外国人对中国古代诗歌教学策略的认知研究英文版.
外国人 学习古诗词 英语作文
外国人学习古诗词英语作文The Appeal of Ancient Chinese Poetry for Foreign Learners.In the vast expanse of literary traditions, ancient Chinese poetry stands as a unique and enchanting testament to the rich cultural heritage of East Asia. Its allure extends beyond the borders of China, capturing the imagination of learners from diverse cultural backgrounds. The beauty of Chinese poetry lies not only in its rhyme and meter but also in the profound philosophy and emotional depth it embodies. For foreign learners, the journey into this literary realm is not just about language acquisition; it is an immersive experience that offers insights into a different worldview and aesthetic sensibility.The alliteration and assonance of Chinese poetry are often compared to music, with each syllable carrying atonal quality that contributes to the overall harmony of the poem. This musicality is one of the first attractionsfor foreign learners. The challenge, however, lies in mastering the intricate system of tones and characters that underlie these poetic melodies. Despite the difficulties, the reward is immense as learners begin to appreciate the beauty of Chinese language in its literary form.Beyond the linguistic challenges, ancient Chinese poetry presents a window into the cultural and historical context of the ancient Chinese civilization. Poems like the "Book of Songs" or the works of Du Fu and Li Bai reflect the social, political, and emotional life of their times. For foreign learners, understanding these poems is not just about learning vocabulary or grammar; it is about connecting with a different historical era and cultural mindset.The philosophical underpinnings of Chinese poetry also hold a special appeal for foreign learners. The concepts of harmony with nature, the transience of life, and thepursuit of spiritual enlightenment are themes that resonate across cultures. By studying Chinese poetry, learners gain insights into these universal themes from a unique Easternperspective, enriching their understanding of human experience and wisdom.Moreover, the emotional depth of Chinese poetry often strikes a chord with foreign learners. The poems' expressions of love, loss, joy, and sorrow resonate across cultural barriers, connecting people on an emotional level. The honest and raw emotions expressed in these poems offer a powerful connection between the learner and the ancient Chinese writers, bridging the gap between time and space.In conclusion, the appeal of ancient Chinese poetry for foreign learners lies in its musicality, cultural depth, philosophical wisdom, and emotional resonance. The journey into this literary world is not just a linguistic exercise; it is a transformative experience that broadens thelearner's cultural horizons and enriches their understanding of human expression and wisdom. As they delve into the rhymes and meters of ancient Chinese poetry, foreign learners discover a shared humanity that transcends linguistic and cultural boundaries.。
教外国人学唐诗的英语作文
教外国人学唐诗的英语作文Studying Tang poetry is a great way for foreigners to understand Chinese culture and language. Tang poetry is not only beautiful and profound in its language, but it also reflects the thoughts and emotions of the Chinese people during that time period.First of all, studying Tang poetry can help foreigners improve their Chinese language skills. By learning the ancient language and grammar used in Tang poetry, foreigners can gain a deeper understanding of the Chinese language and its history. This can be especially helpfulfor those who are learning Chinese as a second language.Secondly, Tang poetry provides a window into the culture and history of ancient China. Many Tang poems depict the landscapes, customs, and social issues of that time period, allowing foreigners to gain insights into the traditions and values of Chinese society. By studying Tang poetry, foreigners can develop a greater appreciation for Chinese culture and its rich literary heritage.Furthermore, Tang poetry can also inspire foreigners to explore the beauty of Chinese traditional aesthetics. The elegant and vivid imagery in Tang poems often evokes a sense of harmony with nature and the universe, which can be a source of inspiration for people from all walks of life. By delving into the world of Tang poetry, foreigners can broaden their artistic horizons and gain a deeper appreciation for the beauty of Chinese art.In conclusion, studying Tang poetry can be a rewarding experience for foreigners who are interested in Chinese language, culture, and art. Through the study of Tang poetry, foreigners can not only improve their language skills, but also gain a deeper understanding of Chinese history and culture, and find inspiration in the beauty of Chinese traditional aesthetics.学习唐诗是外国人了解中国文化和语言的好方法。
教外国人学唐诗的英语作文五十个字
