Thematische Bibliographien / Chinese poetry (Collection)

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Veröffentlicht am 25. Juli 2024

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Zeitschriftenartikel zum Thema "Chinese poetry (Collection)"

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Gao, Hang, und Li-juan Chen. „Research on the Rhyme Usages in Japanese Chinese Poetry Collection DongYing Poetry Collection (东瀛诗选)“. Journal of Chinese Language, Literature and Translation 40 (31.01.2017): 69–94. http://dx.doi.org/10.35822/jcllt.2017.01.40.69.

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Qin, Cai, und Cheng Ta Seah. „Chinese Ethnic Minorities and their Oral Poetry: A Perspective from Ethnopoetics“. Advances in Language and Literary Studies 12, Nr. 5 (31.10.2021): 6. http://dx.doi.org/10.7575/aiac.alls.v.12n.5.p.6.

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Ethnopoetics involves in the conducting of translation experiments on oral poems of native ethnic groups, converting its relevant oral texts into written forms. The theory of ethnographic poetry begins in the 1970s and was translated and introduced to China in the early 21st century. However, most ethnic minorities in China do not have textual writings. Their oral creations from primitive society to modern society such as epics, long poems, narrative poems, ballads, and folk songs are mostly in form of oral poetry. The collection and translation of oral poems of ethnic minorities in China began in the late 1950s, that demarcated the beginning of ethnopoetics in China. In this article, the reasons behind the collection and translation of Chinese ethnic minority oral poems will be analysed. The restoration process of ethnopoetics and the connections between the collections and the translations, and the issues on whether translation is consistent to Chinese ethnic minority oral poems will also be further elaborated. The history of Chinese ethnic minorities oral poetry traces back to a long history and consists of a variety of themes and contents. Therefore, the restoration process of ethnopoetic research on the relationship between oral culture and written culture not only have gained the attention from the Chinese academic community, but also shown strong interests by the Western academic research community and worldwide.
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Dreyzis, Yulia Alexandrovna. „Poetic topolectization in the formative years of the Chinese “new poetry”“. Ethnic Culture 5, Nr. 3 (28.08.2023): 29–36. http://dx.doi.org/10.31483/r-107456.

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The paper explores the infiltration of topolect into the poetry of Liu Bannong and Crescent Moon Society authors, induced by the Folksong Collection Movement, often labeled as introducing vernacular into poetry. The language of Liu Bannong’s New Poetry presents a complex hybrid between the emerging literary norm, local Beijing vernacular and his native lect of the northern Taihu region. Many contemporaries noted his poetry’s merits and his invaluable contribution to New Poetry development, greatly facilitated by Liu Bannong’s professional linguistic training. Following Liu Ban Nong’s footsteps, the Crescent Moon Society suggested experimenting with a new poetic language through the prism of the vernacular. Theorizing was supported by poetic practice: the authors of the Crescent Moon Society included topolect vocabulary in the texts abundantly, and directly marked individual poems as colloquial. In addition to inlaying topolect vocabulary or including large fragments of text written in topolect, topolectization was also carried out through rhyming. Despite the fact that further influence of this topolect poetry remained underestimated, the emerging connection between topolect and the authentic embodiment of the idea of a national language has become important for any discussion about language reform in the new China.
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Yue, Li. „Teaching Exploration of Ma Shuilong’s Ancient Chinese Poetry Art Songs – “Spring Silkworms are Dead,” “Loneliness,” and “Falling Flowers”“. Journal of Contemporary Educational Research 5, Nr. 9 (30.09.2021): 16–19. http://dx.doi.org/10.26689/jcer.v5i9.2509.

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Ma Shuilong was a famous composer in Taiwan, both at home and abroad. In 1986, the publication of his concerto, Bangdi, made him the first Chinese composer to have a full performance at the Lincoln Arts Center in New York. In the field of vocal music production, “Ma Shuilong Songs Collection” reflected the mutual infiltration and integration of Chinese and Western elements, especially the combination of modern techniques and classical poetry so that Chinese ancient poetry art songs would emit unique artistic conception. In view of his three works, this article elaborates the oriental connotation in their creation through the study of the poetries involved and further extracts the characteristics of the creation and singing of ancient poetry art songs in order to provide significant references for the teaching of Chinese art songs.
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Krenz, Joanna. „Ice Cream in the Cathedral: The Literary Failures and Social Success of Chinese Robot Poet Xiao Bing“. Asiatische Studien - Études Asiatiques 74, Nr. 3 (01.09.2020): 547–81. http://dx.doi.org/10.1515/asia-2019-0024.

