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Abstract

Abstract

The cycle of symphonic songs was based on , a German version of classical Chinese poems. As a result, crossed the boundary between literature and music, encompassing intralingual, interlingual, and intersemiotic translations. While comparative textual analysis reveals that these two works made changes to the original Chinese texts, intersemiotic translation illustrates that the borders between verbal texts and nonverbal works are fluid. This post-translation study traces the translation context of , maps ’s transitions between literary and musical polysystems, and traces ’s afterlife in the creation of new artworks. It concludes that poetry, music, and other art forms can mutually translate, complement, and become afterlives of one another.

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/content/journals/10.1075/target.22025.pan
2024-09-27
2024-10-13
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