em>, 29 (2020) 123-31.<\/p>\n\n

Xu, Yuanchong. Trans.\u00a0100 Tang and Song Ci Poems<\/em>. The Commercial Press, 2001.<\/p>\n\n

Xu, Yuanchong. Trans. \u2018Spring View\u2019, in Versions of Classical Chinese Poetry: Tang Poetry II<\/em>. Dolphin Press, 2017.<\/p>\n\n

Yu, Kwang-chung. \u2018Emily Dickinson: A Bee Gatecrashing Eternity\u2019. Translated by Min-Hua Wu. The Emily Dickinson Journal<\/em>, 29 (2020) 123-31.<\/p>\n\n

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Min-Hua Wu <\/strong>is Associate Vice President for the Office of International Cooperation, NCCU and Assistant Professor at the Department of English, National Chengchi University, Taipei, Taiwan. He completed his doctoral dissertation in English literature at the Paris-Sorbonne University fully funded by a Taiwan government scholarship. Besides a Chinese-French translation prize awarded by the Council for Cultural Affairs, Taiwan, he is a three-time awardee for the National Taiwan University Chinese-English Literary Translation Awards and three-time awardee in English-Chinese translation contest for the Liang Shih-ch\u2019iu Literary Awards. Co-author of Chang Pao Chun Chiu:<\/em> Li Ao\u2019s Landscape of Lettres <\/em>(Ink Publishing, Taipei), he has published in The<\/em> Wenshan Review<\/em>, Bront\u00eb Studies, The Emily Dickinson Journal, Review of English and<\/em> American Literature<\/em>, Asia Pacific Translation and Intercultural Studies, East Journal of<\/em> Translation<\/em>, Chengchi University Press, and Modern Chinese Literature<\/em>, amongst others. He has been co-editing a special issue on \u2018Literary Translation and the Translator\u2019s Subjectivity\u2019 for The Wenshan Review: Literature and Culture <\/em>with Paula Varsano, Chair and Professor of Chinese Literature, University of California, Berkeley. In addition to academic research, he has published his Chinese poems in English and<\/em> American Literature E-Newsletter <\/em>and Apple Daily News<\/em>; he as published his English poem in Literature Today<\/em>.<\/p>\n\n

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Min-Hua Wu<\/p>\n

ReadPoetry as the Defender of Besieged Human Dignity<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-679","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"http:\/\/nclacommunity.org\/newdefences\/wp-json\/wp\/v2\/posts\/679","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/nclacommunity.org\/newdefences\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/nclacommunity.org\/newdefences\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/nclacommunity.org\/newdefences\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/nclacommunity.org\/newdefences\/wp-json\/wp\/v2\/comments?post=679"}],"version-history":[{"count":6,"href":"http:\/\/nclacommunity.org\/newdefences\/wp-json\/wp\/v2\/posts\/679\/revisions"}],"predecessor-version":[{"id":834,"href":"http:\/\/nclacommunity.org\/newdefences\/wp-json\/wp\/v2\/posts\/679\/revisions\/834"}],"wp:attachment":[{"href":"http:\/\/nclacommunity.org\/newdefences\/wp-json\/wp\/v2\/media?parent=679"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/nclacommunity.org\/newdefences\/wp-json\/wp\/v2\/categories?post=679"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/nclacommunity.org\/newdefences\/wp-json\/wp\/v2\/tags?post=679"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}