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Abstract In May 2017, Xiao Bing, a popular Chinese chatbot built by Microsoft Research Asia, made her debut as a poet with Sunlight Has Lost Its Glass Windows, a collection marketed as the entirely created by artificial intelligence. She learnt the art of poetry by “reading” the works of 519 modern Chinese poets, and her “inspiration” comes from pictures provided first by her programmers and later by netizens, who upload photographs through her website. Xiao Bing’s emergence made a splash in Chinese society and raised grave concerns among the poets, who polemicized with her engineers. This essay traces Xiao Bing’s literary and media career, which includes both notable literary failures and notable commercial success, exploring her complex connections to technologies of power/knowledge as well as cultural phenomena that range from traditional Chinese poetry and poetry education to postmodern camp aesthetics. From within the renegotiation of the nature of poetry at the threshold of the posthuman era, I propose the critical notion of reading-as-playing to help poetry take advantage of its various entanglements and strictures in order to survive and co-shape the brave new world.
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Jia, Jinhua. „The Yaochi ji and three Daoist Priestess-Poets in Tang China“. NAN NÜ 13, Nr. 2 (2011): 205–43. http://dx.doi.org/10.1163/156852611x602629.

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AbstractThis article examines the only extant compilation of Tang dynasty women's poetry, the Yaochi xinyong ji (Collection of new songs from Turquoise Pond), fragments of which have been rediscovered among the Dunhuang manuscripts in Russian library holdings. The study first discusses the compilation, contents, and poets of this collection, and then focuses on the works of three Daoist priestess-poets, Li Jilan, Yuan Chun, and Cui Zhongrong whose writings form the major part of this anthology. It investigates their poetry and reviews relevant sources to conduct a comprehensive examination of the lives and poems of the three poets, and concludes that they represented a new stage in the development of Chinese women's poetry.
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Proskurina, Elena N. „THE TRADITION OF ANCIENT CHINESE POETRY OF BORIS VOLKOV’S POETIC CYCLE “DRAGON DEVOURING THE SUN”“. Culture and Text, Nr. 52 (2023): 79–95. http://dx.doi.org/10.37386/2305-4077-2023-1-79-95.

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The published work analyzes the lyrics of Boris Volkov - an almost neglected poet, prose writer, memoirist of the Eastern emigration - in a dialogue with the ancient Chinese tradition. The poetry of Li Chi (690-751) and Cui Hao (704-754) is in the field of research attention. Volkov enters into an intertextual dialogue with their work in the poetic cycle “Dragon Devouring the Sun”. The cycle is included in the poetry collection «In the Dust of Foreign Roads», published in Berlin in 1934 and never reprinted. Of the entire book of poems, the cycle “Dragon Devouring the Sun” stands out for its poetic immersion in the exotic world of ancient China. In addition to poetic texts, the poet refers to Chinese legends, to the ancient history of the country.
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Крашенинников, А. Е., Е. В. Нарбут und В. Э. Щептева. „Modern Chinese poetry: problems of study“. Modern Humanities Success, Nr. 4 (30.04.2024): 21–26. http://dx.doi.org/10.58224/2618-7175-2024-4-21-26.

