Relevant bibliographies by topics / Chinese poetry

Academic literature on the topic 'Chinese poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Chinese poetry"

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금지아. "Chinese poetry education utilizing Korean-Chinese Poetry Paintings: Chinese Poetry in Highschool Chinese Writing Textbook." EDUCATIONAL RESEARCH 45, no. ll (June 2009): 143–63. http://dx.doi.org/10.17253/swueri.2009.45..006.

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Ochilov, O. "CHINESE NEW POETRY AND BUDDHISM." Builders Of The Future 02, no. 02 (May 1, 2022): 277–81. http://dx.doi.org/10.37547/builders-v2-i2-42.

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The article is about the influence of Buddhism on Chinese literature, especially poetry, the uniqueness of the verses in Buddhist scriptures, their emergence as a new genre, the peculiarities of Zen poetry, which began to spread in the late and early Sung dynasties as well as about the state of poetry in the late 19th century, which promoted Buddhist ideas and culture.
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Zhongshu, Q., and Z. Liya. "Chinese Poetry and Chinese Painting." Genre 43, no. 3-4 (January 1, 2010): 239–77. http://dx.doi.org/10.1215/00166928-43-3-4-239.

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OCHILOV, OZODJON. "The Rhythmic Paradigm of Classical Chinese Poetry." Sharqshunoslik. Востоковедение. Oriental Studies 03, no. 03 (October 1, 2022): 38–42. http://dx.doi.org/10.37547/os/vol-01issue-03-05.

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There are several differences between modern and classical Chinese poetry, and one of the most obvious is related to the strict rules imposed on the rhythm of the poem. By the Tang period (from the 7th century AD), much attention was paid to rhythm, especially to the harmony of the first tone. Rhythmic poetry based on melodies was fully formed by the Tang period and a number of strict rules were developed. These rules were in force until the beginning of the 20th century. Below we will take a closer look at the characteristic features of the rhythmic paradigm of ancient poetry. These features will help us understand the essence of the revolutionary poetry reforms that began to flourish in China at the end of the 19th century.
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Bo, Zhang, and Seong-moon Kim. "Poetic Rhythm and Translation of Chinese Poetry." East Asian Ancient Studies 73 (March 31, 2024): 37–69. http://dx.doi.org/10.17070/aeaas.2024.3.73.37.

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Xu, Bao-yu. "Tang Poetry Hermeneutics in Korean Poetic Discourse." Society for Chinese Humanities in Korea 84 (August 31, 2023): 155–70. http://dx.doi.org/10.35955/jch.2023.08.84.155.

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Koreans have adopted a variety of methods in the interpretation of Tang poetry, among which the five aspects of interpretaion of poetry by Chinese classics(以經解詩), Neo-Confucianism(以理解詩), other Tang poetry(以唐解唐), dialect slang and customs(以方言风俗解詩), and personal experience are the most distinctive. The interpretation of poetry by Chinese classics shows the role of Confucian classics such as the Book of Poetry in regulating and restraining poetry, highlighting the complex and insoluble relationship between scripture and literature. Some neo-Confucianism had a hostile attitude towards literature, believing that literature was harmful, such as Er-Cheng(二程), and some neo-Confucianism had a tolerant attitude towards literature, such as Zhu Xi(朱熹). This had also created some characteristics of Koreans in understanding poetry. Interpreting poetry in dialect slang and customs brought Tang poetry into the Korean context, and tried to interpret Tang poetry regionally with its own social customs and linguistic environment, which could indeed increase and expand the ways and methods of interpretation, but it also made some misunderstandings because it was separated from the specific environment created by Tang poetry. On the contrary, the interpretation of poetry by experiencing it was somewhat in the spirit of textual research in Qing Dynasty, and the interpreter only felt some emotions and even facts in Tang poetry after experiencing certain scenes or events personally, so as to better experience the charm of Tang poetry, which can be said to be a step further in the hermeneutics of Tang poetry. There are also some foreseeable problems in the methods used by Koreans in interpreting Tang poetry, such as curious interpretation, overinterpretation, etc., which existed in Chinese poetics, and also existed in Korean poetics. If it can be rooted in the local environment of Chinese poetics, combined with the interpretive experience of Koreans, and reasonable speculation and deduction within the limits of interpretation, Korean Tang poetry hermeneutics still has important academic historical value, especially as an exotic eye, Korean poetics criticism of China should attract the attention of Chinese scholars.
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Xu, Jianzhong, and Chengxia Chang. "Poetic dialogue analysis of Chinese–English poetry translation." Language and Dialogue 2, no. 2 (August 13, 2012): 262–82. http://dx.doi.org/10.1075/ld.2.2.05xu.