教外国人学唐诗的英语作文五十个字English:Teaching foreigners Tang poems can be a rewarding experience as it allows them to not only appreciate the beauty of Chinese literature, but also gain insight into the history, culture, and the lives of people in ancient China. It is important to provide them with background knowledge about the poet, the historical context of the poem, and the meanings behind the metaphors and symbolism used. Additionally, it is beneficial to use various teaching methods such as recitation, translation, and discussion to help them understand and appreciate the poems. By doing so, foreigners can develop a deeper understanding and connection to Chinese culture and history.中文翻译:教外国人学唐诗可以成为一种有意义的体验，因为这不仅让他们欣赏中国文学的美，还可以让他们了解古代中国的历史、文化和人们的生活。
重要的是要为他们提供有关诗人、诗歌的历史背景以及隐喻和象征意义的知识。
此外，使用各种教学方法，如背诵、翻译和讨论，有助于帮助他们理解和欣赏诗歌。
外国人对中国古代诗歌教学策略的认知研究 英文版
Cognitive Research on Teaching Strategies of Chinese Ancient Poems forForeignersGuoli LiuSchool of foreign studies Henan Polytechnic University,China 454003liugl@AbstractüImages in Chinese Ancient Poems are usually the punch lines and the key points in Chinese for foreigners. According to the Image Schema Theory and the Mental Space Theory of Cognitive Linguistics, teachers should manage to build up schemas of Chinese culture in the minds of foreign students by introducing them the backgrounds and stories contained in Ancient Poems. So that foreigner students can get the meaning between lines and go further to enjoy Chinese Ancient Poems. Meanwhile, it is helpful to introduce Chinese culture to the world.Key Wordsü Ancient Poem Image Schema Chinese forForeignerI. IntroductionChinese Ancient Poems are a very important part inteaching Chinese for foreign students. Meanwhile, because ofthe rich images in Ancient Poems and the differentbackground, ways of thinking and culture, it is difficult forforeign students to understand and appreciate Chinese Ancient Poems, for many images of Chinese culture are absent in theirminds. In order to enable foreign students to appreciate thesepoems, teachers have to construct the image schemas in theirminds.II. Images in Chinese Ancient PoemsImages contain the values, ways of thinking, life-style,belief and customs of a nation. “Milky Way” and “Yinhe”, forinstance, are two images of different nations. They have different cultural meaning though they have the sameinstruction. The former reminds people of the ancient Greekmyth while the latter, a beautiful Chinese legend of “theCowboy and the Weaving Girl”.There are a large variety of images, for example, a plant,a bird or beast, an idiom, a proverb, an allusion, a metaphor, even a number, etc. Different nations have their uniqueimages because of their different backgrounds and customs. There are more fascinating images in Chinese Ancient Poems.It may be a hero in history (Qu Yuan in the sentence of “Yuan and Xiang River dry never, Qu Yuan grudges forever.”), a traditional festival (Qing Ming Festival in “On Qing Ming shower after shower it rains, lost a traveler’s soul seems.”)ˈ a name of a place ( Yang Zhou in “Sailing to Yang Zhou in the March of prosperous blossom.”), title of a poem (Girls of Shang feel nothing about the loss of their country, still singing Hou Ting Hua on the other side of the river.”), an allusion (the cowboy and the weaving girl in “the night in the imperial palace feels cool as water, nothing they can do in bed but looking at the stars of Cowboy and Weaving Girl.”), and so on.III. Theories of “Image Schema” and “Metal Space”A. the Image Schema theorycThe term of Image Schema theory was firstly put forward by Mark Johnson in 1987 based on the philosophy of embodiment and its main characteristics were expounded in the book titled The Body in the Mind: The Bodily Basis of Meaning, Imagination and Reason. Image schema is a dynamic pattern appearing repeatedly in the process of inter-acting and moving perception, it can provide coherence and structure for people’s experience. People gain the image schemas in the process of inter-active experience between human being and outside world. Schema refers to a cognitive structure that can process the information and experience into a certain commen sense (Wang Yin, 2005, 65-67). Image schema is a mode that stores a person’s former knowledge and experience in his mind. It does not simply pile the facts and experience but categorize them into ordered knowledge systems. Schema is the basis to know the world, it will reorganize, re-understand and re-remember the new information. It links the new information with the former knowledge in a person’s mind. Decoding and recoding the newly-input information rely on the schemas the structures or net. These newly-input information must match the schemas in mind, a person can understand the information. Therefore, the knowledge stored in readers’ minds functions greatly to understand new information. As is known, different community members get different knowledge and value affected by their different traditions, cultures, backgrounds, religions and beliefs. This cultural cognitive mental state wasstored in mind in the pattern of schemas and it forms the cultural cognitive schema.B. Metal Space TheoryG. Fauconnier put forward Metal Space Theory in his book Metal Space(1985/1994). He raised Conceptual Integration Theory(1997) and Conceptual Blending Theory(2002) in recent