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в статье рассматриваются основные характерные черты современной китайской поэзии. Время её возникновения по мнению разных исследователей варьируется от 1916 г. (написание поэтом Ху Ши стихотворения «Бабочка») до 1919 г. (сборник поэта Ху Ши «Эксперименты» и Движение 4 мая). Однако привязка новой китайкой поэзии к тому или иному событию выглядит уже общим местом. В связи с проявлением нового интереса к современной китайской поэзии в обществе, в частности китайском, возникли вопросы, главным из которых является: «Как войти в художественный мир современной китайской поэзии?» Все стихотворения имеют общие аспекты оценки, подобно образам, чувствам, ритму и т.д. Но мир не стоит на месте, меняются общественные порядки, а вместе с ними поэзия. Она приспосабливается к условиям жизни современного китайца и отражает его дух и мысли. Поэтому при чтении и оценке новой поэзии необходимо особенно обращать внимание на особенности её формы. Только на основе знания и понимания этих особых форм можно корректировать «менталитет» и модель чтения. В результате анализа были выделены характерные черты современной китайской поэзии: использование байхуа, «современное» настроение, особая образная структура, философский подтекст, модели сочетаний лирического и повествовательного. the article examines the main characteristic features of modern Chinese poetry. The time of its origin, according to different researchers, varies from 1916 (the writing of the poem “Butterfly” by the poet Hu Shi) to 1919 (the collection of the poet Hu Shi “Experiments” and the May 4th movement). However, linking new Chinese poetry to one or another event seems to be a commonplace. In connection with the manifestation of new interest in modern Chinese poetry, questions have arisen in society, in particular Chinese, the main one of which is: “How to enter the artistic world of poetry?” All poems have common aspects of appreciation, like imagery, feeling, rhythm, etc. But the world does not stand still, social orders change, and poetry along with them. It adapts to the living conditions of modern Chinese and reflects his spirit and thoughts. Therefore, when reading and evaluating new poetry, it is necessary to especially pay attention to the features of its form. Only on the basis of knowledge and understanding of these special forms can the “mentality” and reading model be adjusted. As a result of the analysis, the characteristic features of modern Chinese poetry were identified: the use of baihua, a “modern” mood, a special figurative structure, philosophical overtones, patterns of combinations of lyrical and narrative.
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Xu, Xiaoxiao. „“Lamp and Candle”: Classical Chinese Imagery in Taixu’s Poetry“. Religions 14, Nr. 8 (21.08.2023): 1077. http://dx.doi.org/10.3390/rel14081077.

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Taixu 太虛 (1890–1947), a prominent figure in modern Chinese Buddhism, produced a voluminous collection of poetry abounding with diverse classical Chinese images. Notably, the “lamp and candle” (dengzhu 燈燭) holds great significance, reflecting Taixu’s personal affinity with this imagery and an intimate connection to classical Chinese poetry. Acting as a potent Buddhist metaphor, it encapsulates multifaceted sentiments while also intertwining with other evocative images, such as the boat, the moon, and falling leaves. Symbolizing Taixu’s unwavering spirit, it represents his profound dedication to his craft. This article explores Taixu’s literary achievements as a poet by focusing on his adept utilization of “lamp and candle” imagery, complementing the study of his multifaceted and intricate identities. This detailed examination offers novel insights into Chinese literature and Buddhist studies, highlighting the interplay between spiritual practice and artistic expression.
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Yang, Zhanghui. „Landscape and Seeing in Williams’s Poetry: A Chinese Perspective“. William Carlos Williams Review 39, Nr. 1 (01.06.2022): 78–104. http://dx.doi.org/10.5325/willcarlwillrevi.39.1.0078.

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Abstract This essay aims to investigate William Carlos Williams’s interaction with Chinese landscape aesthetics by arguing that he adapted an idea of seeing prevalent in Chinese landscape poetry into his own poetics. Seeing, meaning zhiguan (直观 direct observation and perception), is an important way of accessing nature’s “sufficiency” in Daoist philosophy. Williams blends the idea of seeing into his important collection Sour Grapes, which prompted him to theorize it further in the prose fragments of Spring and All. Seeing and sufficiency are rephrased by Ezra Pound as “direct treatment of the thing” and “completeness,” and are developed by Williams far beyond Pound’s applications into his work, notably in Williams’s two versions of “The Locust Tree in Flower.”
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Dissertationen zum Thema "Chinese poetry (Collection)"

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Jung, Woo-Kwang Bian Zhilin. „A study of The Han Garden Collection : new approaches to modern Chinese poetry, 1930-1934 /“. Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/11086.

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Croiset, Sophie. „Écrivains chinois d'expression française. Typologie d'un champ littéraire transculturel“. Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030074.

