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Gao, Hang y 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 de enero de 2017): 69–94. http://dx.doi.org/10.35822/jcllt.2017.01.40.69.
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Qin, Cai y Cheng Ta Seah. "Chinese Ethnic Minorities and their Oral Poetry: A Perspective from Ethnopoetics". Advances in Language and Literary Studies 12, n.º 5 (31 de octubre de 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, n.º 3 (28 de agosto de 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, n.º 9 (30 de septiembre de 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, n.º 3 (1 de septiembre de 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, n.º 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, n.º 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 y В. Э. Щептева. "Modern Chinese poetry: problems of study". Modern Humanities Success, n.º 4 (30 de abril de 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, n.º 8 (21 de agosto de 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, n.º 1 (1 de junio de 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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Na, Sang-pil. "A Study on the Life and Poetic World of Gonam So Se-ryang". Korean Language and Literature 126 (30 de marzo de 2024): 161–90. http://dx.doi.org/10.21793/koreall.2024.126.161.
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This article examined his family line and overall life, focusing on 『Byeongamjip』, 『Gonamjip』, a collection of writings by Kunam So Se-ryang born in Iksan, Jeollabuk-do from the 15th to 16th centuries, summarized and reviewed the two collections before considering his watch. Gonam left a number of Chinese poems while interacting with contemporary Confucian scholars such as Cho Gwan-gjo, Lee Eon-jeok, Kim An-guk, and Kim Jong-guk, but politically, he was not noticed because he lacked clear footprints other than records of his participation in the sutra. In addition, the titles of 『Byeongamjip』 printed in 1748 and 『Gonamjip』 printed in 1929 were different, causing one literary collection to invite two literary collections on the web. Gonam, who was active during the period when Chinese poetry flourished most in the history of Chinese literature, left 176 Chinese poems with 230 titles, First, it is a poem with the tendency of “gwangak-style” created in government life, secondly, it is written in the form of a diary to pay tribute to his father with grain, and thirdly, it can be divided into Gonam's Chinese poems. Based on the ideology of royal politics, Gonam created a Chinese poem to understand Taoism in practical and realistic terms because the spirit of Sarim, who wanted to realize more than supreme rule, was deeply based on it.
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Peng, Xingjuan, Huan Cao, Zhaojing Shi y Qiming Cao. "Research on the Cultural Connotation of the Imageries of Plants in Tang Poetry". International Journal of Social Sciences and Public Administration 2, n.º 2 (18 de marzo de 2024): 158–67. http://dx.doi.org/10.62051/ijsspa.v2n2.24.
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The poetry of the Tang Dynasty in China has been passed down for a thousand years, among which are numerous descriptions of plant imageries, reflecting the Chinese national understanding of the world and all things within it. Based on a thorough reading, retrieval, and comprehension of the "Complete Collection of Tang Poems", this paper studies the plant imageries within Tang poetry and discusses the cultural significances of these images, including the five major imageries of bamboo, willows, pines and cypresses, lotus, and plum blossoms. By analyzing how poets integrate emotional experiences into plant imageries and thereby create unique poetic moods, the research reveals the distinctive aesthetic appeal and humanistic spirit of Tang poetry, showcasing a rich social life and a profound love for nature. Plant imageries embody the cultural connotations of the Chinese nation, and the inheritance of plant culture is the mission of literary researchers in the new era.
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Polovinkina, O. I. "Pound, E. (2019). Cathay. A critical edition. Ed. by T. Billings. New York: Fordham U. P." Voprosy literatury, n.º 2 (17 de junio de 2021): 282–87. http://dx.doi.org/10.31425/0042-8795-2021-2-282-287.
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The new edition of E. Pound's poetic collection Cathay, first published in 1915, shows the idea of world literature to be as real as it is problematic. Thanks to T. Billings, the editor behind the publication, the book offers the most exhaustive description of the process whereby the translations were created: it involved not only Pound and Fenollosa, but also K. Mori and N. Ariga, who represent the Japanese tradition of reading classical Chinese poetry. The volume contains almost all of Pound's Chinese translations produced in the 1910s, his essay ‘Chinese Poetry,' as well as an impressive scholarly corpus: articles on the significance of these translations in the era of close relations between China and the West, extracts from Fenollosa's notebooks deciphered by Billings, and the original Chinese poems, each supplied with comments. The reconstruction of the process by which word-for-word translations were created puts Pound's translation effort into a new perspective.