years. According this theory, the metal space is divided into four parts of input space I, input space II, blending space and generic space. The four spaces are linked with mapping to form a conceptual blending net. The process of mapping from input space to blending space is called “compression”, that is, it is a process to simplify the complex concepts from different input spaces to a new, complete and united space. The blending concepts are stable and easy to remember. Of its function, mental space is way we unconsciously organize our background cognitive process when we speak and think. By mapping and inserting the partial structure and background, new structure, action, concept, feeling and understanding will be formed in the blending space.IV. Strategies of image teaching in ancient poemsWestern poems stress on logical reasoning and are very rigorous; while the Chinese poems stress on image combination, very vagarious and indirect. It is just the vague and indirect words that fly the reader’s imagination, so that reader s can feel the boundlessness and magnificence of the sentences “straightly rising the military smoke in the sands, more round seems the sinking sun over the broad river.” Chinese readers have the same background and culture so that they can get the similar feeling. The images of “the sands”, “military smoke”, “broad river” and “sinking sun” can trigger them the similar imagination. While the foreign students cannot gain the same feeling because of the different background, they cannot appreciate the beauty of Chinese ancient poems.A. Construction of Image SchemaThere will be two input spaces in foreign students’ minds according to the Metal Space Theory: one is the cognitive domain of Chinese culture and the other is the domain of native culture. The two spaces will interact and connect and finally form a new blending space. While reading Chinese poems, foreign students will understand them with their native culture and way of thinking unconsciously and of cause, they will get different understanding. The reason is the absence of Chinese images in their minds. So we have to try to contrast the Chinese images in the foreign students’ minds, because, according to G. Fauconneir, these images schemas will be stored for a long time in their minds. When they get to know the story of “the cowboy and the weaving girl”, for example, they will not equal “the Silver River” in Chinese culture with “ the Milk Way” in the western culture.B. Strategies to construct image schemaIn teaching Chinese for foreigners, teachers usually explain the meanings of the poems to students only, instead of analyzing the culturing meaning of the images for the reason that teachers may also be lack of the knowledge of ancient poems. So the foreign students cannot enjoy the beauty of the poems though they get the meaning. Vagueness is one character of Chinese ancient poems, it enables readers to imagine freely. Otherwise, Chinese ancient poems contain rich meanings with less words. That is because in Chinese ancient poems there are a great number of images, Chinese readers can produce rich imagination while reading them, they can get the true meaning that the images contain and further more, they can enjoy the poems. But this is not true for foreign students for they don’t have these image schemas in their minds, they don’t know the cultural background and the meaning they contain. If teachers fail to explain the images to foreign students, it will cause the loss of culture and they cannot get the true meaning of the poems. So, in the process of teaching, teachers must show both the cultural background and true meaning of the images to foreign students. So that the foreign students can construct the image schemas of Chinese culture in their minds and they will not misunderstand them when in read them in other poems.Li Bai’s Qing Ping Tune (the Second), for example:A red red peony passes its fragrance to the pearls of dew,Even the Clouds and Rain of Mount Wu are not as fair as you.Who is, in the palace of Han, alike?Feiyan has to turn to her dress new.This is the second one of the three poems in the title of Qing Ping Tune written by Li Bai to eulogize Yang Guifei. Li Bai combines the peony and Yang Guifei together, peony is Yang Guifei and Yang Guifei is as pretty as peony. The first line describes the bright color and tempting aroma of the peony, even the dews on it are fragrant. So beautiful is the peony and so pretty is Yang Guifei. They are more fairy than the Goddess of Mount. Wu who is flowing cloud in the morning and light rain in the evening. Even Zhao Feiyan, the beauty of Han Dynasty, has to turn to new dresses.In this poem, the poet quotes the allusions of “Clouds and Rain of Mount. Wu” and “Zhao Feiyan”. But the foreign students have no the image schemas of the two stories. They know nothing about the Goddess of Mount. Wu and Zhao Feiyan if teachers do not tell them the stories and they would not grasp the beauty of the poem. So teachers must tell the stories to foreign students.According to the record of Gao Tang Fu written by Song Yu, once Chu Xiangwang (the King of Chu Kingdom) traveled to a Cloud–and-Dream Platform together with Song Yu. Seen from far away, the platform was surrounded by changeable clouds. Chu Huaiwang asked Song Yu: “what’s the air?” Song Yu answered: “it is the so-called Clouds. Once a time, our former king travelled to Gao Tang, he was tired and had a snap at the noon. In dream a woman told him: ‘I am the Goddess of Mount. Wu, a guest of Gao Tang. News came that you were here in Gao Tang. I’m willing to make bed for you.’ Our former king made love with her. The woman said while leaving: ‘I live on the southern slope of Mount. Wu and to be flowing clouds in the morning and light rain in the evening. I’m under the platform from morning till evening.’”Zhao Feiyan was the queen of Liu Ao, King of Han Dynasty. Her given name was Yizhu. She was as light as a swallow and danced very well, so people call her Zhao Feiyan. It is said that the King specially made a crystal plate for her. Putting the plate on one palm of a person, Zhao Feiyan can dance on it gracefully.After learning the two stories, foreign students not only understand the poem more deeply but also build the image schemas of “Zhao F eiyan” and “the Clouds and Rain of Mount. Wu” in their minds and these images will be kept for a long time even during their lives. They will not be frustrated by the allusions when they meet them in the future reading.V. ConclusionThe images in Chinese Ancient Poems playan important role in containing the poets’ feeling.Foreign students are faced with great difficulties to understand and enjoy them because of the absence of the Chinese images in their minds. If Chinese teachers can explain the images to them to construct the schemas of these Chinese images, foreign students will be easy to understand the poems so that they can enjoy Chinese Ancient Poems. It is helpful for the introduction of Chinese culture to the word.References[1]F.Ungerer & H.J.Schmid. An Introduction to CognitiveLinguistics. Shang Hai: Foreign Language Teaching and Researching Pressˈ2008.[2]YinWang. Research on Cognitive Linguistics[M]. ChongQing: Chong Qing Press, 2005. (in Chinese)[3]Dingfang Shu. An Introduction to Cognitive Semantics[M].Shang Hai: Shang Hai Foreign Language Education Press, 2008. (in Chinese)[4]Zhengyang Gu. Cultural Research on Chinese-Englishtranslation of Chinese Ancient Poems[m]. Shang Hai: Shang Hai University Press, 2007. (in Chinese)[5]Ping Liu & Wenhua Zeng . Difference of CognitiveCultural Schema and Translation Strategies[J]. Journal of Wu Ha n Polytechnic University, 2003.4.。
教外国友人如何写古诗英语作文
教外国友人如何写古诗英语作文{z}Title: How to Write Ancient Chinese Poems in EnglishIntroduction:Writing ancient Chinese poems in English can be a challenging task, but with the right approach, it can also be a rewarding experience.In this guide, we will explore the essential elements of ancient Chinese poetry and how to incorporate them into your English compositions.By the end of this tutorial, you will have the skills to write your own unique ancient Chinese-style poems in English.1.Understanding the Basics:Ancient Chinese poetry is characterized by its use of five or seven-character lines, its strict rhyme scheme, and its emphasis on nature, emotions, and philosophical themes.Familiarize yourself with these fundamental aspects before attempting to write your own poem.2.Choosing a Theme:Select a theme that resonates with the spirit of ancient Chinese mon themes include the beauty of nature, the passing of time, the joys and sorrows of human life, and the pursuit of enlightenment.Once you have chosen a theme, you can start crafting your poem.3.Structure and Meter:Ancient Chinese poems typically follow a structured format with aspecific meter.The most common forms are the "shi" (poem) and the "ci" (song).The "shi" is characterized by its rigid five or seven-character lines, while the "ci" offers more flexibility with varying line lengths.Pay attention to the meter and try to maintain a consistent rhythm in your poem.ing Traditional Imagery:Ancient Chinese poetry is rich in vivid imagery and metaphors.Draw inspiration from nature, such as mountains, rivers, flowers, and birds, and use them to convey your emotions and thoughts.Additionally, employ metaphors and similes to create depth and layers of meaning in your poem.5.Employing Literary Devices:Incorporate literary devices such as alliteration, assonance, and repetition to enhance the musicality and aesthetic appeal of your poem.These devices can also help create a sense of harmony and balance, which is highly valued in ancient Chinese poetry.6.Refining the Language:Strive for clarity and precision in your language.Each word should carry meaning and contribute to the overall mood and theme of the poem.Keep in mind that ancient Chinese poetry often relies on subtle hints and suggestions rather than direct expression, so try to convey your message indirectly.7.Rhyme and Sound:Ancient Chinese poetry places a strong emphasis on rhyme and sound.Research the various rhyme schemes used in ancient Chinese poetry and apply them to