Overview

This book interprets the close intimacy between poetry and painting from the perspective of intersemiotic translation, by providing a systematic examination of the bilingual and visual representation of landscape in the poetry of Wang Wei, a high Tang poet who won worldwide reputation. The author’s subtle analysis ranges from epistemological issues of language philosophy and poetry translation to the very depths where the later Heidegger and Tao-oriented Chinese wisdom can co-work to reveal their ontological inter-rootedness through a two-level cognitive-stylisitc research methodology.

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Chengzhi Jiang received his doctorate from City University of Hong Kong and is now an Associate Professor at the Department of Translation and Interpreting, Wuhan University, China. His research interests lie in intersemiotic translation, poetry translation, and translation in the Chinese museum and heritage context. His publications include ""Bilingual and Intersemiotic Representation of Distance(s) in Chinese Landscape Painting: From yi ('meaning') to yi ('freedom')"" (Semiotica, 2018; first author), ""Bilingual Representation of Distance in Visual-Verbal Sign Systems: A Case Study of Guo Xi's Early Spring"" (Semiotica, 2018), ""Conceptualizing Pushing-hands in Translation Studies: From a Heideggerian Perspective"" (Pushing-Hands of Translation and Its Theory: In Memoriam Martha Cheung, 1953-2013, 2016), ""Visual Pragmatic Effects of Distance Representation in Bilingual Museum Catalogue Entries of Chinese Landscape Paintings"" (Journal of Pragmatics, 2012), and ""Quality Assessment for the Translation of Museum Texts: Application of a Systemic Functional Model"" (Perspectives, 2010).

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