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The translation of ancient Chinese Poetry into English is considered to be one of the most challenging tasks not only because of the different features between the two languages, especially as they belong to different linguistic families, but also the unique features of the ancient Chinese poetry itself.. This paper, by applying poetry dialogue analysis based on dialogism, explores the operation of its elements such as context, subject, sense, image, the reader and text form, and tries to seek out the mechanism for understanding the source text and reproducing what the source contains in the target language, thus shedding light on poetry translation studies.
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Chang, Haoxiang, Beitong Li, Fengwei Wang, and Yue Bin. "Thematic classification of ancient Chinese poetry using TwinEmbedAttentionNet." Applied and Computational Engineering 39, no. 1 (February 21, 2024): 302–14. http://dx.doi.org/10.54254/2755-2721/39/20230619.

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Ancient Chinese poetry, a reflection of Chinas rich cultural and philosophical fabric, encapsulates the evolving socio-cultural nuances of its historical epochs. Despite its cultural significance, there remains an evident lacuna in comprehensively classifying its recurring themes, due in part to the conciseness and polysemy intrinsic to the language and the essentiality of embedded cultural and historical contexts. Addressing this challenge, this study introduces TwinEmbedAttentionNet, a pioneering method tailored for the thematic classification of ancient Chinese poetry. This approach synergistically integrates pretrained word and sentence embeddings with an attention mechanism, ensuring the nuanced representation of the poetrys intricate details. Our results showcase its superior performance over existing models. Furthermore, an in-depth examination of model components offers insights into their respective thematic categorization efficacies. This research not only advances the academic understanding of ancient Chinese poetry but also underscores the potential of innovative neural networks in processing historically rich textual data.
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Liu, Yusen, Dayiheng Liu, and Jiancheng Lv. "Deep Poetry: A Chinese Classical Poetry Generation System." Proceedings of the AAAI Conference on Artificial Intelligence 34, no. 09 (April 3, 2020): 13626–27. http://dx.doi.org/10.1609/aaai.v34i09.7100.

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In this work, we demonstrate a Chinese classical poetry generation system called Deep Poetry. Existing systems for Chinese classical poetry generation are mostly template-based and very few of them can accept multi-modal input. Unlike previous systems, Deep Poetry uses neural networks that are trained on over 200 thousand poems and 3 million ancient Chinese prose. Our system can accept plain text, images or artistic conceptions as inputs to generate Chinese classical poetry. More importantly, users are allowed to participate in the process of writing poetry by our system. For the user's convenience, we deploy the system at the WeChat applet platform, users can use the system on the mobile device whenever and wherever possible.
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Zhu, Mini, Gang Wang, Chaoping Li, Hongjun Wang, and Bin Zhang. "Artificial Intelligence Classification Model for Modern Chinese Poetry in Educatio." Sustainability 15, no. 6 (March 16, 2023): 5265. http://dx.doi.org/10.3390/su15065265.