your poem.Pay attention to the tone and intonation of the words, as they can also contribute to the overall rhythm and melody of the poem.8.Revision and Reflection:Once you have completed your poem, take the time to revise and reflect on your work.Read it aloud, seeking areas that may need improvement in terms of rhythm, imagery, and meaning.Consider seeking feedback from others to gain different perspectives and insights.Conclusion:Writing ancient Chinese-style poems in English can be a fascinating and fulfilling endeavor.By understanding the basic principles, incorporating traditional imagery, and paying attention to language and form, you can create poems that capture the essence of ancient Chinese poetry.With practice and persistence, you will be able to produce works that are both true to the ancient Chinese poetic tradition and uniquely your own.。
教外国人古诗词 英语作文
教外国人古诗词英语作文英文回答：Teaching Foreigners Classical Chinese Poetry and Ci.Teaching foreigners classical Chinese poetry and ci can be a challenging but rewarding task. Here are some tips to help you get started:1. Start with the basics.Before you can teach foreigners poetry, you need to make sure they have a basic understanding of the Chinese language. This includes learning the Pinyin romanization system, the four tones, and some basic grammar.2. Choose poems that are appropriate for your students' level.Don't start with the most difficult poems right away.Instead, choose poems that are simple enough for your students to understand, but still challenging enough to keep them engaged.3. Use a variety of teaching methods.Don't just lecture your students about poetry. Instead, use a variety of teaching methods to keep them interested, such as reading aloud, discussing the poems, and having them write their own poems.4. Be patient.Learning classical Chinese poetry takes time. Don't get discouraged if your students don't understand everything right away. Just keep practicing and they will eventually get the hang of it.5. Have fun!Teaching poetry should be enjoyable for both you and your students. So make sure to have fun and let yourstudents enjoy the beauty of classical Chinese poetry.中文回答：如何教外国人古诗词。
向外国人介绍中国古诗的英语作文
向外国人介绍中国古诗的英语作文Introduction to Chinese Ancient Poetry for ForeignersChinese ancient poetry, with its rich cultural connotations and profound artistic conception, has been widely regarded as a treasure of Chinese literature. For foreigners who are interested in exploring the charm of Chinese culture, understanding Chinese ancient poetry is essential. In this article, I will introduce the history, characteristics, and significance of Chinese ancient poetry to foreign readers.History of Chinese Ancient PoetryChinese poetry has a long history that dates back to the Shang Dynasty more than 3,000 years ago. The Book of Songs, the oldest collection of Chinese poetry, contains 305 poems that reflect the social customs, beliefs, and emotions of the ancient Chinese people. Over the centuries, Chinese poetry has developed and flourished, with various styles and forms emerging in different dynasties, such as the Tang Dynasty, Song Dynasty, and Yuan Dynasty.Characteristics of Chinese Ancient PoetryChinese ancient poetry is known for its concise language, vivid imagery, and profound philosophical insights. The structureof Chinese poetry is based on tonal patterns and rhythmic patterns, with strict rules on the number of characters and syllables in each line. The use of metaphors, allusions, and symbolism is common in Chinese poetry, adding layers of meaning and aesthetic appeal to the poems.Chinese ancient poetry covers a wide range of themes, including love, nature, friendship, and philosophical contemplation. Poets often draw inspiration from their personal experiences, observations of the natural world, and reflections on life and humanity. Through the use of vivid imagery and metaphors, Chinese poets express their emotions and thoughts in a succinct and poetic manner.Significance of Chinese Ancient PoetryChinese ancient poetry holds a special place in Chinese culture and literature, serving as a mirror of the society and values of different historical periods. The study of Chinese ancient poetry not only helps us appreciate the beauty of the language and the artistry of the poems but also provides insights into the history, culture, and values of the Chinese people.For foreigners who are interested in learning more about Chinese culture, exploring Chinese ancient poetry is a valuable and rewarding experience. By delving into the world of Chinesepoetry, foreign readers can gain a deeper understanding of the aesthetics, philosophies, and emotions that have shaped Chinese literature and culture for thousands of years.In conclusion, Chinese ancient poetry is a treasure trove of wisdom, beauty, and cultural heritage that deserves to be explored and appreciated by people from all over the world. By studying Chinese ancient poetry, foreigners can gain insights into the rich and diverse culture of China and deepen their appreciation for the art of poetry. Let us embrace the beauty of Chinese poetry and experience the magic of words that have inspired generations of poets and readers.。