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Dans le courant du XXe siècle, la scène littéraire de langue française s’est enrichie d’auteurs venus de Chine. Passeurs de langues, de frontières et de cultures, ils érigent, par leurs productions, des ponts singuliers illustrant les défis de la mondialisation. Du roman à la poésie en passant par le théâtre, l’objectif de notre étude est d’avancer une typologie de ce champ littéraire émergent. Englobant les vingt-quatre auteurs qui composent ce dernier, parmi lesquels François Cheng, Gao Xingjian, Dai Sijie, ou encore Ying Chen, l’analyse se fonde sur un concept-référent : la transidentité des auteurs. Par ailleurs, afin de saisir au mieux la complexité et la diversité des productions, la transdisciplinarité des approches – sociologique, littéraire et linguistique – s’avère éclairante. Par le prisme de l’identité culturelle, l’étude interne des œuvres se divise en deux volets : les représentations interculturelles et la poétique transculturelle. Dans une optique de comparaison constante entre les œuvres de chaque auteur, puis entre les différents auteurs, nous rendons compte des caractéristiques récurrentes et opérons des classifications. Ceci permet d’interroger le statut du champ au sein des littératures dites "francophones" et de soulever la question de l’étiquette. Ainsi, par le truchement des auteurs chinois, c’est le statut identitaire et théorique de tout écrivain périphérique dans l’espace francophone que nous cherchons à éclairer
In the 20th century, French literary scene has been enriched by authors coming from China. Crossing languages, borders and cultures, they erected, through their productions, singular bridges that illustrate the challenges of globalization. Focused on novels, poetry, passing by theater, the purpose of this research is to advance a typology of this emerging literary field. Encompassing the twenty-four authors composing it, including François Cheng, Gao Xingjian, Dai Sijie, or Ying Chen, the study is based on a referent-concept: the authors’ transidentity. For a better understanding of complexity and diversity of productions, transdisciplinarity – sociological, literary, and linguistic approaches – is instructive. By the prism of cultural identity, the internal study of works is divided into two components: intercultural representations and transcultural (of cross-cultural) poetic. With a constant comparison between works of each author, and between the authors, we figure out recurring characteristics and operate classifications. This allows to question the status of the field in the so-called "Francophone" literature and to raise the issue of the label. Thus through Chinese authors, it is any peripheral writer theoretical status in the francophone space that we are trying to explore and enlighten
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Chang, Tsu-Ling, und 張慈麟. „A Study of Chinese Ancient Poetry Collections in Taiwan and Mainland China textbooks“. Thesis, 2010. http://ndltd.ncl.edu.tw/handle/83559040271617113440.

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碩士
國立臺北教育大學
語文與創作學系語文教學碩士班
99
The study is based on textbooks published in 2008 by six publishers in Taiwan and Mainland China. These six publishers are Nani Press, Kang Shuan Press, and Han Lin Press in Taiwan; Peoples Education Press, Beijing Normal University, and Jiangsu Education Press in Mainland China. Using context analysis to analyze fundamentals, formats, and teaching styles of ancient poetry selected in Taiwan and Mainland China textbooks, the conclusions are summarized below: 1.Quality of ancient poetry collection in Taiwan textbooks is superior to those in Mainland China textbook. Although the number of poems collected in Mainland China textbooks is 5.55 times higher than what was collected in Taiwan textbooks, more classics poems are included in Taiwan textbooks. In contrast, there are more varieties in Mainland China textbooks. 2.Tang Dynasty is the main focus in both Taiwan and Mainland China textbooks: Ancient poems from Tang Dynasty represent the majority of selections in both Taiwan and Mainland China textbooks as poems were the dominant form of literature during Tang Dynasty. There are more poems written in Tang dynasty and the quality of poems from Tang dynasty is also superior to those in other dynasties. As a result, both Taiwan and Mainland China have included more ancient poems from Tang dynasty in their elementary school textbooks. 3.Poems and Seven quatrains are the main focus both in Taiwan and Mainland China textbooks. Additionally, since sentence structure of Seven quatrains is the most complete, and there are more variations in sentence patterns, seven-character regulated verses are widely selected in both Taiwan and Mainland China textbooks. 4.Taiwan textbooks select classic poems and songs that emphasize more on scenery and affection. Mainland China textbooks include more varieties of themes not limited to scenery and affection, but also ambition, aspiration, and affairs. Selections in Mainland China textbooks are more diversified relative to Taiwan textbooks. 5.More details in Taiwan textbooks versus efficient layouts in Mainland China: there is more information in Taiwan textbooks. In addition to a poem itself, notation, summary, vernacular, explication, authors’ backgrounds and what motivated author to write poems are also included. In Mainland China, only poems are included and text layout is simple and concise.
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Stasko, Carly. „A Pedagogy of Holistic Media Literacy: Reflections on Culture Jamming as Transformative Learning and Healing“. Thesis, 2009. http://hdl.handle.net/1807/18109.

