The Perspective Of Reception Aesthetics English Language Essay

The Perspective Of Reception Aesthetics English Language Essay Mao Zedong(1893-1976), who led the Chinese people to have obtained liberation and independence and established their own country, is a great leader, a distinguished statesman, a prominent thinker and a famous strategist. He is loved and respected by the Chinese people. However, at the same time, his fame as a poet is incontrovertible. Willis Barnstone, Professor of Comparative Literature at Indiana University in Bloomington, considers Mao Zedong an original master, one of Chinas most important poets (He Qixin, 1992:8). His poems, a crystallization of politics, history, military affairs, philosophy and art, upholds and represents the advanced Chinese culture. And his poems are cherished as a gleaming gem in Chinese contemporary literature. Zang Kejia once commented on Maos poems like this, His poems open up a new realm for Chinese classical poetry and reach the peak of modern poetry.(Lv Zuyin, 2007) Considering the highly artistic, idealistic and cultural value of Maos poetry, it is of great significance to work on its translation and the study of existing translations so as to improve their quality, guide future translation and expand the influence of Chinese poetry and culture. However, in fact, the study of English translation of Maos poetry has lagged far behind the study of Maos poetry itself. And these studies have mainly focused on the roles of the translator and the translated versions from the perspective of deconstruction. The former study analyzes the translators roles as a reader, a decision-maker and as a writer in the process of translation, and as a cultural mediator in cultural turn. It demonstrates the significance of translators roles more clearly and forcefully. The latter analyzes the ideological content in different English versions of Mao Zedongs poems. It reveals that translation is a dynamic rather than a static process under the constant influence of different ideologies. Until recent years, under the free atmosphere in the academic study, great changes have taken place in the study of Mao Zedongs poetry. The aesthetic study has achieved a great many results from the multi-level or multi-angle aspects, moreover, the linguistic features or the aesthetic features have been covered as well as the humanistic study. However, the aesthetic study of Mao Zedongs poetry has less referred from the formal and the rhetoric perspective, thus this thesis is just an attempt to the field. To present a clear account of this research, here is the outline of this thesis: The introduction briefs the writing motive of this thesis; Chapter Two reviews Reception Aesthetics theory and its core concepts, as well as feasibility studies for the translations of Mao Zedongs poems with RA; Chapter Three reproduces formal beauty and rhetorical beauty of Mao Zedongs poems; Chapter Four is a comparative study of how the construction, rhymes, rhythms and rhetoric of Maos poems are reproduced and refreshed in the four English versions (Oxford version, The official version, Zhao Zhentaos version and Xu Yuanchongs version); Chapter Five makes a summary of the comparison and discusses the losses and gains in Maos poetry translation and analyzes the reasons. The conclusion sums up the whole thesis. Chapter One Introduction to Maos Poetry and Its Four Selected English Versions 1.1 Introduction to Mao Zedongs Poetry In Maos lifetime, he wrote 67 poems altogether. Among them, 42 poems were revised and agreed by him to publish finally during his life. While another 25 poems were released to the public after his death. The writing of Maos poetry is closely related with his living background, as well as the modern history of China and the world. So, only carefully study the history background and the concrete processes of many great events, as well as Maos experience, thoughts, character and mentality, we can reveal the rich and deep connotation of Maos poems. Style of poetry refers to poems characteristics and personality of some poet. All good poems have their own styles, and all poems by famous poets have their own styles, so do Maos poems. Just as Mao Anqing had commented his father Father is a man of affectionate nature. When his emotions exalt to poems, his poems find their lives. No matter grief and joy, or vulgarism and elegance, all rest his feelings on poeple. So, to read his poems is to know him. (Xu Yuanchong, 1993:3). Thus Mao composed his poems with his whole heart and the living background. Besides, Mao likes reading and studying classical Chinese poetry, discussing about poems and arts with poets and scholars, and enjoys summarizing his poem creative experience to form his unique characteristics. 