Inside the History of the World: Syntheses of Literary Form between Prose Poetry and China

What is the international literary history behind Xi Chuan's Chinese prose poems, and what is the literary history behind translating them into English as prose poems? Did Hegel's belief that poetry can be translated into other languages without essential detriment to its value contribute to the birth of prose poetry, through a synthesis with poetic form? If so, what does this notion say about Hegel's idea that China lies outside the World's History? In the light of the historical association between China and prose poetry in the literary history of French (Judith Gautier, Victor Segalen, Henri Michaux) and English (Allen Upward, Nathaniel Tarn, Ron Silliman, Bob Perelman, Joan Retallack, Mei-mei Berssenbrugge, Tammy Lai-Ming Ho, Sarah Howe, Ken Chen, Cathy Park Hong, Eleanor Goodman, Jennifer Kronovet, and Nick Admussen), I discuss prose poetry as an outcome of what Joyelle McSweeney and Johannes Göransson call a translational deformation zone, to argue that translating Chinese prose poetry demonstrates China to be inside, not outside, the history of the world.