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This qualitative study uses narrative inquiry (Connelly & Clandinin, 1988, 1990, 2001) and self-study to investigate ways to further understand and facilitate the integration of holistic philosophies of education with media literacy pedagogies. As founder and director of the Youth Media Literacy Project and a self-titled Imagitator (one who agitates imagination), I have spent over 10 years teaching media literacy in various high schools, universities, and community centres across North America. This study will focus on my own personal practical knowledge (Connelly & Clandinin, 1982) as a culture jammer, educator and cancer survivor to illustrate my original vision of a ‘holistic media literacy pedagogy’. This research reflects on the emergence and impact of holistic media literacy in my personal and professional life and also draws from relevant interdisciplinary literature to challenge and synthesize current insights and theories of media literacy, holistic education and culture jamming.
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Bücher zum Thema "Chinese poetry (Collection)"

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Gregory, Whincup, Hrsg. The heart of Chinese poetry. New York: Anchor Press, Doubleday, 1987.

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Passing memories: A collection of Chinese poems on Cold Food Festival. Merrick, New York: Cross-Cultural Communications, 2016.

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Demi. Dragon kites and dragonflies: A collection of Chinese nursery rhymes. San Diego: Harcourt Brace Jovanovich, 1986.

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Demi. Dragon kites and dragonflies: A collection of Chinese nursery rhymes. San Diego: Harcourt Brace Jovanovich, 1986.

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5

Qing ci cong lun: A collection of essays on Ci poetry of the Qing dynasty. Beijing Shi: Beijing da xue chu ban she, 2008.

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Qing ci cong lun: A collection of essays on Ci poetry of the Qing dynasty. Beijing Shi: Beijing da xue chu ban she, 2008.

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Tian ya shi lu: Zhongguo dang dai hai wai shi ren zuo pin hui cui = POETIC ODYSSEY : A FINE COLLECTION OF POEMS BY OVERSEAS CHINESE. Beijing Shi: Xian dai chu ban she, 2014.

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Jialing lun shi cong gao: A Collection of essays on shi poetry by Jialing. Beijing Shi: Beijing da xue chu ban she, 2008.

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Liu, Xiaobo. Liu Xiaobo wen ji =: A collection of essays by Liu Xiaobo. [Xianggang]: Xin shi ji chu ban ji chuan mei you xian gong si, 2010.

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Yeh, Chia-ying. Jialing lun ci cong lun: A collection of essays on Ci poetry by Jialing. 8. Aufl. Beijing Shi: Beijing da xue chu ban she, 2008.

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Buchteile zum Thema "Chinese poetry (Collection)"

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„Poems from the Orchid Pavilion Collection“. In Chinese Poetry, 2nd ed., Revised, 134–39. Duke University Press, 1997. http://dx.doi.org/10.1215/9780822382096-029.

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„Poems from the Orchid Pavilion Collection Preface (in part) by Wang Hsi-chih“. In Chinese Poetry, 2nd ed., Revised, 134. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822382096-026.

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Nappi, Carla. „Poems (1848)“. In Translating Early Modern China, 173–219. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198866398.003.0007.

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Chapter 5 follows the story of Qing Dynasty Manchu poet and translator Bujilgen Jakdan, following the course of the Manchu and mixed-verse Manchu–Chinese poems included in the final volume of his poetry collection. It considers the integral relationship between the Manchu and Chinese languages in helping to create a formal poetic register of Manchu. It also follows Jakdan’s poetic descriptions of his own life as a translator, and discusses the broader context of translation in nineteenth-century China.
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„FROM THE YÜEH-FU COLLECTION OF BALLAD-SONGS OF THE BUREAU OF MUSIC IN THE HAN DYNASTY“. In Chinese Poetry, 2nd ed., Revised, 75–98. Duke University Press, 1997. http://dx.doi.org/10.2307/j.ctv11cw5z2.8.