1.1.1 Profound Ideological Contents As mentioned above, the number of Maos poems is small. But each of them is full of luxuriant imagery, profound meaning and philosophy. Meanwhile, covering various themes like nature, society and life, these poems are rich in epochal character and combativeness, and always encourage people to pursuit higher target. In order to study, the 42 poems can be divided into four groups according to diachronic: The first group has 4 poems created from the founding of the Chinese Communist Party to First Great Revolution (April 1918-July 1927). Changsha, tune: Spring in a Pleasure Garden'(à £Ã¢â€š ¬Ã…  Ãƒ ¦Ã‚ ²Ã‚ Ãƒ ¥Ã¢â‚¬ ºÃ‚ ­Ãƒ ¦Ã‹Å" ¥Ã‚ ·Ãƒ ©Ã¢â‚¬ ¢Ã‚ ¿Ãƒ ¦Ã‚ ²Ã¢â€ž ¢Ãƒ £Ã¢â€š ¬Ã¢â‚¬ ¹) is a good example. These poems are Maos youth work, which are slightly inferior to later ones. But they are also very inspiring for their lofty spirits and soaring determinations. The second group has 16 poems created from the Agrarian Revolution and the Anti-Japanese War ( August 1927-August 1945), like The Autumn Harvest Uprising, Tune: the Moon over the West River' (à £Ã¢â€š ¬Ã…  Ãƒ ¨Ã‚ ¥Ã‚ ¿Ãƒ ¦Ã‚ ±Ã… ¸Ãƒ ¦Ã…“ˆÂ ·Ãƒ §Ã¢â‚¬ ¹Ãƒ ¦Ã¢â‚¬ Ã‚ ¶Ãƒ ¨Ã‚ µÃ‚ ·Ãƒ ¤Ã‚ ¹Ã¢â‚¬ °Ãƒ £Ã¢â€š ¬Ã¢â‚¬ ¹), Mount Jinggang, Tune: the Moon over the West River' (à £Ã¢â€š ¬Ã…  Ãƒ ¨Ã‚ ¥Ã‚ ¿Ãƒ ¦Ã‚ ±Ã… ¸Ãƒ ¦Ã…“ˆÂ ·Ãƒ ¤Ã‚ ºÃ¢â‚¬ ¢Ãƒ ¥Ã¢â‚¬  Ã‹â€ Ãƒ ¥Ã‚ ±Ã‚ ±Ãƒ £Ã¢â€š ¬Ã¢â‚¬ ¹)etc. This period is a prolific period in Maos life. Recording the most difficult historical period of the Chinese revolution, the poems are ingeniously conceived with great subjetcs and full of lofty revolutionary heroism and optimistic spirits. The third group has 2 poems created during the War of Liberation (September 1945- September 1949), like Capture of Nanjing by the Peoples Liberation Army(à £Ã¢â€š ¬Ã…  Ãƒ ¤Ã‚ ¸Ã†â€™Ãƒ ¥Ã‚ ¾Ã¢â‚¬ ¹Ã‚ ·Ãƒ ¤Ã‚ ºÃ‚ ºÃƒ ¦Ã‚ °Ã¢â‚¬ËœÃƒ ¨Ã‚ £Ãƒ ¦Ã¢â‚¬ Ã‚ ¾Ãƒ ¥Ã¢â‚¬  Ã¢â‚¬ ºÃƒ ¥Ã‚ Ã‚  Ãƒ ©Ã‚ ¢Ã¢â‚¬  Ãƒ ¥Ã‚ -à ¤Ã‚ ºÃ‚ ¬Ãƒ £Ã¢â€š ¬Ã¢â‚¬ ¹) etc. Though the number of poems is small, they were written before the victory of the Chinese revolution, with strong actuality, magnificent style and clear attitude. The last group has 20 poems created with the perspective in Maos poems from revolution to socialist transformation and construction, after the founding of Peoples Republic of China in 1949, like Swimming, Tune: Prelude to the Melody of Water' (à £Ã¢â€š ¬Ã…  Ãƒ ¦Ã‚ °Ã‚ ´Ãƒ ¨Ã‚ °Ã†â€™Ãƒ ¦Ã‚ ­Ã…’à ¥Ã‚ ¤Ã‚ ´Ã‚ ·Ãƒ ¦Ã‚ ¸Ã‚ ¸Ãƒ ¦Ã‚ ³Ã‚ ³Ãƒ £Ã¢â€š ¬Ã¢â‚¬ ¹) and so on. The poems have quite a new approach to the subjects with enterprising spirit, more allusions and humorous language, which are rich in romantic color and high artistry. However, according to synchronism, Maos poems can be divided into three groups: The first group concentrates to describe natural scenery, such as Changsha, tune: Spring in a Pleasure Garden'(à £Ã¢â€š ¬Ã…  Ãƒ ¦Ã‚ ²Ã‚ Ãƒ ¥Ã¢â‚¬ ºÃ‚ ­Ãƒ ¦Ã‹Å" ¥Ã‚ ·Ãƒ ©Ã¢â‚¬ ¢Ã‚ ¿Ãƒ ¦Ã‚ ²Ã¢â€ž ¢Ãƒ £Ã¢â€š ¬Ã¢â‚¬ ¹), the Yellow Crane Tower, Tune: Buddhist Dancers' (à £Ã¢â€š ¬Ã…  Ãƒ ¨Ã‚ Ã‚ ©Ãƒ ¨Ã‚ Ã‚ ¨Ãƒ ¨Ã¢â‚¬ ºÃ‚ ®Ã‚ ·Ãƒ ©Ã‚ »Ã¢â‚¬Å¾Ãƒ ©Ã‚ ¹Ã‚ ¤Ãƒ ¦Ã‚ ¥Ã‚ ¼Ãƒ £Ã¢â€š ¬Ã¢â‚¬ ¹) etc. These poems exhibit magnificence of natural scenes and extol the life of nature. The second group mainly describes society and history, such as Mount Jinggang, Tune: the Moon over the West River' (à £Ã¢â€š ¬Ã…  Ãƒ ¨Ã‚ ¥Ã‚ ¿Ãƒ ¦Ã‚ ±Ã… ¸Ãƒ ¦Ã…“ˆÂ ·Ãƒ ¤Ã‚ ºÃ¢â‚¬ ¢Ãƒ ¥Ã¢â‚¬  Ã‹â€ Ãƒ ¥Ã‚ ±Ã‚ ±Ãƒ £Ã¢â€š ¬Ã¢â‚¬ ¹) and two tunes of Pride of Fishermen(à £Ã¢â€š ¬Ã…  Ãƒ ¦Ã‚ ¸Ã¢â‚¬ Ãƒ ¥Ã‚ ®Ã‚ ¶Ãƒ ¥Ã¢â‚¬Å¡Ã‚ ²Ãƒ £Ã¢â€š ¬Ã¢â‚¬ ¹) and so on. These poems pay attention to describe the fighting of peoples army and the historical changes of whole society. And the last group mainly describes life and love, such as Seeing Luo Zhanglong off to Japan(à £Ã¢â€š ¬Ã…  Ãƒ ¤Ã‚ ¸Ã†â€™Ãƒ ¥Ã‚ Ã‚ ¤Ã‚ ·Ãƒ ©Ã¢â€š ¬Ã‚ Ãƒ §Ã‚ ºÃ‚ µÃƒ ¥Ã‚ ®Ã¢â‚¬ ¡Ãƒ ¤Ã‚ ¸Ã¢â€š ¬Ãƒ ©Ã†â€™Ã… ½Ãƒ ¤Ã‚ ¸Ã…“à ¨Ã‚ ¡Ã…’à £Ã¢â€š ¬Ã¢â‚¬ ¹). These poems show the poet has the experience of death and parting, and even loneliness as normal people. In a word, no matter how classify, no matter how length it is, Maos poems create an absorbing poetic imagery with wonderful design, rich ideas and sentiments, and are good at expressing the complicated historical causes with terse language. Distinct Artistic Style Style is the unique spiritual temperament and creative personality showed in writers own works by themselves. It runs through all works of a writer, as well as every writings theme which composes the work, such as rhyme, rhythm, diction, rhetorical devices, and text structure and so on. Therefore, style is the writer (Buffon ¼Ã…’1753). Maos poetry is full of candid and vigorous artistic style. First, from the internality of poetry, Mao likes Li Bai, Li He and Li Shangyin (known as Three Li) very much, and is in especial love of poetry by Cao Cao. Their poems are full of broad minds and high aspirations, which strike a chord in Mao Zedong, for passion is the emotional characteristic in Maos life. Mao also said only writing out the writers own bosom and sentiment in poems, it can strike a responsive chord in readers and make them excited. (à ¥Ã‹â€ Ã‹Å"à ¦Ã‚ ±Ã¢â‚¬ °Ãƒ ¦Ã‚ °Ã¢â‚¬ËœÃ‚ ¼Ã…’2002:19). Second, from the styles of poetry, Mao pursuits the styles of diligence, fortitude, largeness and boldness. He once said I prefer Cao Caos poems, with powerful spirits and grieving feelings, which shows him a true man. (à ¦Ã‹Å"â€Å"à ¥Ã‚ ­Ã… ¸Ãƒ ©Ã¢â‚¬  Ã¢â‚¬ ¡Ã‚ ¼Ã…’à ¦Ã‹Å"â€Å"à §Ã‚ »Ã‚ ´Ã‚ ¼Ã…’2003 ¼Ã… ¡67). Mao also said Li Bais poems are unconstrained and imaginable, which make people relaxed and happy. So, reading Li Bais poems more could make readers open th eir minds. (à ¥Ã‹â€ Ã‹Å"à ¦Ã‚ ±Ã¢â‚¬ °Ãƒ ¦Ã‚ °Ã¢â‚¬ËœÃ‚ ¼Ã…’2002:191). In all, the spirits of vigor, perseverance and self-reliance in these poems tally with Maos poetic features well. Third, from the expressions of poetry, Mao likes romantic works with rich imagination and usages of exaggeration and personification. So, Mao admires the famous poet Su Dongpo of powerful and free school in Song Dynasty very much, as well as the famous poetess Li Qingzhao of subtle and concise school. Therefore, Maos poems have characteristics of the two schools, just as he criticized himself I has a bias in favor of the style of boldness, but never totally ignore the style of gracefulness (à ¥Ã‚ ¾Ã‚ Ãƒ ¦Ã‚ ¶Ã¢â‚¬ ºÃ‚ ¼Ã…’1955:413). 