الفهرس 
IntroductionOnly 14 pages are availabe for public view
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Abstract
At the beginning of this thesis certain constructed concepts affected the judgment of Gary Snyder’s representation. Mainly, Edward Said’s critique was the adopted approach for judging Snyder’s poetry. However, after sinking inside the lines and between the lines of Snyder’s analyzed poems, the thesis took a completely different path of the one intended at its beginning. Thus, the development of the thesis and its current form were never planned for, but they are a natural outcome of my desire to research and explore.
A consideration of recent critical arguments of Orientalism has revealed Edward Said’s critique as a brilliant critical approach on occidental representations of the Orient. Whether this Orient alludes to the Middle East or the Far East, Said’s discourse of analysis is worldly applied on all culturally different representations. Regardless of the deconstructive arguments about the involvement of Oriental ism with colonialism, hegemony, and Eurocentrism; Said’s Orientalism is present whenever an orientalist’s work is under discussion.
However, some critics like Nick Clifford and Eric Hayot find Said’s
heory inapplicable to the occidental representations of China and Japan. n opposition, most of the critics like Robert Kern agree with Said and sist that there is a discourse involvement in the representations of the ar East by American orientalists.
In my study of Snyder’s poetry, I hoped to prove that it would be unfair to attach Said’s critique with Snyder’s representation of China and Japan. The analysis of Snyder’s selected poems hopefully draws a defining line between Said’s Orientalism and Snyder’s representation of the Orient. This has been made clear through an intensive analysis of Snyder’s translations of Chinese and Japanese poems, and his own writings.
The study of Han Shan’s translated Chinese poems has revealed Snyder’s success in representing the aspects of Chinese life which are introduced in Han Shan’s poems. In many ways, the translation of Cold Mountain Poems assures Snyder’s success as an orientalist in his handling of the differences of language and culture. Also, the study of the translation of the eighteen Japanese poems of Miyazawa Kenji reveals Snyder’s honesty as a translator and an orientalist. In spite of the cultural and semantic difficulties, Snyder’s translation indicates his success in representing Japanese culture to the Occident.
The study of Snyder’s own writings also reveals the same attachment with the Orient. The consideration of Snyder’s Mountains and Rivers Without End shows his appreciation of two forms of oriental art. Both Chinese landscape paintings and Japanese No drama are in the essence of his Mountains and Rivers Without End. The analysis of the thirty-nine sections of the long poem evidently reveals Snyder’s adoption of oriental paintings and drama in the genesis, making and structure of his long poem.
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