教外国人学唐诗的英语作文
Teaching Tang Poems to Foreign Learners: Bridging Cultural Gaps through PoetryTeaching Tang poems to foreign learners is an engaging and rewarding experience that offers a unique window into the rich cultural heritage of ancient China. Tang poetry, known for its elegance, depth, and musicality, serves as a powerful tool for introducing foreign students to the beauty and complexity of Chinese literature and culture. However, teaching Tang poems to non-native speakers presents its own challenges, requiring a careful blend of linguistic and cultural instruction.Linguistically, Tang poems are rich in vocabulary, syntax, and rhyme schemes that can be difficult for foreign learners to grasp. It is essential to introduce students to the basic structure and meter of Tang poetry, helping them understand how the poems are constructed and how they are meant to be read aloud. Vocabulary and language-specific nuances must also be explained, as many words in Tang poetry have specific cultural or historical connotations that may not be apparent to foreign learners.Cultural understanding is equally important when teaching Tang poetry. Tang poems often allude to historical events, places, and figures that are familiar to Chinese readers but may be unfamiliar to foreigners. It is crucialto provide background information and context, explaining the historical and cultural references in the poems. Thisnot only helps students appreciate the poems more deeplybut also broadens their understanding of Chinese historyand culture.In addition to linguistic and cultural instruction, itis important to foster a sense of appreciation and wonderin students for Tang poetry. Tang poems are not just words on a page; they are expressions of human emotion, philosophy, and observation that have resonated for centuries. By encouraging students to read the poems slowly, imagine the scenes they describe, and reflect on their meanings, teachers can help them discover the beauty and wisdom embedded in these ancient texts.Moreover, interactive and engaging teaching methods are crucial for keeping students engaged and interested. Using activities like group discussions, role-plays, and poetryworkshops can help bring Tang poetry to life and make it more accessible to foreign learners. Encouraging students to write their own poems in the Tang style can also be a rewarding exercise that helps them apply their knowledge and understanding of the form.In conclusion, teaching Tang poems to foreign learners is a challenging but rewarding task that requires a blend of linguistic, cultural, and aesthetic instruction. By providing a comprehensive introduction to the structure, vocabulary, and cultural context of Tang poetry, and fostering a sense of appreciation and engagement, teachers can help foreign learners discover the rich beauty and depth of this ancient Chinese literary genre.**教授外国人学唐诗：以诗歌为桥梁跨越文化鸿沟** 教授外国人学唐诗是一种引人入胜且富有成果的体验，它提供了一个独特的窗口，让外国学生得以一窥中国丰富的文化遗产。
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Cognitive Research on Teaching Strategies of Chinese Ancient Poems forForeignersGuoli LiuSchool of foreign studies Henan Polytechnic University,China 454003liugl@AbstractüImages in Chinese Ancient Poems are usually the punch lines and the key points in Chinese for foreigners. According to the Image Schema Theory and the Mental Space Theory of Cognitive Linguistics, teachers should manage to build up schemas of Chinese culture in the minds of foreign students by introducing them the backgrounds and stories contained in Ancient Poems. So that foreigner students can get the meaning between lines and go further to enjoy Chinese Ancient Poems. Meanwhile, it is helpful to introduce Chinese culture to the world.Key Wordsü Ancient Poem Image Schema Chinese forForeignerI. IntroductionChinese Ancient Poems are a very important part inteaching Chinese for foreign students. Meanwhile, because ofthe rich images in Ancient Poems and the differentbackground, ways of thinking and culture, it is difficult forforeign students to understand and appreciate Chinese Ancient Poems, for many images of Chinese culture are absent in theirminds. In order to enable foreign students to appreciate thesepoems, teachers have to construct the image schemas in theirminds.II. Images in Chinese Ancient PoemsImages contain the values, ways of thinking, life-style,belief and customs of a nation. “Milky Way” and “Yinhe”, forinstance, are two images of different nations. They have different cultural meaning though they have the sameinstruction. The former reminds people of the ancient Greekmyth while the latter, a beautiful Chinese legend of “theCowboy and the Weaving Girl”.There are a large variety of images, for example, a plant,a bird or beast, an idiom, a proverb, an allusion, a metaphor, even a number, etc. Different nations have their uniqueimages because of their different backgrounds and customs. There are more fascinating images in Chinese Ancient Poems.It may be a hero in history (Qu Yuan in the sentence of “Yuan and Xiang River dry never, Qu Yuan grudges forever.”, a traditional festival (Qing Ming Festival in “On Qing Ming shower after shower it rains, lost a traveler’s soul seems.”