1.1.3 Magnificent Imagery Just like other classical Chinese poems, Maos poems are tending to use various images. Mao even showed his attitude toward poetry creation in a letter to Chen Yi that poetry conveys ideas by means of images. First, on images, Mao usually expresses feelings by nature, which makes the image great and magnificent. The most used word in his poems is à ¥Ã‚ ¤Ã‚ ©(sky), such as à ¥Ã‚ ¤Ã‚ ©Ãƒ ¨Ã¢â‚¬ ¹Ã‚ ¥Ãƒ ¦Ã…“†°Ãƒ ¦Ã†â€™Ã¢â‚¬ ¦Ãƒ ¥Ã‚ ¤Ã‚ ©Ãƒ ¤Ã‚ ºÃ‚ ¦Ãƒ ¨Ã¢â€š ¬Ã‚ , à ¤Ã‚ ¸Ã¢â‚¬ ¡Ãƒ §Ã‚ ±Ã‚ »Ãƒ ©Ã…“Å“Ã ¥Ã‚ ¤Ã‚ ©Ãƒ §Ã‚ «Ã… ¾Ãƒ ¨Ã¢â‚¬ ¡Ã‚ ªÃƒ §Ã¢â‚¬ Ã‚ ±, à ¤Ã‚ ¸Ã¢â‚¬ ¡Ãƒ ¦Ã…“ ¨Ãƒ ©Ã…“Å“Ã ¥Ã‚ ¤Ã‚ ©Ãƒ §Ã‚ ºÃ‚ ¢Ãƒ §Ã†â€™Ã¢â‚¬Å¡Ãƒ ¦Ã‚ ¼Ã‚ « and so on. à ¥Ã‚ ±Ã‚ ±(mountain) and à ©Ã‚ £Ã… ½(wind) are second, like à ¨Ã‚ ¸Ã‚ Ãƒ ©Ã‚ Ã‚ Ãƒ ©Ã‚ Ã¢â‚¬â„¢Ãƒ ¥Ã‚ ±Ã‚ ±Ãƒ ¤Ã‚ ºÃ‚ ºÃƒ ¦Ã…“ ªÃƒ ¨Ã¢â€š ¬Ã‚ , à ¥Ã‚ ±Ã‚ ±Ã‚ ¼Ã…’à ¥Ã‚ ¿Ã‚ «Ãƒ ©Ã‚ ©Ã‚ ¬Ãƒ ¥Ã…  Ã‚  Ãƒ ©Ã… ¾Ã‚ ­Ãƒ ¦Ã…“ ªÃƒ ¤Ã‚ ¸Ã¢â‚¬ ¹Ãƒ ©Ã… ¾Ã‚ , à ¤Ã‚ ¸Ã¢â‚¬ ¡Ãƒ ¦Ã‚ °Ã‚ ´Ãƒ ¥Ã‚ Ã†â€™Ãƒ ¥Ã‚ ±Ã‚ ±Ãƒ ¥Ã‚ Ã‚ ªÃƒ §Ã‚ ­Ã¢â‚¬ °Ãƒ ©- ², à ¨Ã‚ Ãƒ §Ã¢â‚¬ËœÃ… ¸Ãƒ §Ã¢â‚¬ ¹Ãƒ ©Ã‚ £Ã… ½Ãƒ ¤Ã‚ »Ã…  Ãƒ ¥Ã‚ Ã‹â€ Ãƒ ¦Ã‹Å" ¯Ã‚ ¼Ã…’à ¦Ã‚ Ã‚ ¢Ãƒ ¤Ã‚ ºÃ¢â‚¬  Ãƒ ¤Ã‚ ºÃ‚ ºÃƒ ©- ´. à ¦Ã‚ ±Ã… ¸(river), à ¦Ã‚ °Ã‚ ´(water) and à ¦Ã‚ µÃ‚ ·(sea) are third. Consequently, Mao prefers things with imposing vigor, but never uses à ¤Ã‚ ¸Ã‹Å"à ¥Ã‚ £Ã¢â‚¬Ëœ(hill), à ¥Ã‚ °Ã‚ Ãƒ ¦Ã‚ ºÃ‚ ª(stream), à ¥Ã‚ °Ã‚ Ãƒ ¦Ã‚ ²Ã‚ ³(creek). Besides, Mao also prefers snow, rain, wind and frost in nature. According to statistics, there are 12 à ©Ã¢â‚¬ ºÃ‚ ¨(rain), 13 à ©Ã¢â‚¬ ºÃ‚ ª(snow) and 8 à ©Ã…“Å“(frost) in Maos poems. In term of à ¥Ã‚ ¤Ã‚ ©(sky), Maos usage is different from the ancients. à ¥Ã‚ ¤Ã‚ ©(sky) in classical Chinese poetry mostly mapped a gloomy and mournful image, for example, à ¥Ã‚ ¤Ã‚ ©Ãƒ ©Ã¢â‚¬ ¢Ã‚ ¿Ãƒ ¥Ã…“ °Ãƒ ¨Ã‚ ¿Ã…“à ©Ã‚ ­Ã¢â‚¬Å¡Ãƒ ©Ã‚ £Ã… ¾Ãƒ ¨Ã¢â‚¬ ¹Ã‚ ¦Ã‚ ¼Ã…’à ¨Ã¢â‚¬â„¢Ã¢â€ž ¢Ãƒ ¦Ã‚ ·Ã‚ ·Ãƒ ¤Ã‚ ¸Ã‚ Ãƒ ¥Ã‹â€ Ã‚ °Ãƒ ¥Ã¢â‚¬ ¦Ã‚ ³Ãƒ ¥Ã‚ ±Ã‚ ±Ãƒ ©Ã… ¡Ã‚ ¾, à ¦Ã‹â€ Ã¢â‚¬ËœÃƒ ¥Ã…  Ã‚ Ãƒ ¥Ã‚ ¤Ã‚ ©Ãƒ ¥Ã¢â‚¬ ¦Ã‚ ¬Ãƒ ©Ã¢â‚¬ ¡Ã‚ Ãƒ ¦Ã…  -à ¦Ã¢â‚¬Å"Ã… ¾, à ©Ã¢â‚¬ ºÃ‚ Ãƒ ©Ã‚ £Ã… ¾Ãƒ ¦Ã‚ ®Ã¢â‚¬ ¹Ãƒ ¦Ã…“ˆÃ ¥Ã‚ ¤Ã‚ ©, à ¥Ã‚ ¤Ã… ¡Ãƒ ¥Ã‚ °Ã¢â‚¬ËœÃƒ ¦Ã… ¡-à ¦Ã¢â‚¬ žÂ Ãƒ ¥Ã‚ ¯Ã¢â‚¬  Ãƒ ¦Ã¢â‚¬Å¾Ã‚ Ã‚ ¼Ã…’à ¥Ã¢â‚¬ Ã‚ ¯Ãƒ ¦Ã…“†°Ãƒ ¥Ã‚ ¤Ã‚ ©Ãƒ §Ã… ¸Ã‚ ¥ or à ¤Ã‚ ¸Ã¢â‚¬ °Ãƒ ¥Ã‚ Ã‚ Ãƒ ¤Ã‚ ¸Ã¢â‚¬ °Ãƒ ¥Ã‚ ¤Ã‚ ©Ã‚ ¼Ã…’à §Ã‚ ¦Ã‚ »Ãƒ ¦Ã‚ Ã‚ ¨Ãƒ ¥Ã‚ ¤Ã‚ ©Ãƒ ¦Ã…“â‚ ¬Ãƒ ©Ã‚ «Ã‹Å" etc. instead, à ¥Ã‚ ¤Ã‚ ©(sky) in Maos poems shows a strong revolution will, and is often used to describe the glories and the foibles of man, such as à ¥Ã‚ ¤Ã‚ ©Ãƒ §Ã‚ ¿Ã‚ »Ãƒ ¥Ã…“ °Ãƒ ¨Ã‚ ¦Ã¢â‚¬  Ãƒ ¦Ã¢â‚¬ ¦Ã‚ ¨Ãƒ ¨Ã¢â€š ¬Ã…’à ¦Ã¢â‚¬ ¦Ã‚ ·, à ¥Ã¢â‚¬ ºÃ‚ ½Ãƒ ©Ã¢â€ž ¢Ã¢â‚¬ ¦Ãƒ ¦Ã¢â‚¬Å¡Ã‚ ²Ãƒ ¦Ã‚ ­Ã…’à ¦Ã‚ ­Ã…’à ¤Ã‚ ¸Ã¢â€š ¬Ãƒ ¦Ã¢â‚¬ ºÃ‚ ²Ã‚ ¼Ã…’à §Ã¢â‚¬ ¹Ã¢â‚¬Å¡Ãƒ ©Ã‚ £Ã¢â€ž ¢Ãƒ ¤Ã‚ ¸Ã‚ ºÃƒ ¦Ã‹â€ Ã¢â‚¬ËœÃƒ ¤Ã‚ »Ã… ½Ãƒ ¥Ã‚ ¤Ã‚ ©Ãƒ ¨Ã‚ Ã‚ ½, à ¤Ã‚ ¸Ã¢â€š ¬Ãƒ ¥Ã¢â‚¬ Ã‚ ±Ãƒ ©Ã¢â‚¬ ºÃ¢â‚¬Å¾Ãƒ ©Ã‚ ¸Ã‚ ¡Ãƒ ¥Ã‚ ¤Ã‚ ©Ãƒ ¤Ã‚ ¸Ã¢â‚¬ ¹Ãƒ §Ã¢â€ž ¢Ã‚ ½, à ¤Ã‚ ¸Ã‚ ºÃƒ ¦Ã…“†°Ãƒ §Ã¢â‚¬ °Ã‚ ºÃƒ §Ã¢â‚¬ °Ã‚ ²Ãƒ ¥Ã‚ ¤Ã… ¡Ãƒ ¥Ã‚ £Ã‚ ®Ãƒ ¥Ã‚ ¿- ¼Ã…’à ¦Ã¢â‚¬ ¢Ã‚ ¢Ãƒ ¥Ã‚ Ã‚ «Ãƒ ¦- ¥Ãƒ ¦Ã…“ˆÃ ¦Ã‚ Ã‚ ¢Ãƒ ¦- °Ãƒ ¥Ã‚ ¤Ã‚ ©, à ©Ã‚ £Ã… ¾ à ¨Ã‚ µÃ‚ ·Ãƒ §Ã… ½Ã¢â‚¬ °Ãƒ ©Ã‚ ¾Ã¢â€ž ¢Ãƒ ¤Ã‚ ¸Ã¢â‚¬ °Ãƒ §Ã¢â€ž ¢Ã‚ ¾Ãƒ ¤Ã‚ ¸Ã¢â‚¬ ¡Ã‚ ¼Ã…’à ¦Ã‚ Ã¢â‚¬ ¦Ãƒ ¥Ã‚ ¾-à ¥Ã¢â‚¬ËœÃ‚ ¨Ãƒ ¥Ã‚ ¤Ã‚ ©Ãƒ ¥Ã‚ ¯Ã¢â‚¬â„¢Ãƒ ¥Ã‚ ½Ã‚ » and so on, which obviously represent Maos heroic character and broad mind. Second, Maos images in his poems are colorful. Among various colors, Mao likes red best. For example, à ¤Ã‚ ¸Ã‚ Ãƒ §Ã‹â€ Ã‚ ±Ãƒ §Ã‚ ºÃ‚ ¢Ãƒ ¨Ã‚ £Ã¢â‚¬ ¦Ãƒ §Ã‹â€ Ã‚ ±Ãƒ ¦Ã‚ ­Ã‚ ¦Ãƒ ¨Ã‚ £Ã¢â‚¬ ¦, à §Ã…“†¹Ãƒ ¤Ã‚ ¸Ã¢â‚¬ ¡Ãƒ ¥Ã‚ ±Ã‚ ±Ãƒ §Ã‚ ºÃ‚ ¢Ãƒ ©Ã‚ Ã‚ , à ©Ã‚ £Ã… ½Ãƒ ¥Ã‚ ±Ã¢â‚¬ ¢Ãƒ §Ã‚ ºÃ‚ ¢Ãƒ ¦Ãƒ ¥Ã‚ ¦Ã¢â‚¬Å¡Ãƒ §Ã¢â‚¬ Ã‚ » etc. While, in à ¨Ã‚ µÃ‚ ¤Ãƒ ¦Ã‚ ©Ã¢â€ž ¢Ãƒ ©Ã‚ »Ã¢â‚¬Å¾Ãƒ §Ã‚ »Ã‚ ¿Ãƒ ©Ã‚ Ã¢â‚¬â„¢Ãƒ ¨Ã¢â‚¬Å" Ãƒ §Ã‚ ´Ã‚ «Ã‚ ¼Ã…’à ¨Ã‚ °Ã‚ Ãƒ ¦Ã…’ Ãƒ ¥Ã‚ ½Ã‚ ©Ãƒ §Ã‚ »Ã†â€™Ãƒ ¥Ã‚ ½Ã¢â‚¬Å"à §Ã‚ ©Ã‚ ºÃƒ ¨Ã‹â€ Ã… ¾, metonymy is vividly used to describe rainbows magnificence with seven basic colors. At last, Mao is good at using creative and impassioned verbs to present a dynamic and exultant picture of nature. Just like à ©Ã‚ ¹Ã‚ °Ãƒ ¥Ã¢â‚¬ ¡Ã‚ »Ãƒ ©Ã¢â‚¬ ¢Ã‚ ¿Ãƒ §Ã‚ ©Ã‚ ºÃ‚ ¼Ã…’à ©Ã‚ ±Ã‚ ¼Ãƒ §Ã‚ ¿Ã¢â‚¬ Ãƒ ¦Ã‚ µÃ¢â‚¬ ¦Ãƒ ¥Ã‚ ºÃ¢â‚¬ ¢, à ¥Ã¢â‚¬ ¡Ã‚ »(cleave) is more forceful than à ©Ã‚ £Ã… ¾(fly), while à §Ã‚ ¿Ã¢â‚¬ (glide) is quicker than à ¦Ã‚ ¸Ã‚ ¸(swim). A comparatively still object will move in Maos poems. Take à ¥Ã‚ ±Ã‚ ±(mountain) for example, à ¦Ã‚ ¨Ã‚ ªÃƒ §Ã‚ ©Ã‚ ºÃƒ ¥Ã¢â‚¬ ¡Ã‚ ºÃƒ ¤Ã‚ ¸- ¼Ã…’à ¨Ã… ½Ã‚ ½Ãƒ ¦Ã‹Å"† Ãƒ ¤Ã‚ »Ã¢â‚¬Ëœ, à ¤Ã‚ ¸Ã¢â€š ¬Ãƒ ¥Ã‚ ±Ã‚ ±Ãƒ ©Ã‚ £Ã… ¾Ãƒ ¥Ã‚ ³Ã¢â€ž ¢Ãƒ ¥Ã‚ ¤Ãƒ ¦Ã‚ ±Ã… ¸Ãƒ ¨Ã‚ ¾Ã‚ ¹Ã‚ ¼Ã…’à ¨Ã‚ ·Ã†â€™Ãƒ ¤Ã‚ ¸Ã…  Ãƒ ¨Ã¢â‚¬ËœÃ‚ ±Ãƒ ¨Ã…’ Ãƒ ¥Ã¢â‚¬ ºÃ¢â‚¬ ºÃƒ §Ã¢â€ž ¢Ã‚ ¾Ãƒ ¦-†¹, à ¥Ã‚ ±Ã‚ ±Ãƒ ¨Ã‹â€ Ã… ¾Ãƒ ©Ã¢â‚¬Å" ¶Ãƒ ¨Ã¢â‚¬ ºÃ¢â‚¬ ¡. à ¥Ã‚ ±Ã‚ ±(mountain) in Maos poems is not stable and silent, but could dance, fly, walk and even run, in all, with kinds of ways to move. (à ¦Ã¢â‚¬ ºÃ‚ ¾Ãƒ §Ã… ½Ã‚ ²Ãƒ §Ã… ½Ã‚ ²Ã‚ ¼Ã…’2005) Therefore, images of Maos poems are magnificent, glorious, moving and bright colors. These not only show his heroic bearing as a giant of Chinese revolution, but produce unique rich images of classical Chinese poetry. When translating Maos poems, translators should pay attention to these characteristics. 