Skip to Main Content
The principle concern of this course is the techniques for translating texts of different genres in various artistic fields like literary arts, visual arts, and performing arts. Chinese and English writings on art and artists will also be studied. Students will be encouraged to build a growing awareness of translation as a creative activity.
This book suggests possible avenues of cross-disciplinary collaboration. It discusses the new definitions of translation and of culture, and considers anthropology’s long tradition of grappling with the experience and writing of cultural difference. It also outlines the rise of classical ethnography, and presents counter-moves proposed by the ethnographic experiments of the 1970s onwards. It looks at ethnographic museums in their capacity as translations analyzed from a textual perspective, and argues that the task of the translator is to make principled and if possible accountable choices on how to produce the words and images that will enter the global circuit of cultural representations.
This six-volume work is a complete translation of the poetry of Du Fu alongside the original text in a critical edition. The main body of the text is a facing page translation and critical edition of the earliest Song editions and other sources. For convenience the translations are arranged following the sequence in Qiu Zhao’an’s Du shi xiangzhu (although Qiu’s text is not followed). Basic footnotes are included when the translation needs clarification or supplement. Endnotes provide sources, textual notes, and a limited discussion of problem passages. A supplement references commonly used allusions, their sources, and where they can be found in the translation.
梵谷傳的袁術出版於一九三四年，作者史東是美國著名的傳記作家。本書是余光中先生的譯本，完成於一九五五年。史東藉由梵谷與弟弟西奧往來的三卷書信，考證藝術史，寫出藝術家的心靈吶喊。 梵谷一生有兩大狂熱：早年想做牧師，把使徒的福音傳給勞苦的大眾，卻慘遭失敗；後來想做畫家，把具有宗教情操的生之體驗傳給觀眾。書中並勾勒出當時印象派與後期印象派的主要畫家：羅特列克、高敢、秀拉、賽尚、盧梭……等。
本书收录了巫鸿在2006到2007两年中为《读书》杂志“美术纵横”专栏所撰写的十篇文章，就美术史何以成为问题、就如何拓展其思考的路径、这一问题所置身的波澜壮阔的当代人文场景等等，提纲挈领地阐述了个人的见解。巫鸿认为，尽管美术史研究不再奠基于严格的材料划分和专业分析方法之上，但从积极的角度看，美术史已成为了一个以视觉形象为中心的各种学术兴趣和研究方法的交汇之地和互动场所，代表了一种新的学科概念。