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Dyakonova, Elena M. „The Role of Commentaries in the Formation of the Japanese Literary Tradition“. In Translation, Interpretation, Commentary in the Eastern and Western Literature, 415–39. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/978-5-9208-0710-6-415-439.

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Classical studies were the mainstream of Far Eastern traditional culture. They structured many aspects of literature, philosophy, science, and sometimes dominated them. A study of the relationship between classics and their commentaries is central for an understanding of the intellectual history of the countries of the Far East, of which Japan is one. Commentaries made tribute to the canonization of literary monuments, but did this without regard of the artistic and intellectual character of the classical text. Commentaries to the classical texts of ancient Japan, in particular to the first poetic anthology “Collection of Ten Thousand Leaves” (Manyōsyū), are shaping up in the epoch of Heian (9–12 c.) as an attempt to restore the Japanese outlook on this poetry, written in the 8 c. in Japanese, but in Chinese hieroglyphs. This classical poetry has acquired a new form: it is now being written in hieroglyphs and Japanese sillabary (hiragana). Several types of literary criticism existed: treatises on literary works, commentaries on classical monuments, compilations of anthologies (selection of literary texts for the constitution of the highly constructed collections) as well as poetic contests. Commentators mostly concentrated on understanding the sense of the separate words and phrases but the general meaning of the text remained behind-the-scenes.
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Bachner, Andrea. „World-Literary Hospitality“. In The Making of Chinese-Sinophone Literatures as World Literature, 103–21. Hong Kong University Press, 2022. http://dx.doi.org/10.5790/hongkong/9789888528721.003.0006.

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Most debates about what constitutes world literature put emphasis on movement and creation, on world literary originality or activity, thus drawing a skewed map of world-literary intensity. What if we paid attention to an equally important part of literary worlding, namely the capacity for receiving literary impulses from other cultures, the ability to translate, integrate, rewrite, and (re-)create? This essay challenges commonplaces of textual agency and espouses a methodology attentive to world-literary hospitality. It juxtaposes two examples of world-literary circulation from the early 1920s between Latin America and China: The first is Mexican writer José Juan Tablada’s (1871-1945) 1920 poetry collection Li-Po y otros poemas (Li-Po and Other Poems)—an experiment in visual poetry inspired by Chinese and Japanese culture. The second is one of the earliest translations of a Latin American literary text into Chinese: Mao Dun’s 1921 Chinese rendition of Nicaraguan writer Rubén Darío’s story “El velo de la reina Mab” (“The Veil of Queen Mab”), published originally in 1888. Rather than showing how Chinese literary texts can be read through the lens of world-literary approaches, I aim to read these texts as scenes of world-literary hospitality, and thus as experiments in proposing alternative world-literary patterns.
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Heine, Steven. „Historical and Rhetorical Foundations of Xuedou’s 100 Odes“. In Xuedou's 100 Odes to Old Cases, 3–22. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197676561.003.0001.

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Abstract This chapter examines the origins and significance of Xuedou’s 100 Odes, which were written when he was abbot of the temple on Mount Xuedou as verse comments on gong’an cases or old stories (guze) of Chan ancestors in the context of Norther Song-dynasty Chinese religion and literature at a fruitful period of productive interactions between monastic practitioners writing poetry and the literati interested in meditation as a pathway to self-realization. As shown by modern scholar Zhou Yukai, Xuedou was the second main exponent of the odes (songgu) as a Chan Buddhist genre following the collection by Fenyang but, for various reasons, his poetry is considered of higher quality. This is because of an ability to innovate through integrating customary with unconventional literary techniques designed to express Xuedou’s own level of insight, which is often critical of both predecessors and disciples. Also discussed is the role of other kinds of Chan poetry as well as different sorts of gong’an commentaries developed during the Song dynasty.
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„Collective Bibliography“. In Reading Medieval Chinese Poetry, 289–306. BRILL, 2015. http://dx.doi.org/10.1163/9789004282063_012.

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9

Stamy, Cynthia. „Quotation, Curio-Collecting, and the Privileging of Detail“. In Marianne Moore and China, 164–95. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198184607.003.0007.