ˈ a name of a place( Yang Zhou in “Sailing to Yang Zhou in the March of prosperous blossom.”, title of a poem (Girls of Shang feel nothing about the loss of their country, still singing Hou Ting Hua on the other side of the river.”, an allusion (the cowboy and the weaving girl in “the night in the imperial palace feels cool as water, nothing they can do in bed but looking at the stars of Cowboy and Weaving Girl.”, and so on.III. Theories of “Image Schema” and “Metal Space”A. the Image Schema theorycThe term of Image Schema theory was firstly put forward by Mark Johnson in 1987 based on the philosophy of embodiment and its main characteristics were expounded in the book titled The Body in the Mind: The Bodily Basis of Meaning, Imagination and Reason. Image schema is a dynamic pattern appearing repeatedly in the process of inter-acting and moving perception, it can provide coherence and structure for people’s experience. People gain the image schemas in the process of inter-active experience between human being and outside world. Schema refers to a cognitive structure that can process the information and experience into a certain commen sense (Wang Yin, 2005, 65-67. Image schema is a mode that stores a person’s former knowledge and experience in his mind. It does not simply pile the facts and experience but categorize them into ordered knowledge systems. Schema is the basis to know the world, it will reorganize, re-understand and re-remember the new information. It links the new information with the former knowledge in a person’s mind. Decoding and recoding the newly-input information rely on the schemas the structures or net. These newly-input information must match the schemas in mind, a person can understand the information. Therefore, the knowledge stored in readers’ minds functions greatly to understand new information. As is known, different community members get different knowledge and value affected by their different traditions, cultures, backgrounds, religions and beliefs. This cultural cognitive mental state wasstored in mind in the pattern of schemas and it forms the cultural cognitive schema.B. Metal Space TheoryG. Fauconnier put forward Metal Space Theory in his book Metal Space(1985/1994. He raised Conceptual Integration Theory(1997 and Conceptual Blending Theory(2002 in recent years. According this theory, the metal space is divided into four parts of input space I, input space II, blending space and generic space. The four spaces are linked with mapping to form a conceptual blending net. The process of mapping from input space to blending space is called “compression”, that is, it is a process to simplify the complex concepts from different input spaces to a new, complete and united space. The blending concepts are stable and easy to remember. Of its function, mental space is way we unconsciously organize our background cognitive process when we speak and think. By mapping and inserting the partial structure and background, new structure, action, concept, feeling and understanding will be formed in the blending space.IV. Strategies of image teaching in ancient poemsWestern poems stress on logical reasoning and are very rigorous; while the Chinese poems stress on image combination, very vagarious and indirect. It is just the vague and indirect words that fly the reader’s imagination, so that reader s can feel thebou ndlessness and magnificence of the sentences “straightly rising the military smoke in the sands, more round seems the sinking sun over the broad river.” Chinese readers have the same background and culture so that they can get the similar feeling. The images of “the sands”, “military smoke”, “broad river” and “sinking sun” can trigger them the similar imagination. While the foreign students cannot gain the same feeling because of the different background, they cannot appreciate the beauty of Chinese ancient poems.A. Construction of Image SchemaThere will be two input spaces in foreign students’ minds according to the Metal Space Theory: one is the cognitive domain of Chinese culture and the other is the domain of native culture. The two spaces will interact and connect and finally form a new blending space. While reading Chinese poems, foreign students will understand them with their native culture and way of thinking unconsciously and of cause, they will get different understanding. The reason is the absence of Chinese images in their minds. So we have to try to contrast the Chinese images in the foreign students’ minds, because, according to G. Fauconneir, these images schemas will be stored for a long time in their minds. When they get to know the story o f “the cowboy and the weaving girl”, for example, they will not equal “the Silver River” in Chinese culture with “ the Milk Way” in the western culture.B. Strategies to construct image schemaIn teaching Chinese for foreigners, teachers usually explain the meanings