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The Translatability of Revolution: Guo Moruo and Twentieth-Century Chinese Culture by Pu Wang (review)

The Translatability of Revolution: Guo Moruo and Twentieth-Century Chinese Culture by Pu Wang... 244 China Review International: Vol. 24, No. 3, 2017 developed. Generally, the works reflect real life in the era in which the writers lived or express their emotions. For three years and eight months during the Japanese occupation of Singapore, some poets with a sense of justice, such as Xie Songshan, Li Xilang, and Zheng Guanghan, composed a number of CCPS that reproduce the brutal reality and record major events from 1942 to 1945. I think this kind of epic poetry is worthy of the author’s attention. (3) The positive role played by Nanyang University and the Chinese community in the development of CCPS should be explained in more detail because the former contributed many professional instructors who could teach young students classical poems, while the latter provided a platform and sponsorship for CCPS by organizing various events. In addition, in the future, this project can be further extended to other countries in Southeast Asia, such as Malaysia, the Philippines, Indonesia, and Thailand, in all of which the creation and associations of classical Chinese poetry are present. Since there are classical Chinese poems wherever there are ethnic Chinese, I look forward to even greater work by the author on http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png China Review International University of Hawai'I Press

The Translatability of Revolution: Guo Moruo and Twentieth-Century Chinese Culture by Pu Wang (review)

China Review International , Volume 24 (3) – Aug 15, 2019

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Publisher
University of Hawai'I Press
Copyright
Copyright © University of Hawai'i Press.
ISSN
1527-9367

Abstract

244 China Review International: Vol. 24, No. 3, 2017 developed. Generally, the works reflect real life in the era in which the writers lived or express their emotions. For three years and eight months during the Japanese occupation of Singapore, some poets with a sense of justice, such as Xie Songshan, Li Xilang, and Zheng Guanghan, composed a number of CCPS that reproduce the brutal reality and record major events from 1942 to 1945. I think this kind of epic poetry is worthy of the author’s attention. (3) The positive role played by Nanyang University and the Chinese community in the development of CCPS should be explained in more detail because the former contributed many professional instructors who could teach young students classical poems, while the latter provided a platform and sponsorship for CCPS by organizing various events. In addition, in the future, this project can be further extended to other countries in Southeast Asia, such as Malaysia, the Philippines, Indonesia, and Thailand, in all of which the creation and associations of classical Chinese poetry are present. Since there are classical Chinese poems wherever there are ethnic Chinese, I look forward to even greater work by the author on

Journal

China Review InternationalUniversity of Hawai'I Press

Published: Aug 15, 2019

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