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Abstract Moore’s efforts to translate the peculiarities of Chinese poetry and painting into a personal method of writing can be seen as an attempt to interpret America through a poetic reconciliation with an alien world and its curiosities. Her use of the fu technique, Chinese perspectival principles, symbology, and philosophy all indicate that she looked to the Far East for models and ideas with which both to resist logic and contemporary trends in poetry, and to embrace the enduring nature of an ancient civilization and the clarity of its decisive moral framework.
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Stamy, Cynthia. „Useful Travel: Moore’s Imaginative Forays Abroad“. In Marianne Moore and China, 28–56. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198184607.003.0002.

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Abstract In 1907, when Marianne Moore’s poems were beginning to appear in Tipyn O’Bob,the undergraduate magazine at Bryn Mawr, a canon of scholarly works in English on the literature and arts of the Far East was already being established. As her writing career developed, this field burgeoned as private collections2 of Chinese and Japanese art became available to a public already given to Chinese curio-collecting. By 1930, published work on Chinese art and history as well as commendable, if not definitive, translations of Chinese poetry were widely available in English.
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Konferenzberichte zum Thema "Chinese poetry (Collection)"

1

Dyakonova, Elena. „THE “WAY OF POETRY” (UTA-NO MICHI) IN THE TREATISES OF MASTERS OF “LINKED VERSE”“. In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.38.

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The paper analyzes Sasamegoto (Whispered Conversations, 1463–1464), a treatise by Shinkei, the influential Buddhist poet and thinker of the Muromachi period (1392–1568). In this treatise on the collaborative poetry of “linked verse” (renga), the author addresses the category of the “Way” (michi) or the “Way of Poetry” (uta-no michi), which he interprets on the basis of ancient Chinese philosophers (Confucius and Lao Tze) and early Japanese authors of Zen school (e. g., Mujū Ichien, who wrote the Shasekishū — The Collection of Sand and Rocks, 13th century) and even endows it with a new meaning. In Shinkei’s view, the Way is not only mastery and its perfection. This is a sum total of many diverse things: the entire corpus of belles-lettres, theoretical treatises, schools, teachers and disciples, ideal poets, trends, styles, inner discipline, lifestyles, the past and the present.
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2

Kravtsova, Marina. „“A LOST TREASURE”: ON FOLK ORIGINS OF THE VERSES OF CHU (CHUCI)“. In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.17.

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This article is focused on analysis of the hypothesis of the local song folklore origins of the famous poetic phenomenon chuci (elegies/songs of Chu) that represents the literary heritage of the southern (Yangtze Basin) region of the Ancient China (the Zhou epoch, 11th–3rd centuries B. C.) and is associated with the emergence of the Chinese poetry. Although today the thesis about the folklore origins of chuci, or rather of the poetic pieces presented by the Chuci (Verses/Elegies of Chu, Songs of the South) collection, is generally accepted, the author argues that, first, during the 1st–7th centuries A. D. the chuci poetry was stable considered within the Chinese book knowledge to be created by exclusively the literary genius of Qu Yuan (4th–3rd centuries B. C.), the great poet of the Chu Kingdom (11th–3rd centuries B. C.). Secondly, the views on chuci as an autochthonous (“southern”) poetic tradition dating back to the local folk art emerged in the 12th–13th centuries and finally established itself in the Chinese literature studies of the first third of the 20th century, all these under the influence of the ideological processes, caused by synchronic historical and political events. Thirdly, although the existence of developed song-poetic folklore in Chu Kingdom seems quite permissible, it for some reason remained out of fixation by that day written sources, including transmitted texts and archaeological materials (epigraphic inscription and excavated manuscripts). Therefore, almost nothing is known as a matter of fact of the hypothetic Chu song folklore what makes it impossible to recognize its true influence on origins and further on evolution of the chuci tradition.
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Solomennik, Viktoria. „“THE SUN MISSLESS” - THE FIRST COLLECTION OF TRANSLATIONS OF CHINESE POETS, PUBLISHED IN THE AMUR BOOK PUBLISHING: ON THE OCCASION OF THE 60TH ANNIVERSARY OF PUBLICATION“. In Россия и Китай: история и перспективы сотрудничества. Благовещенский государственный педагогический университет, 2020. http://dx.doi.org/10.48344/bspu.2020.33.14.116.

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