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Libros sobre el tema "Chinee poetry"

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Publicado: 25 de julio de 2024

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1

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

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2

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

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3

Claw prints: Ancient Chinese poetry. West Conshohocken, PA: Infinity Publishing, 2011.

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4

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

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5

Bouncing pearls: Ancient Chinese poetry. West Conshohocken, PA: Infinity Publishing, 2011.

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6

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

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7

Jade rainbow: Ancient Chinese poetry. West Conshohocken, PA: Infinity Publishing, 2018.

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8

Water mirror: Ancient Chinese poetry. West Conshohocken, PA: Infinity Publishing, 2014.

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9

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

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10

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

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11

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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12

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

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13

Rouzer, Paul. “Chinese Poetry”. Editado por Wiebke Denecke, Wai-Yee Li y Xiaofei Tian. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199356591.013.16.

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The chapter seeks to give a historical overview of elite shi, popular shi, fu, and Chuci forms up until 1000 ce, emphasizing the role of traditional theoretical perspectives in shaping or problematizing modern views. In the case of shi, these perspectives include the Mao school’s interpretation of the Shijing; the retroactive creation of a shi tradition by pre-Tang court anthologists and critics in an attempt to privilege elite participation; the explosion of shi composition among the literate classes from the eighth century on due to its significant role in social exchange and in civil service examinations, and the concomitant decline of court aesthetics; the gradual triumph of a self-expressive and autobiographical model for shi composition; and the elite tradition’s general disregard for forms of verse production that did not fit its ideals. In discussing fu and Chuci, it is important to note its changing social roles as well as continuing existence.
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14

Bachner, Andrea. The Secrets of Language. Editado por Carlos Rojas y Andrea Bachner. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199383313.013.6.

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In his 2009 poetry collectionQing/man (Light/Slow), Taiwanese poet Chen Li returns to a traditional Chinese form of anagrammatic poetry, the genre of the hidden-character poem (yinzi shi), a rebus-like poetic riddle that focuses on the graphic form the sinograph, by providing clues to its riddle in the form of descriptions of, references to, and graphic components of a given Chinese character. This chapter uses the genre and theory of anagrams as its starting point for a reflection on language, literary creation, and translation, from Ernest Fenollosa’s reflections on the ideographic method to Ferdinand de Saussure’s work on a phonetically understood anagrammar of Indo-European poetry and Haroldo de Campos’s reflections on the poetic resonances in logographic and alphabetic scripts. Rather than essentializing the graphic nature of the Chinese script, Chen Li’s poetic revitalization of the genre of the hidden-character poem challenges preconceived notions of linguistic difference (between sound and script) with an interest in words under words, in the components of (and below) language that constitute language as a concrete practice and allows for a thought of language as duplicitous and multilayered phenomenon.
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15

Fraleigh, Matthew. At the Borders of Chinese Literature. Editado por Carlos Rojas y Andrea Bachner. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199383313.013.19.

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Familiarity with canonical Chinese texts and competence in the composition of Literary Sinitic poetry and prose had long provided intellectuals from the Chinese mainland, the Korean peninsula, and the Japanese archipelago with a means to communicate and even engage in literary exchanges with one another in the absence of a shared spoken language. These forms of interaction continued to thrive well into the modern period, even as relations between China, Japan, and Korea came to be structured by new forms of diplomacy premised upon the nation-state. This chapter examines poetic exchanges between East Asian intellectuals in the late nineteenth century, looking in particular at the experience of several late Qing poets, scholars, and statesmen in Japan. Even as Sinitic textuality played an important role as a shared point of reference in public discourse across the region, such commonality existed alongside distinctive performance traditions and other local frames of reference.
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16

Robert, Payne. Contemporary Chinese Poetry. Taylor & Francis Group, 2022.

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17

Robert, Payne. Contemporary Chinese Poetry. Taylor & Francis Group, 2022.

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18

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

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19

Chinese Through Poetry. WritersPrintshop, 2007.

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20

Chinese love poetry. New York: Barnes & Noble, 2004.

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21

Chung, Tan. Classical Chinese Poetry. M.P. Birla Foundation, Research & Publication Unit, 1991.

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22

Birrell, Anne. Chinese Love Poetry. Penguin Books Ltd, 1995.

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23

Contemporary Chinese Poetry. Primedia eLaunch LLC, 2022.

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24

Contemporary Chinese Poetry. Taylor & Francis Group, 2022.

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25

Robert, Payne. Contemporary Chinese Poetry. Taylor & Francis Group, 2022.

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26

Chinese Love Poetry. Interlink Publishing Group, Incorporated, 2014.

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27

Chinese American Poetry. University of Washington Press, 1992.

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28

Fung, M. M. Y. Modern Chinese Poetry. Hong Kong University Press, 1998.

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29

Portal, Jane. Chinese Love Poetry. British Museum Press, 2014.

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30

Raz, Gil y Anna Shields. Religion and Poetry in Medieval China. Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463721172.

