A Study Of Classic Chinese Poetry Rewritten By German Writers In The Early 20^th Century

German writers have been continually rewriting ancient Chinese poetry since the early19 th century.Among the most famous writers are Goethe and Friedrich Rückert,who are known for rewriting Chinese poetry and absorbing nutrients from traditional Chinese culture.These writers integrated Chinese poetry,Chinese cultural elements,and philosophical ideas into their works.This rewriting has become a prominent phenomenon in the relationship between Chinese and German literature.By the beginning of the 20 th century,Bethge,Klabund,and Vincenz Hundhausen had achieved remarkable results in their rewriting of ancient Chinese poems.These rewriting works have more outstanding artistic value and bring a huge social influence in German-speaking countries.This type of work is characterized by artistic language and poetic imagination,and it emphasizes the creative rewriting of ancient Chinese poetry.German’s rewriting activities are much different from the translations of Sinologists.Sinologists put more emphasis on academic,intellectual,and objective translation.Evaluating the texts of ancient Chinese poetry rewritten by German writers and analyzing their legitimacy and validity has become an important research direction.The first chapter of this thesis mainly reviews and summarizes the former studies of German writers rewriting ancient Chinese poetry.This chapter points out that there are currently four main types of research in this academic field.The first research paradigm mainly explores the versions and details of these works and collects more historical data.The second research paradigm specifically analyzes the literary value of these works.The third research paradigm mainly focuses on the cultural images hidden in these works.The fourth research paradigm pays more attention to the transactional analysis between China and Germany.These four academic research paths all have their own methods and concepts.At present,the study of cross-cultural poetic interpretation needs further development.The second chapter mainly explores the three different phenomenon of rewriting Chinese poetry by German writers.This chapter points out that in the early 20 th century,many German writers participated in the rewriting of Chinese poetry in German.Their rewriting features can be summarized into many different features.Among them,Bethge’s feature of rewriting Chinese poetry focuses on updating the elements of ancient Chinese poetry.Klabund’s rewriting of Chinese poetry attaches great importance to the creative and subversive use of the original themes.Hundhausen’s feature of rewriting Chinese poetry pays more attention to creative interpretation.The three German writers mentioned earlier are more representative characters in rewriting Chinese poetry.The third chapter focuses on the literary and aesthetic characteristics of ancient Chinese poetry rewritten by Bethge.Bethge created a unique method to rewrite Chinese poetry,called the aesthetic rewriting of Chinese poetry.This chapter analyzes two works by Bethge,Die chinesische Fl(?)te.Nachdichtungen chinesischer Lyrik,and Pfirsichblüten aus China.Nachdichtungen chinesischer Lyrik.This chapter points out that the Chinese poetry rewritten by Bethge attaches great importance to the renewal of natural imagery,character image,and artistic conception.At the same time,many cultural,cognitive,artistic,and empirical factors have influenced his rewriting activities.The fourth chapter explicitly explores the process and aesthetic characteristics of Klabund’s rewriting of Chinese poetry.Klabund changed the style and content of ancient Chinese poetry to a great extent,so this rewriting feature has become a creative and individualized cultural utilization.This chapter analyzes two works of Klabund,Dumpfe Trommel und berauschtes Gong: Nachdichtungen chinesischer Kriegslyrik,Li-tai-pe :Nachdichtungen,and Das Blumenschiff;Nachdichtungen chinesischer Lyrik.Klabund has rewritten many themes of ancient Chinese poetry.There are many reasons why Klabund is committed to rewriting ancient Chinese poetry.The most important reason is that he has similar artistic concepts to Chinese poetry,and he feels the traditional aesthetics of Chinese poetry.At the same time,Klabund’s artistic techniques and personal emotional identification also have similarities with Chinese poetry.The fifth chapter focuses on analyzing the characteristics of Hundhausen’s rewriting of ancient Chinese poems.Hundhausen invented a new method of rewriting ancient Chinese poetry.Its main feature is that creative interpretation of ancient Chinese poetry.This chapter analyzes two works by Hundhausen,Tau Yüan-Ming:Ausgew(?)hlte Gedichte in deutscher Nachdichtung,and Chinesische Dichter in deutscher Sprache.This chapter points out that Hundhausen has a deep understanding of the natural world in ancient Chinese poems.He has a profoundly philosophical experience of the philosophy of life in Tao Yuanming’s poems.Most importantly,Hundhausen is also very proficient in the cultural philosophy implicit in ancient Chinese poetry.At the same time,this chapter also points out that Hundhausen’s rewriting of ancient Chinese poetry has a clear purpose and selectivity.He prefers to reinterpret ancient Chinese poetry from the perspective of modernity.Chapter six further studies the various modes of German writers rewriting ancient Chinese poetry.This chapter summarizes the essential characteristics of the activities of German writers to rewrite Chinese poetry and points out the cultural logic behind these characteristics.At the same time,this chapter specifically points out that the phenomenon of Rewriting Chinese poetry by German writers can be classified into three modes.This chapter believes that German writers’ rewriting of ancient Chinese poetry has a specific cultural origin,which can be traced back to German poets such as Goethe.Since Goethe has been committed to rewriting ancient Chinese poetry,German poets have been committed to absorbing Chinese culture.These specific cultural origins show a certain regularity in the rewriting of Chinese poetry by German writers.From the perspective of general literature research,there are also certain regularities in the rewriting of Chinese poetry by German,French,and British and American writers.At the same time,from the perspective of knowledge production,the rewriting of Chinese poetry by German writers constitutes a "poetic knowledge" that is different from the "rational knowledge" of Sinologists about China.The seventh chapter discusses the similarities and differences between the texts of German writers rewriting ancient Chinese poetry and the original poetics from the perspective of comparative poetics.This chapter has designed four different perspectives better to compare the similarities and differences of these texts.Ancient Chinese poetry and ancient Chinese poetry rewritten by German writers are two other things,but they also have many things.This chapter explores this from four perspectives: literary style,aesthetic perception,philosophy of life,and cultural spirit,and refines thirteen sets of new poetics categories as intermediaries for comparative poetics research.These studies reveal that German writers’ rewriting of ancient Chinese poetry has a unique cultural value and poetic value in a cross-cultural context.In the conclusion of this article,this part discusses eight aspects of rewriting phenomenon,mode,motivation,strategies,essence,cultural effect,poetic meaning,and rewriting theory.This article further summarizes the fundamental laws,internal motivations,motives,and poetic implications of German writers rewriting Chinese poetry at the beginning of the 20 th century.At the same time,this article also looks forward to the existing problems and shortcomings and future research.