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Various modern Chinese poetry styles have influenced the development of new Chinese poetry; therefore, the classification of poetry style is very important for understanding these poems and promoting education regarding new Chinese poetry. For poetry learners, due to a lack of experience, it is difficult to accurately judge the style of poetry, which makes it difficult for learners to understand poetry. For poetry researchers, classification of poetry styles in modern poetry is mainly carried out by experts, and there are some disputes between them, which leads to the incorrect and subjective classification of modern poetry. To solve these problems in the classification of modern Chinese poetry, the eXtreme Gradient Boosting (XGBoost) algorithm is used in this paper to build an automatic classification model of modern Chinese poetry, which can automatically and objectively classify poetry. First, modern Chinese poetry is divided into words, and stopwords are removed. Then, Doc2Vec is used to obtain the vector of each poem. The classification model for modern Chinese poetry was iteratively trained using XGBoost, and each iteration promotes the optimization of the next generation of the model until the automatic classification model of modern Chinese poetry is obtained, which is named Modern Chinese Poetry based on XGBoost (XGBoost-MCP). Finally, the XGBoost-MCP model built in this paper was used in experiments on real datasets and compared with Support Vector Machine (SVM), Deep Neural Network (DNN), and Decision Tree (DT) models. The experimental results show that the XGBoost-MCP model performs above 90% in all data evaluations, is obviously superior to the other three algorithms, and has high accuracy and objectivity. Applying this to education can help learners and researchers better understand and study poetry.
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Dissertations / Theses on the topic "Chinese poetry"

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Yu, Liwen. "Politicizing poetics the (re)writing of the social imaginary in modern and contemporary Chinese poetry /." Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B42841628.

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Bruno, Cosima. "Contemporary Chinese poetry in translation." Thesis, SOAS, University of London, 2003. http://eprints.soas.ac.uk/4399/.

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Yu, Kim Lung. "Nan fang shi ge she qun yu wan Qing "shi ge ge ming" /." View abstract or full-text, 2007. http://library.ust.hk/cgi/db/thesis.pl?HUMA%202007%20YU.

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HSIAO, CHING-SONG GENE. "SEMIOTIC INTERPRETATION OF CHINESE POETRY: TU MU'S POETRY AS EXAMPLE (CRITICISM)." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188120.

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To interpret a poem is to comprehend a complete act of written communication. And to comprehend such an act, the reader must break the codes in which the communication is framed. Thus, poetic interpretation becomes the study of codes--or semiotics. Poetic codes exist at pragmatic, semantic, syntactic, and phonic levels. The decoding requires the reader's linguistic skills, literary competence, and personal experience. It involves an initial reading and a retroactive reading. At the first step, the reader attempts to supply elements missing in the text. Yet trying to interpret the text literally, he encounters problems in pragmatics, semantics, syntactics, or phonics, and is unable to grasp a coherent sense of the poem. Those problems give rise to a retroactive reading. At this step, the reader looks for a higher level of understanding where a unity of meaning can be identified. And by explaining the clues in the text according to his linguistic and literary competence, and revising his understanding on the basis of his new findings, he finally discovers a kernel concept, on which the whole text can be seen as a single unit, and every element, which first appeared to be puzzling, has a significative purpose. This semiotic model of interpretation has proven to be very fruitful in the explication of Tu Mu's poetry. It also enables the reader to appreciate the poetic discourse more thoroughly. Some of the ideas advocated by the model may also serve as principles for the translation of poetry. For example, in reading a poem, the model requires a search for unified pragmatic, semantic, syntactic, and phonic patterns, which convey the kernel concept. Thus, in translating a poem, the translator should also try to re-produce in the target language such unified patterns so that the reader may grasp the same kernel concept as contained in the original discourse. The model stresses implicities of poetry. Hence the rendition of a poem should preserve the implicities of the original text in order to invoke from the reader a response similar to what would be induced by the original poem.
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Zhu, Shaozhang. "Xian dai xin shi ren jiu ti shi yan jiu = Study of Chinese classical poetry written by modern Chinese poets /." click here to view the abstract and table of contents, 2002. http://net3.hkbu.edu.hk/~libres/cgi-bin/thesisab.pl?pdf=b17563586a.pdf.