1.2 Introduction to Four Selected English Versions According to incomplete statistics, domestic versions of Maos poetry have come to more than 200 now, including Chinese versions, minority versions, foreign versions, as well as handwriting versions, copybook versions and melodization versions and so on. Among them, the most influential ones are Mao Tze-tung: Nineteen Poems, Mao Zedong Poems (37 pieces), Collection of Mao Zedongs Poem (50 pieces) published by Peoples Literature Publishing House and Collection of Mao Zedongs Poem (67 pieces) by Central Committee Documents Publishing House. Various versions of Mao poems not only make a profound and lasting influence in poetry circle, but lay a foundation for the further research. Since rhetorical devices translation in four English versions of Maos poems will be studied in this thesis. it is indispensable to know about the four selected English versions. This part will give an overall introduction to these versions; the basic information about each version will be presented in the table below: Basic publishing information about the four selected English versions Oxfords version Official version Zhaos version Xus version Translator Michael BullockJerome Chen Yuan Shuipai, Ye Junjian, Adler etc. Zhao Zhentao Xu Yuanchong Book Name Mao and the Chinese Revolutio: with Thirty-Seven Poems by Mao Tse-tung Mao Tse-tung Poems Mao Zedong Poems Selected Poems of Mao Zedong Publishing House Oxford University Press Foreign Languages Press Hunan Normal University Press China Translation Press Company Publishing place New York; London; Peking Changsha Beijing Time 1965 1976 1992 1993 Among the four versions, the former one is translated by foreigners and the latter three by Chinese. The former one is in the form of prose and the latter three are in the form of poetry with rhyme and rhythm. In the following part, more detailed information about the translator and the format and general characteristics of each version will be provided respectively for comprehensive and better understanding of their translations. 1.2.1 Oxfords Version It is the translation that doesnt come from Chinese translators, but sinologists aboard. Among these translations, the translators special position decides there never occurs any anxiety and fear, and there also has no need to bow in worship before the original author. For the subjects of translating will appear in the horizons of readers from the English-speaking world first as a literature works, the translators consider more needs of that kinds of readers when they translate. Also, it is easy to find that the translating activities by foreign scholars mainly happened in 1960s-1970s, so there will be more chance to have commons among these translations for the short time-span. In 1965, the Chinese (-Born) American scholar Jerome Chen collaborated on Mao and the Chinese Revolution: with Thirty-seven Poems by Mao Tse-tung with American scholar Michael Bullock, and published it in London and New York by Oxford University Press. As a history professor, Jerome Chen studies Chinese movement of communism and knows much about Chinas revolution and has a relatively comprehensive and deep understanding of what Maos poetry writes about. There is an introduction to Maos poems before the translations. After each translated poem, notes including the writing background and explanations of some important Chinese cultural things are given to help English readers gain a relatively complete understanding of the poems. 1.2.2 The Official Version The official translation is Mao Tse-tung poems published by Foreign Language Press in 1976. In this book, there is a photo of Mao Zedong and one of his calligraphy on the preface. The title of each poem was printed in red, while the subtitle and the lines of each poem were all printed in blank. After these translated poems, there is a NOTE ON THE VERSE FORM by translators to briefly explain the style of the poem. Because the original author Mao Zedong was occupying the leader of the nation at that time, the translating activities was held by officials and became a serious political task under the guidance of leaders from countrys most powerful office. The translation was completed by Mao Zedong poems translation group and issued by the government. All of these made the 1976 translation have great difference with others, no matter from contents or forms. 1.2.3 Zhao Zhentaos Version The name of Zhaos version is Mao Zedond Poems with thirty-nine poems. It was published by by Hunan Peoples Publishing House in 1992. There are two prefaces in the version: one is written by Han Suyin and the other by the translator himself. The translator also wrote two articles about several issues in the translated versions of Maos poetry. The two articles mainly point out the mistakes or something improper in the translated versions which show the translators carefulness and earnestness on the understanding of Maos poetry and his great faithfulness to the original especially in details. In this version, the translator adopts the form of Chinese-English contrast and provides the simple notes after each translated poem. 1.2.4 Xu Yuanchongs Version This version is named Seletced Poems of Mao Zedong containing forty-seven poems and it is published by China Translation and Publishing Corporation in 1993 for the memory of the 100th anniversary of Maos birth. In