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In conventional ancient Chinese poetry learning, students tend to be under-motivated and fail to understand many aspects of poetry. As generative artificial intelligence (GAI) has been applied to education, image-GAI (iGAI) provides great opportunities for students to generate visualized images based on their descriptions of poems, and to situate students in a context similar to what a poem describes. In addition, the progressive prompt is a strategy that can progressively provide students with clues and guidance in technology-enhanced learning environments. Hence, this study proposed a progressive prompts-based image-GAI (PP-iGAI) approach to support students' ancient Chinese poetry learning. To evaluate its effectiveness, the present study employed a quasi-experiment design and recruited 80 fifth-grade elementary school students to engage in one of two conditions: one class was assigned as the experimental group and adopted the PP-iGAI approach, while the other class was assigned as the control group and used the conventional prompt-based iGAI (C-iGAI) approach. The results revealed that the PP-iGAI approach could better promote students' learning achievement, extrinsic motivation, problem-solving awareness, critical thinking, and learning performance. In addition, no significant differences were found in the two groups' cognitive load. Moreover, the results of the interview disclosed the learning perceptions and experiences of both groups. Accordingly, the present study can provide a reference not only for ancient Chinese poetry learning but also for the application of GAI in educational fields for future research.

This research used deep learning technology to conduct sentiment classification on ancient Chinese literary works and presents the results through visualization. The study collected texts from multiple periods and genres and constructed a deep learning model. The overall accuracy of sentiment classification of the model reached 85%. It has its own advantages and disadvantages in classifying works from different genres and dynasties, and there are multiple factors leading to misjudgments. A combination of multiple tools was adopted for visualization. According to user feedback, the system has value in academic research and visualization display but needs to be optimized. This research provides new methods for the study of ancient literature, etc. In the future, the system will be continuously improved upon, and external integration will be strengthened.

The translation of ancient Chinese poetry (TACP) is one important aspect of literature translation, and perhaps even more difficult than the translation of English poetry into Chinese. The difficulty is partly attributed to the gap between the learning of E-C translation and its counterpart, the former still facilitating language acquisition while the latter moving away from it, and partly to the lacking of workable learning activities of TACP in the classroom. This study sheds light on TACP in the classroom in the L2context. It examines various procedures leading to the realization of learners' way to TACP, and suggests that average language teachers with a mind to the genre are capable of devising similar activities as discussed in the thesis. The purpose of this study is to promote TACP from the classroom setting, with average college learners as the subject, and to promote literature translation on a grassroot basis. The study draws on the argument that language learning and motivating materials are mutually promoting and on common-sense view that practice makes perfect. The design of the procedures and activities are based on the previous teaching experience gained from a literature translation course. Given that both the students and the teachers involved in TACP are learners, the success of the classroom interaction to tackle the ancient poetry lies in the specific steps of work, the low-level challenge of the activities and the interest and enthusiasm put in by the students and the teacher. Index Terms--learning, translation, ancient poetry

Transmission of music is never carried out solely through writing; rather it occurs through both oral and written traditions. Tōgaku, a repertory of entertainment music imported to Japan from China between the seventh and the ninth centuries AD, was initially transmitted with a great reliance on the written tradition. However, during the course of its historical development, there was a gradual increase in the reliance on oral transmission. This paper studies changes in the oral and written traditions of tōgaku in Japan by investigating the notations and mnemonic devices used to resemble the melodies during the learning process.

For Classicists, whose undergraduate teaching brief consists largely in teaching tyros how to translate from Latin before they can begin to explore the joys of literary appreciation, this book elicits a feeling of surprised delight 'How could I have got on so long without it?' At the same time it offers the traditional 'desert-island' compendious fare that will lure even the most dedicated Classicist into surreptitiously dipping into the joys of learning about not only the more predictable Indian literature (in Sanskrit, Classical Tamil and the modern Indian languages) but also about literature in African, Central European or East Asian languages (Chinese, Japanese and Korean) as well as the literatures of West Asia, from ancient Mesopotamian literature to works in Arabic, Turkish and modern Persian. The introduction to this whole chapter (by Stuart Gillespie, of the Glasgow University's English Department) begins with an overview of available translations from ancient Greek literature, starting with Trypanis' compilation of ancient and modern translations in the Penguin Book of Greek Verse, and ranging from the eight-volume Dent Library of Greek Thought to Michael Grant's Greek Literature in Translation, Grene and Lattimore's 'Chicago' tragedies and thematic collections of, for instance, erotic poetry that includes various Greek poets.