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戚本盛 and Pun-shing Babie Chik. "A study of Dai Wangshu's poetry." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1992. http://hub.hku.hk/bib/B31210739.

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Inwood, Heather. "On the scene of contemporary Chinese poetry." Thesis, SOAS, University of London, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.494221.

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Park, Christopher 1966. "La modernité poétique des femmes chinoises : écriture et institution." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56656.

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Women's poetic writing in modern China, its context and position in literary history as well as its ideological and social constitution are at the root of this thesis' subject. Having stated my intellectual and personal limitations regarding its writing as an introduction, examples of contemporary women's poetic text will serve to broaden its conclusion. My analysis begins with a reflection on its own terminology in philosophical debate, followed by a study of the modernist background that from 1977 leads to what is termed as neo-modernity in literature. A paradox in the women's avant-garde of antipatriarchal antagonism against the literary institution will be illustrated by examples of critical text on women's poetic production. My point is to address this paradox with the identification of false values placed from the very beginnings of poetic modernity on women's poetry within the avant-garde.
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Li, Xiaorong 1969. "Rewriting the inner chambers : the boudoir in Ming-Qing women's poetry." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100645.

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My dissertation takes the social and symbolic location of women---the inner chambers [guige or gui]---as a point of departure to examine Ming-Qing women's unique approach to the writing of poetry. In Ming-Qing China, women continued to be assigned to the inner, domestic sphere by Confucian social and gender norms. The inner chambers were not only a physically and socially bounded space within which women were supposed to live, but also a discursive site for the construction of femininity in both ideological and literary discourses. The term gui embraces a nexus of meanings: the material frame of the women's chambers; a defining social boundary of women's roles and place; and a conventional topos evoking feminine beauty and pathos in literary imagination. Working with the literary context of boudoir poetics, yet also considering other indispensable levels of meanings epitomized in the cultural signifier guige, my dissertation demonstrates how Ming-Qing women poets re-conceive the boudoir as a distinctive textual territory encoded with their subjective perspectives and experiences. Compared with the poetic convention, the boudoir as inscribed in Ming-Qing women's texts is far more complex as its depiction is informed by nuances in their historical, social and individual experiences.
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Kherbek, William. "Chinese whispers Chinese rooms : the poetry of John Ashbery and cognitive studies." Thesis, Birkbeck (University of London), 2014. http://bbktheses.da.ulcc.ac.uk/60/.

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This thesis examines the relationship of John Ashbery’s poetry to developments in cognitive studies over the course of the last sixty years, particularly the science of linguistics as viewed from a Chomskyan perspective. The thesis is divided into four chapters which position particular topics in cognitive studies as organising principles for examining Ashbery’s poetry. The first chapter concentrates on developments in syntactic theory in relation to Ashbery’s experiments with poetic syntax. The second chapter examines the notion of “intention” and “intentionality” in Ashbery’s writing from the perspective of cognitive “theory of context” writing, particularly the work of Deirdre Wilson and Daniel Sperber. The final two chapters consider cognitive questions using Ashbery’s poetry as a means of entry into controversial areas in formal cognitive studies. The third chapter examines his poetry in relation to temporality, suggesting that Ashbery’s experiments with time form “theories of consciousness” as they consciously manipulate readerly consciousness and attention. The final chapter explores perception in relation to Ashbery’s writing. The thesis argues that poetry can be conceived of as a less formalised method of cognitive study, and that poetic experiment can lead to significant reconceptualisations of cognitive notions which may play a role in framing critical questions for more formal experiments in cognitive science-philosophy going forward. The thesis concludes with reflections on the wider implications for literary cognitive studies in general.
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Books on the topic "Chinese poetry"

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Jane, Portal, ed. Chinese love poetry. London: British Museum Press, 2004.

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1929-, Tan Chung, ed. Classical Chinese poetry. Calcutta: M.P. Birla Foundation, 1991.

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Hightower, James Robert. Studies in Chinese poetry. Cambridge, Mass: Harvard University Asia Center, 1998.