this version, there are English notes after each poem. Xu Yuanchong, the gifted and well-known poem translator, who is a professor of Beijing University and has achieved a lot in the field of translation, has idea of translating poetry with poetry. With his translation theory of three beauties, he thought the translated poem should be as beautiful as the original in sense, sound and form, and that among the three beauty, beauty in sense comes first, and beauty in sound second, and beauty in form third, and that if it is impossible to achieve all beauties at the same time, the resemblance in form will come first and then in sound as to achieve faithfulness and beauty in sense. (Xu Yuanchong, 1992) In this version, there is a photo of Mao Zedong with Mao Anqing and Shao Hua on the first page and the short preface written by them. Besides these, there is the preface written by the translator himself in both Chinese and English about his translation views and principles, mainly about the application of Three Beauty Principle in translating Maos poems. The translator also adopts the form of Chinese-English contrast and provides the English notes and some background information after each translated poem. The above versions are short for Oxfords, the Official, Zhaos and Xus separately in the following discussion. Chapter Two Reception Aesthetic Theory Review 2.1 A Brief Introduction to Reception Aesthetic Theory Reception theory is neither a general study of essence of aesthetics nor a study of criticism about literary art theory. It is rather the system of methodology concerning the study of succession of factors and laws in readers reception process, based on the theories of phenomenology and hermeneutics and aimed at readers reception in the literary work. (Davis, Linell, 2001:33) Reception aesthetics (or reception theory) was developed in German, arouse in the later of 1960s and matured in 1970s. Its main representatives are some professors from Constance University of south German, such as H.R.Jauss, W.Iser. RA broke through the traditional critical molds with writer center and works center and turned to the mold with reader center, which opened up the sight of art criticism. No matter how great difference and divarication the inside of reception aesthetics exist, there is a common basic theory, which puts readers (or reception subjects) in the central position of literature activities. According to reception aesthetics, literature is a new communication activity and it must have certain condition and place. The artworks are a medium (or tool) for artists and readers to communicate. If the words written by writers havent read by readers, they are just semi finished articles (i.e. text) and have the potential ability to be literature works, but not real ones; only read by receptionists (readers), they will be real literature works. According to this theory, writers must preset a reader (i.e. implied reader or potential reader) when writing, Literature works are regarded as a dynamic communication form between text and reader, but not a free thing. So, writing for writer is to communicate and make dialogues with his preset reader. Reception Aesthetic theory challenges traditional author centered or text centered theories which ignore the function and status of readers as well as the interaction between readers and texts. Reception theory soon spreads all over the world, and becomes a very important theory of literature and criticism. Just as Holub said, Virtually, every methodological perspective and area of literary endeavor has responded to the challenge that has raised by reception theory. (Houlb, 1984:15) 2.2 Core Concepts of Reception Aesthetics 2.2.1 Horizon of expectation Horizon of Expectation is the core conception of reception aesthetics, which refers to receptor about oriental psychological structural schema. This directional emotion is transformed from the current life and aesthetics experience, and it is a mental foundation for aesthetics, including the education level of receptor, living experience, aesthetics and literature interest, as well as experience, knowledge and works expectation formed from the familiarity about various forms and skills, which have been gotten from the whilom aesthetics experience. Among these factors forming horizon of expectation, the times, nation, culture and class where readers are make radical influence on receptors appreciation and interests. Horizon of Expectation theory points, the literature participation of any reception subjects is just a process that their horizon of expectations seek to express. Only if the works must adapt for readers horizon of expectation, they will arouse their interests and set up a channel for reception objects and subjects, then, get into the reception process. If works horizon of expectation is far away from readers, the works will lose their attraction and the channel wont be built, at last, the works will fail to make receptors get into the reception process. Translation also takes readers as objects. The direct receptor of translation is the main body of readingreaders. If there are no readers, the meaning, connotation and expression forms cannot become the objects of aesthetics, and translation also cannot have a definite object in view when conveying its information. Therefore, in this theory, readers are regarded as an important part of translating to research. 