of the poems to students only, instead of analyzing the culturing meaning of the images for the reason that teachers may also be lack of the knowledge of ancient poems. So the foreign students cannot enjoy the beauty of the poems though they get the meaning. Vagueness is one character of Chinese ancient poems, it enables readers to imagine freely. Otherwise, Chinese ancient poems contain rich meanings with less words. That is because in Chinese ancient poems there are a great number of images, Chinese readers can produce rich imagination while reading them, they can get the true meaning that the images contain and further more, they can enjoy the poems. But this is not true for foreign students for they don’t have these image schemas in their minds, they don’t know the cultural background and the meaning they contain. If teachers fail to explain the images to foreign students, it will cause the loss of culture and they cannot get the true meaning of the poems. So, in the process of teaching, teachers must show both the cultural background and true meaning of the images to foreign students. So that the foreign students canconstruct the image schemas of Chinese culture in their minds and they will not misunderstand them when in read them in other poems.Li Bai’s Qing Ping Tune (the Second, for example:A red red peony passes its fragrance to the pearls of dew,Even the Clouds and Rain of Mount Wu are not as fair as you.Who is, in the palace of Han, alike?Feiyan has to turn to her dress new.This is the second one of the three poems in the title of Qing Ping Tune written by Li Bai to eulogize Yang Guifei. Li Bai combines the peony and Yang Guifei together, peony is Yang Guifei and Yang Guifei is as pretty as peony. The first line describes the bright color and tempting aroma of the peony, even the dews on it are fragrant. So beautiful is the peony and so pretty is Yang Guifei. They are more fairy than the Goddess of Mount. Wu who is flowing cloud in the morning and light rain in the evening. Even Zhao Feiyan, the beauty of Han Dynasty, has to turn to new dresses.In this poem, the poet quotes the allusions of “Clouds and Rain of Mount. Wu” and “Zhao Feiyan”. But the foreign students have no the image schemas of the two stories. They know nothing about the Goddess of Mount. Wu and Zhao Feiyan if teachers do not tell them the stories and they would not grasp the beauty of the poem. So teachers must tell the stories to foreign students.According to the record of Gao Tang Fu written by Song Yu, once Chu Xiangwang (the King of Chu Kingdom traveled to a Cloud–and-Dream Platform together with Song Yu. Seen from far away, the platform was surrounded by changeable clouds. Chu Huaiwang asked Song Yu: “what’s the air?” Song Yu answered: “it is the so-called Clouds. Once a time, our former king travelled to Gao Tang, he was tired and had a snapat the noon. In dream a woman told him: ‘I am the Goddess of Mount. Wu, a guest of Gao Tang. News came that you were here in Gao Tang. I’m willing to make bed for you.’ Our fo rmer king made love with her. The woman said while leaving: ‘I live on the southern slope of Mount. Wu and to be flowing clouds in the morning and light rain in the evening. I’m under the platform from morning till evening.’”Zhao Feiyan was the queen of Liu Ao, King of Han Dynasty. Her given name was Yizhu. She was as light as a swallow and danced very well, so people call her Zhao Feiyan. It is said that the King specially made a crystal plate for her. Putting the plate on one palm of a person, Zhao Feiyan can dance on it gracefully.After learning the two stories, foreign students not only understand the poem more deeply but also build the image schemas of “Zhao F eiyan” and “the Clouds and Rain of Mount. Wu” in their minds and these images will be kept f or a long time even during their lives. They will not be frustrated by the allusions when they meet them in the future reading.V. ConclusionThe images in Chinese Ancient Poems playan important role in containing the poets’ feeling.Foreign students are faced with great difficulties to understand and enjoy them because of the absence of the Chinese images in their minds. If Chinese teachers can explain the images to them to construct the schemas of these Chinese images, foreign students will be easy to understand the poems so that they can enjoy Chinese Ancient Poems. It is helpful for the introduction of Chinese culture to the word.References[1]F.Ungerer & H.J.Schmid. An Introduction to CognitiveLinguistics. Shang Hai: Foreign Language Teaching and Res earching Pressˈ2008.[2]YinWang. Research on Cognitive Linguistics[M]. ChongQing: Chong Qing Press, 2005. (in Chinese[3]Dingfang Shu. An Introduction to Cognitive Semantics[M].Shang Hai: Shang Hai Foreign Language Education Press, 2008. (in Chinese[4]Zhengyang Gu. Cultural Research on Chinese-Englishtranslation of Chinese Ancient Poems[m]. Shang Hai: Shang Hai University Press, 2007. (in Chinese[5]Ping Liu & Wenhua Zeng . Difference of CognitiveCultural Schema and Translation Strategies[J]. Journal of Wu Ha n Polytechnic University, 2003.4.。