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

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S, Fong Grace, ed. Hsiang lectures on Chinese poetry. Montreal: Centre for East Asian Research, McGill University, 2002.

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C, Lin Julia, ed. Essays on contemporary Chinese Poetry. Athens, Ohio: Ohio University Press, 1985.

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David, Hinton, ed. Classical Chinese poetry: An anthology. New York: Farrar, Straus and Giroux, 2008.

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Lupke, Christopher, ed. New Perspectives on Contemporary Chinese Poetry. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230610149.

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Tony, Barnstone, and Chou Ping 1957-, eds. The Anchor book of Chinese poetry. New York: Anchor Books, 2005.

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Hu, Pinqing. Random talks on classical Chinese poetry. Taipei, Taiwan: Join Sun Pub. Co., 1990.

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Book chapters on the topic "Chinese poetry"

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Yeh, Michelle. "Modern Poetry in Chinese." In A Companion to Modern Chinese Literature, 149–66. Chichester, UK: John Wiley & Sons, Ltd, 2015. http://dx.doi.org/10.1002/9781118451588.ch9.

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Jiang, Lan. "Tang Poetry in Classical Chinese Poetry Anthologies." In A History of Western Appreciation of English-translated Tang Poetry, 151–60. Berlin, Heidelberg: Springer Berlin Heidelberg, 2018. http://dx.doi.org/10.1007/978-3-662-56352-6_10.

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Green, Frederik H. "Romanticizing new Chinese in poetry." In Routledge Handbook of Modern Chinese Literature, 111–27. London; New York, NY: Routledge, 2018.| Includes bibliographical references and index.: Routledge, 2018. http://dx.doi.org/10.4324/9781315626994-10.

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Čurda, Martin. "Four Songs on Chinese Poetry." In The Music of Pavel Haas, 209–45. New York: Routledge, 2020. | Series: Ashgate studies in theory and analysis of music after 1900: Routledge, 2020. http://dx.doi.org/10.4324/9780429433351-7.

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Longxi, Zhang. "The Splendor of Poetry." In A History of Chinese Literature, 94–114. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003164173-6.

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Wang, Keping. "A Manifold Expectation of Poetry." In Chinese Culture of Intelligence, 217–34. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-3173-2_10.

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Wang, Keping. "A Moralistic View of Poetry." In Chinese Culture of Intelligence, 277–301. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-3173-2_13.

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"CHINESE POETRY." In Cathay, 325–26. Fordham University Press, 2020. http://dx.doi.org/10.1515/9780823281398-057.

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Pound, Ezra. "CHINESE POETRY." In Cathay, 325–32. Fordham University Press, 2018. http://dx.doi.org/10.2307/j.ctv8jnzm5.10.

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"Translating Chinese Poetry." In Chinese Poetry, 2nd ed., Revised, 1–27. Duke University Press, 1997. http://dx.doi.org/10.1215/9780822382096-001.

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Conference papers on the topic "Chinese poetry"

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Liu, Chongxi. "“POETRY CARVED IN STONE”: DOCUMENTARY, LITERARY AND CULTURAL CONNOTATION IN BAI JUYI’S POETRY INSCRIPTION." In 10th International Conference "Issues of Far Eastern Literatures (IFEL 2022)". St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063770.04.

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The poetry inscription, with Bai Juyi in the Middle Tang Era as its representative, began to express purely personal emotions in terms of content, which reflects the poet’s creative individuality. Bai takes stone as his friend, loves it, chants it, and inscribes poems on it, endowing it natural and personal qualities. Bai was the first poet to consciously combine “poetry” and “stone” with nearly 20 kinds of poetry inscriptions. Compared with book documents, Bai’s poetry inscriptions not only have the philological value of text criticism, but also have multiple functions, i. e., reproducing the historical context of poetry creation and transmitting as a “linguistic landscape”. Such humanistic connotation determines the significance of Bai’s poetry inscription in the history of Chinese literature and culture.
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Chen, Huimin, Xiaoyuan Yi, Maosong Sun, Wenhao Li, Cheng Yang, and Zhipeng Guo. "Sentiment-Controllable Chinese Poetry Generation." In Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. California: International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/684.