2.2.2 Fusion of horizon Since we have horizon of readers, it is not strange that horizon also includes the authors horizon and the translators horizon. The authors horizon has effect on the creation of works, which means, with different backgrounds and experiences, different authors will create different styles of works. The readers horizon mainly concerns about the process of reception. The translator, actually, has the function as a bridge. On one side, the translator is the reader who appreciates and understands the original works. On the other side, he or she is a translator. Because different translators have different background like personality, skill, education, interest, views to the world and so on. So, the translators version and recognition about translation activity and original works will be diverse. In order to let the translated versions be accepted, the translator should develop his translation skills and strategies to cater to the readers horizon. The activity of fusion of horizon happens between past experiences which are contained in the original works and present interests of its nowadays readers. It is a dynamic process. 2.2.3 Indeterminacy and blank of meaning Iser mainly focuses on the gap or indeterminacy of the text. To Iser, the most important difference between a literary and a non-literary work is just the indeterminacies that have contained in the works. There are lots of indeterminacy that constitutes the most important elements for literary works, Meaning is not contained in the text itself, but rather is generated during the reading process. It is neither purely textual nor totally subjective, but the result of an interaction between the two: the extent of our participation and the degree of the works determinacy defines the type of text with which we are dealing (Selden, 1986: 327-329). It is the existence of these blanks and gaps that force and stimulate readers to recreate and concrete. Iser proposes that literary works have two poles: artistic pole and aesthetic pole, in which, the artistic pole just means the original text created by the author, the aesthetic pole is about the realization of meaning carried out by the readers. The meaning of one certain work can only be realized through the activity that readers fill in the indeterminacy during reading. When readers read the works, they will commonly make prediction or pre-judgment. When encountered with blanks or gaps, they will fill them up actively from they own creativity, skills and so on. This process is the so called concretization of reading. In the creation of literary works, the author usually describes the main features of the text fully and clearly, while at the same time, omits purposely some unimportant features or clues and leaves them to the reader for aesthetic effect and semantic function. When Jauss was doing research on the role of literature in history, Iser decided to analyze and study the reading process and the role of readers. In Isers mind, it is the reader who helps to form the meaning of text by filling in blanks or gaps. 2.2.4 Implied reader Maybe the most distinctive feature of reception aesthetics is its emphasis on the notion of readers. Different readers have different horizon of expectations before activity of reading. It is not strange that different understanding may occur toward the same literary work. To the theorists of reception theory, literary works are created for readers; readers help to realize the meaning of literary works to a large extent. It is the historical position of literary works. Implied reader roots deeply in the textual structure, the emergence of textually and structurally anticipated acceptor and there is no need to define the acceptor. (Iser, 1971:19). Iser asks for an actual reader or empirical reader, but doesnt consider the expression of the reader. The relationship of implied reader and the text is the central focus for Iser, The implied reader embodies all those predispositions necessary for a literary work to exercise its effect predispositions laid down, not by an empirical outside reality, but by the text itself. Consequently, the implied reader as a concept has his roots firmly planted in the structure of the text; he is a construct and in no way to be identified with any real reader (Zhu Gang, 1998:116). Reception aesthetics believes that the process of literary creation is not a self completed task, it is not self-sufficient. The process is also an activity that helps to communicate thoughts, ideas, and emotions and so on to the other people. Literary works can only be seen as a possible existence before being read and understood. Only after the reception of readers can literary works significance be realized. While during the process of reception, the receptive activity is not a passive one but an initiative one. The readers not just simply read the works, but he or she will fill in the gaps and indeterminacies with his or her own imagination, life experiences, interests, etc. Without participation of the reader, literary works are not true. The aesthetic sense and function of literary can be achieved only through the interaction with readers. It is the reader that creates the beauty and vitality of literary works persistent. 