A Reception Analysis Of Heidenroslein As A Poem And As An Art Song In China

Poems by Goethe have been published in China for more than a century.Some of his poems are translated into both poems and art songs.Heidenroslein is a representative example that raises many questions.How many translations have been published within the past 90 years?Which translations are the most popular?What are the differences between poetry and art song translation and how do these affect the understanding and interpretation of Heidenroslein?How do these differences affect the the spread of the poetry in China?How do the German and Chinese interpretations differ from each other and why?Based on the statistics in databases of the Nanjing University,there is no analysis of the academic reception of Heidenroslein.Due to the lack of research,the present work aims to investigate the reception situation of the Heidenroslein as a poem and as an art song in terms of translations,circulation and interpretations.Based on the results of the investigation,it is concluded that the poem can be better spread with the help of the art song and the differences between German and Chinese interpretations of Heidenroslein are also presented and grounded on the theory of Medio-Translatology.The present work collects all translations in databases Superstar reading,Literature databases of the Republic of China,Wanfang data,Compulsory education textbooks of major publishers,as well as in Goethe in Chinese translation and research(1878-2008).An annotated bibliography of Gu Zhengxiang's published translations of Heidenroslein,from which Yeqiangwei of Qian Chunqi and Yemeigui of Deng Yingyi are selected.Compared to Qian's Yeqiangwei,Deng's translation has wider circulation.The two also differ on certain details:the age when the Chinese Deng meets Yemeigui is much earlier than in Qian's translation.Unlike ordinary translation comparisons,this present work does not focus on literary aesthetics,but instead on how the differences in translation affect Heidenroslein's ability to spread.Two of these differences are Meigui and Qiangwei,which are presented in both historical and cultural metaphorical meanings.Another reason for the differences in translation lies in the singability of the translation text.The linguability of the lyrics contains two levels,namely the content level and the vocal level.As art song translations,the lyrics should be easy to understand,to pronounce and suitable to sing,so that the song can be memorized faster and be spread more quickly among people than the poem form.For the analysis of vocal rules of singability,the theories of Chinese opera and vocal art bel canto are used.Another part of this work pays great attention to the German and Chinese interpretations of Heidenroslein.It refers to the theory of intercultural reception during translation.The meanings of the original terms and expressions can be changed during translation.Chinese readers can also act by selectively accepting only the parts that match their values when looking for the background information on Heidenroslein.They can also neglect the unpleasant cultural backgrounds and values.According to the statistics,it can be found that the German and Chinese interpretations differ significantly.To analyze these differences,this work begins by examining whether Chinese readers have knowledge asymmetries over background information about this poem or selectively accept them and also by discussing the historical meaning of the term red in Germany and China.There are also other types of interpretations about Heidenroslein that are not widely spread but very interesting.They give the Heidenroslein several possibilities and refer not only to intercultural interaction and integration,but also to interdisciplinary mixing.The potential research can offer several new perspectives for intercultural German studies.