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Expressing diverse sentiments is one of the main purposes of human poetry creation. Existing Chinese poetry generation models have made great progress in poetry quality, but they all neglected to endow generated poems with specific sentiments. Such defect leads to strong sentiment collapse or bias and thus hurts the diversity and semantics of generated poems. Meanwhile, there are few sentimental Chinese poetry resources for studying. To address this problem, we first collect a manually-labelled sentimental poetry corpus with fine-grained sentiment labels. Then we propose a novel semi-supervised conditional Variational Auto-Encoder model for sentiment-controllable poetry generation. Besides, since poetry is discourse-level text where the polarity and intensity of sentiment could transfer among lines, we incorporate a temporal module to capture sentiment transition patterns among different lines. Experimental results show our model can control the sentiment of not only a whole poem but also each line, and improve the poetry diversity against the state-of-the-art models without losing quality.
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Zeng, Haijin. "INFLUENCE OF CHRISTIANITY ON THE CREATIVITY OF THE GUANGDONG POET HUANG LIHAI." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.25.

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Huang Lihai is one of the most active contemporary Chinese poets in the past two decades. His poems are a return to poetry, language and life. In the era of change and grand discourse dominating the aesthetic interpretation of literature, Huang Lihai’s poetry and spiritual exploration have obvious implications. His vitality in poetry creation and poetry activities has an important connection with his Christian faith and his thought resources. Huang Lihai pays close attention to individual life with heavy religious feelings, and tries to restore the relationship between man and god, the relationship between man and man, and the relationship between man and nature in the post-modern era. Backed by belief, he maintained human dignity and integrity with poetry, and opened up the divine dimension of poetry writing, which opened up a new aesthetic dimension for the Chinese contemporary poetry.
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Mitkina, Evgenia. "QIU XIAOLONG’S NOVELS: AMERICAN DETECTIVE STORIES WITH CHINESE ROOTS." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.23.

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Qiu Xiaolong is an American writer born in China, but he has been living in the United States since 1988. He wrote eleven novels about Inspector Chen, who lives in Shanghai and investigates crimes committed in that city. One of the features of Qiu Xiaolong’s work is insertions of poetry. Its main character is an educated person, he writes poetry himself, translates and actively uses the Chinese poetic heritage to express feelings. The author uses the form of a detective novel to show the various problems of modern China (the period covered is from the 1990s to the present day).
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Chao, Nan, Shengge Yang, Yuxian Qin, Zeming Song, Zhaofan Su, and Xiaomei Nie. "AR-Poetry: Enhancing Children’s Motivation in Learning Classical Chinese Poetry via Interactive Augmented Reality." In Chinese CHI 2021: The Ninth International Symposium of Chinese CHI. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3490355.3490518.

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Zhang, Jiyuan, and Dong Wang. "Chinese Poetry Generation with Flexible Styles." In 2018 11th International Symposium on Chinese Spoken Language Processing (ISCSLP). IEEE, 2018. http://dx.doi.org/10.1109/iscslp.2018.8706636.

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Sun, Yanming. "The montage in the Chinese poetry." In International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icelaic-14.2014.103.

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Hou, Yufang, and Anette Frank. "Analyzing Sentiment in Classical Chinese Poetry." In Proceedings of the 9th SIGHUM Workshop on Language Technology for Cultural Heritage, Social Sciences, and Humanities (LaTeCH). Stroudsburg, PA, USA: Association for Computational Linguistics, 2015. http://dx.doi.org/10.18653/v1/w15-3703.

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Ling, Zhangmin, and Lin Zhang. "Chinese poetry generation model with UniLM." In 2022 2nd International Conference on Consumer Electronics and Computer Engineering (ICCECE). IEEE, 2022. http://dx.doi.org/10.1109/iccece54139.2022.9712702.

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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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