2.2.5 Appealing structure The concept of Appealing structure is put forward firstly by Edmund Husserls student Roman Ingarden. Iser has absorbed many ideas from Ingarden, among which, the concept of indeterminacy and blanks were Isers focal point. It is the existence of indeterminacy which links the writers ideas in the process of writing and the readers reception ideas in the process of reading that make literary works lively and vital à ¢Ã¢â€š ¬Ã‚ ¦only through readers effort can the writers ideas shown in the text be actualized or concretized in different ways and reappear in different looks in readers mind. Indeterminacy of the text and vacancy of meaning urges readers to look for the meaning of the text; as a result, readers are given the right to participate in forming the meaning: the meaning is the result of an interaction between text and reader rather hides in the text to wait to be discovered. Thus an open text and its meaning blanks form the basic structure of the text, which is what we called ap pealing structure. (Houlb, 1984:25). In conclusion, reception aesthetics breaks through the traditional text-centered theories and establishes readers-centered viewpoint. It proposes that the meaning of literary works is depended on the readers. The dynamic interaction of the readers previous experiences and the text gives birth to the concept of the readers response. The readers imagination and interpretation can be fully realized from the indeterminacy and gaps that are contained in the text. The appealing structure forces the readers to participate in the interaction with the text and to actualize the hidden meaning of the text. To reception theorist, literatures historical significance lies in the readers pre-experience which joins literature to history. Different readers with different background, interests, education, aesthetic abilities and so on will interpret the same text differently. Reception aesthetics is either important to literature theory or to criticism. Just as Jauss mentioned, Reception Aesthetics opened a view the possibility of renewing literary history, exhausted and mired in positivism, by giving it the task of seeking a new understanding of the history of literature as a communication process between all three parties, namely, the author, t

Chaucer’s Prologue To The Canterbury Tales Essay

Dave Tagatac English III Dec. 1, 2000 Canterbury Tales Essay #1 In Geoffrey Chaucer’s Prologue to The Canterbury Tales, there was a Friar to accompany the party traveling to Canterbury. Hubert, as he was called, embodied the traits from which friars were expected to keep their distance. Chaucer is successful in using this white-necked beggar to bring to the readers mind corruption, wealth, greed, and lechery, all hypocritical and immoral characteristics for a man of the church to possess. Although he is a merry man, full of joy and â€Å"wantonness†, these are mere irrelevancies when assessing Hubert’s value of character as a friar. Throughout Chaucer’s description of the Friar in the Prologue, Hubert’s corruption is evident. Probably the Friar’s greatest evil is suggested early in his description and mentioned several times more. When Hubert would marry a couple, he would give each â€Å"Of his young women what he could afford her.† The sexual connotation of this statement is enforced by the fact that â€Å"He kept his tippet stuffed with pins for curls, / And pocket-knives, to give to pretty girls.† Other evidence of corruption, although not as reprehensible as the defiance of celibacy, includes Hubert’s failure to befriend the â€Å"lepers, beggars, and that crew,† to whom friars were intended to be nearest. The narrator explains that their lack of money makes their friendship simply a waste of the Friar’s time. A friar is supposed to be poor, only taking what they need to survive, and giving the rest to those impoverished souls who need it. Hubert, on the other hand, was quite wealthy. I have never known the imbibing of alcohol to be a necessity of life, and yet this friar â€Å"knew the taverns very well in every town / And every innkeeper and barmaid too.† The narrator even states outright that â€Å"his income came / To more than he laid out.† Yet another extraneous possession for a friar was the extravagant dress Hubert wore, as contrasted with the rags friars were expected to don. All of these things demonstrate how the Friar, even when obtaining more than he expected, gave very little to the poor, and kept much for himself. This feeling is continued † even augmented † upon examination of Hubert’s greed. â€Å"Highly beloved and intimate was he / With Country folk within his boundary.† As mentioned above, he associated not with the poor, â€Å"But only with the rich and victual-sellers.† Anyone from whom a profit was possible was inherently the Friar’s friend. This greed is indisputable in light of a final piece of evidence. That is that Hubert would actually pay other friars not to beg in his district. Again, these are actions to be frowned upon in any man, let alone a religiously affiliated one. Finally, Hubert can be shown to be a leach, hanging around those from whom he can get money, and depending on them to support his opulent lifestyle. Although he had no permission to hear confession, this was one way for him to make money, and he did not hesitate to utilize it. He even targeted those who weren’t so wealthy in a never-ending quest for monetary gain: â€Å"though a widow mightn’t have a shoe / â€Å" ¦ / He got her farthing from her just the same.† When people of his district had a dispute, the lecherous Friar was there. Hubert could be found taking advantage of any opportunity he could find to make money honestly, or dishonestly. The Friar was well liked, and had a wonderful singing voice, but his contributions to society ended here. He, through his actions, has shown evidence of corruption, immoral opulence, greed to increase this wealth, and a terrible habit of leaching off others. He was considered a man of the church, but he was far from the piety the title â€Å"friar† conveys.