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This volume of interdisciplinary essays examines the intersection of religion and literature in medieval China, focusing on the impact of Buddhism and Daoism on a wide range of elite and popular literary texts and religious practices in the 3rd-11th centuries CE. Drawing on the work of the interdisciplinary scholar Stephen Bokenkamp, the essays weave together the many cross-currents of religious, intellectual, and literary traditions in medieval China to provide vivid pictures of medieval Chinese religion and culture as it was lived and practiced. The contributors to the volume are all highly regarded experts in the fields of Chinese poetry, Daoism, Buddhism, popular religion, and literature. Their research papers cut across imagined disciplinary boundaries to show that the culture of medieval China can only be understood by close reading of texts from multiple genres, traditions, and approaches.
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31

Raz, Gil y Anna M. Shields, eds. Religion and Poetry in Medieval China. Amsterdam University Press, 2023. http://dx.doi.org/10.5040/9789048563555.

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This volume of interdisciplinary essays examines the intersection of religion and literature in medieval China, focusing on the impact of Buddhism and Daoism on a wide range of elite and popular literary texts and religious practices in the 3rd-11th centuries CE. Drawing on the work of the interdisciplinary scholar Stephen Bokenkamp, the essays weave together the many cross-currents of religious, intellectual, and literary traditions in medieval China to provide vivid pictures of medieval Chinese religion and culture as it was lived and practiced. The contributors to the volume are all highly regarded experts in the fields of Chinese poetry, Daoism, Buddhism, popular religion, and literature. Their research papers cut across imagined disciplinary boundaries to show that the culture of medieval China can only be understood by close reading of texts from multiple genres, traditions, and approaches.
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32

Chia-ling, MEI. Voice and the Quest for Modernity in Chinese Literature. Editado por Carlos Rojas y Andrea Bachner. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199383313.013.8.

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Participants in the May Fourth New Culture movement, such as Lu Xun, frequently invoked the concept of voice as a remedy for what they perceived as the “voiceless” China of the past with its superannuated script, language, and culture. This chapter complicates their invocation of “voice” by analyzing the political importance and concrete practices of voicing and recitation in Chinese poetic discourses of the 1930s. The different emphases on recitation proposed by the Poetry Reading Society and the China Poetry Society throw light on the agonistic relationship between voice and writing in the literary discourses of the first decades of the twentieth century. Furthermore, recitation and voicing played a key role in the ideal of language education proposed by Zhu Ziqing and others that shaped the modern voice in the literary history of China in the context of national-language education.
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33

Kosick, Rebecca. Material Poetics in Hemispheric America. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474474603.001.0001.

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Material Poetics in Hemispheric America examines poets and artists in the Americas during the late twentieth and early twenty-first centuries to show how they worked to make language into material objects and material objects into language. It builds a theory of ‘material poetics’ that provides an alternative account of poetry in hemispheric America. It argues that by reframing American poetry to prominently include object-oriented practices within and beyond the United States, material poetry can be seen as representing a significant branch of the American poetic tradition. This book puts contemporary theories of objects and matter into conversation with a variety of American approaches to material poetics. These approaches result in one-word poems more concerned with the look of language than its meaning, artworks that invite viewers to physically engage with language, poems assembled from networks of out-of-place words and things, poetic monuments that meditate on (and take up) space, and poetry that attempts to materialise the remnants of lyrics and lives. By examining five case studies, drawn from Brazil, Chile, the United States, and Canada, it investigates five ways of conceptualizing these poetic objects—as autonomous, relational, assembled, architectural, and posthuman. Poets and artists featured include Haroldo de Campos, Décio Pignatari, Augusto de Campos, Ferreira Gullar, Hélio Oiticica, Lygia Pape, Juan Luis Martínez, Ronald Johnson, and Anne Carson.
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34

Crevel, Maghiel y Lucas Klein, eds. Chinese Poetry and Translation. Amsterdam University Press, 2019. http://dx.doi.org/10.1515/9789048542727.

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35

Zuxin, Ding. Gems of Chinese Poetry. Shoe String Press, Incorporated, 1987.

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36

Strickmann, Michel. Chinese Poetry and Prophecy. Editado por Bernard Faure. Stanford University Press, 2005. http://dx.doi.org/10.1515/9781503619760.

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37

TwentiethCentury Chinese Womens Poetry. M.E. Sharpe, 2009.

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38

van Crevel, Maghiel y Lucas Klein, eds. Chinese Poetry and Translation. Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789462989948.

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39

Chang, David. Ancient Chinese Poetry Songs. Createspace Independent Publishing Platform, 2017.

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40

Studio, Flame Tree y Zu-Yan Chen. Chinese Voices: Classical Poetry. Flame Tree Publishing, 2019.

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41

Liu, James J. Y. Art of Chinese Poetry. Textbook Publishers, 2003.

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42

Liu, James J. Y. Art of Chinese Poetry. Taylor & Francis Group, 2022.

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43

Art of Chinese Poetry. Taylor & Francis Group, 2022.

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44

Yi, F. U. 2022 Chinese Poetry Rankings. New York New Century Press Inc., 2022.

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45

Liu, James J. Y. Art of Chinese Poetry. Taylor & Francis Group, 2022.

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46

Liu, James J. Y. Art of Chinese Poetry. Taylor & Francis Group, 2022.

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47

Chang, David. Ancient Chinese Poetry Songs. Createspace Independent Publishing Platform, 2017.

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48

2022 Chinese Classic Poetry. Overseas Chinese Press Inc, 2022.

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49

Xu, Yingcai. World Chinese Poetry 2020. Indy Pub, 2021.

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50

Bing, Hua y Yingcai Xu. Best Overseas Chinese Poetry. Indy Pub, 2021.

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