PInk Flamingo

The sass was a period of spunk, pizzazz, and flashy colors. In 1957, Don Featheriness had designed the attention grabber of the generation- the plastic pink flamingo. The lawn d ©corn had originated from the pretty, pink-feathered wading bird. In her recent essay The Plastic Pink Flamingo, Jennifer Price explains that flamingos have always been animals that have attracted attention, similar to the flamingos,Price believes America is a country that wishes to capture the spot light in the world. Price also claims that as the Great Depression came to an end, bright colored objects began to emerge into the United States, including the plastic pink flamingo. Throughout her essay Price reveals that her view of the American culture is that America was finally coming out of the Great Depression era so they focused on changing the countries culture and making It stand out.Since the sass, when the Declaration of Independence was signed, America soused on being a country different from any ot her country. The establishment of religious freedom was the key aspect that separated the united States from the other countries- America propelled itself to stand out. Likewise during the sass, Featheriness design had similar elements to the call of religious freedom; the plastic pink flamingos emerged Into being the hottest Item In America, simply by Its color. While the rest of the world laid on bland colors, America 11th Itself with luminous ones.In her essay Price stated, Kraal Ann Marling had written, the Sassy pinks' were the Panache 2 hottest color of the decade†. The jazzy pink flamingos had formed their own generation In America- a generation that put the country in the center of the world. A translator from one decade to another can be a huge leap In some Instances. During the sass the Great Depression had hit America like a plague. Times were dark and dull; hence when the pink flamingos flew into the country, Americans were filled with light in their eyes.In The Pl astic Pink Flamingo Price wrote, â€Å"The hues were forward- working rather than old fashioned, Just right for our generation, raised in the Depression, that was ready to celebrate its new affiance†. The flamingos settled after the Great Depression- a time when the country seemed Insipid and out of color, as soon as the Depression ended bright colors began to burst Into the alarm changing the generation, one to another. The plastic pink flamingos had taken a turn in history when they arrived during the sass.The plastic flamingos brightened the streets of America with lucid colors. In The Plastic Pink Flamingo by Jennifer Price, Price explains that the pink birds are known to stick out amongst Its fellow birds, likewise Price believes that America would Like to stand out amongst the other countries In the world showing Its the Depression broke through, a whole new generation began to emerge- a generation of change. The arrival of the false flashy flamingo was a movement for A merica to shift away from the past, reform the countries culture, and to stand out in the world.

The Birthmark By Nathaniel Hawthorne - 1511 Words

The Birthmark Nathaniel Hawthorne like many other writers during the nineteenth century focused their writings on the darker aspects of life. â€Å"The Birthmark,† is set in New England and has a Puritan perspective. Aylmer, a well-known scientist, marries Georgiana who has a hand shaped birthmark upon her face. After some time during their marriage Aylmer and Georgiana decided to remove the mark through scientific means. Advancements in science and the ability to change nature were at the center of plots throughout their short stories and poems. Hawthorne believed that it was not unusual for science and women to rival for one man’s love (Hawthorne 12). Hawthorne used his critical thinking to write about taboos and dissention not spoken of during his lifetime to the forefront. In â€Å"The Birthmark,† Hawthorne focuses on science verses nature. Hawthorne attempted to create the perfect human being through science by using setting, character, and symbolism to undo the imperfections he saw within God’s work in â€Å"The Birthmark†. With all of his intellectual and spiritual qualities, Aylmer still does not have wisdom. The story setting, â€Å"The Birthmark† takes place in the latter half of the eighteenth century to beginning of the nineteenth century (Hawthorne12). Some understanding of history and the Puritan culture must be known by the audience in order to grasp the circumstances that were faced during this period in time. During this time many major events occurred; one of the mostShow MoreRelatedThe Birthmark By Nathaniel Hawthorne1493 Words   |  6 PagesRomantic period authors, like Nathaniel Hawthorne, a prevalent example of a Romantic author from the 19th century, believed that people were getting too reliant on on science. 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