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Bernstein, Charles. "Introduction to Chinese Anthology of American Poetry (19th–20th c.), ed. Li Zhimin". boundary 2 48, n.º 4 (1 de noviembre de 2021): 83–84. http://dx.doi.org/10.1215/01903659-9382088.
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Abstract Li Zhimin, poet and professor at Guangzhou University, asked Charles Bernstein to write the introduction to his anthology of American poetry, which spanned from Dickinson to Stevens, with Bernstein the youngest poet in the collection. Published here in English for the first time.
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Lam (林立), Lap. "Local Sensibility and Nostalgia: The Tanshe Poetry Society in Colonial Singapore". Journal of Chinese Overseas 18, n.º 1 (18 de marzo de 2022): 118–52. http://dx.doi.org/10.1163/17932548-12341458.
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Abstract Under the leadership of Qiu Shuyuan, the “Poet Master of the South,” a group of Singapore Chinese poets formed the Tanshe poetry society in the 1920s and published the only group collection of classical-style poetry in the colonial period. This society forged a close social bond between the resident- and sojourner-poets, who used traditional poetry to create a cultural space for themselves in overseas Chinese communities. Although they still possessed a sojourner’s mentality and often expressed their nostalgia for China or their hometowns in China, they also attempted to accept and appreciate the unique Nanyang culture and customs. By sharing their individual narratives and experiences with fellow members, they together constructed a collective memory and multiple narratives of the homeland while exchanging opinions about the host society. Through textual analysis of Tanshe group compositions, this paper proposes that localization and nostalgia, two seemingly contradictory concepts, are in fact compatible, as emotional attachments to both homeland and hostland both appear in Tanshe society writings. It thus seeks to offer an alternative viewpoint for current Sinophone studies and scholarship about overseas Chinese, holding that nostalgia could prompt Chinese immigrants to contemplate the many potentialities and possibilities of their future, their relationship with “routes and roots,” and connections between past and present. The transplantation of many of their cultural practices, of which the poetry society was a significant manifestation, also helped them create a more familiar living place in their out-of-placeness.
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Trunova, O. "The theme of Nanjing city in the poetry of Bai Hua". Science and Education a New Dimension IX(257), n.º 75 (25 de septiembre de 2021): 74–75. http://dx.doi.org/10.31174/send-ph2021-257ix75-17.
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The article considers the specifics of the theme of Chinese city Nanjing as one of the main and significant images in the Bai Hua’s poetry during his stay in this city in 1988 – 1992. Poems from the poetry collection “In Nanjing” were translated and analyzed, the influence of the city on the author’s inner world and on his further artistic work was studied. It is noted that the city made a pleasant impression on the poet and contributed Bai Hua to the transition to lyric poetry. The influence of Nanjing’s spring landscapes on the poet’s life and poetic mood is substained on the examples of the poems “Freedom”, “Holiday” and “Spring Day”.
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Xiao-bing, Zhao y Zhao Wenqing. "About the Chinese Book “The Book of Poetry”". Humanitarian Vector 16, n.º 1 (febrero de 2021): 25–34. http://dx.doi.org/10.21209/1996-7853-2021-16-1-25-34.
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“The Shi Jing’’(‘‘The Book of Poetry”） is one of the first poems in the world, including Chinese poems, from the 11th century BC to the 6th century BC. During this period, about 3 000 verses appeared, of which 305 poems were selected by Confucius. Poetic texts in “The Shi Jing’are divided into three categories: regional songs, odes, hymns. The composition of the poems uses such techniques as Fu, Bi and Xing. These poems constitute the creative source (source) of Chinese poetry. “Fu”，“Bi” and “Xing” are important artistic features of “The Shi Jing”. “Fu”” - direct narration, parallelism. “Bi” is a metaphor, comparison. “Sin” means “stimulation”， it first speaks about others, then about what the poet wants to express. Fu and Bi are the most basic techniques of expression, and Xing is a relatively unique technique in “The Shi Jing”， even in Chinese poetry in general. “The Shi Jing” is an excellent starting point for Chinese literature, which has already reached a very high artistic level from the very beginning. "The Shi Jing” affects almost all aspects of the early social life of ancient China, such as sacrifice, banquet, labor, war, love, marriage, corvee, animals, plants, oppression and resistance, manners and customs, even astronomical phenomena, etc. It became historical value for the study of that society. The overwhelming majority of the poems in “The Shi Jing”reflect the reality, everyday life and everyday experience. There is almost no illusory and supernatural mythical world in it. As the first collection of poetry in China, “The Shi Jing” laid the foundation for the lyrical and realistic tradition of Chinese literature. “The Shi Jing” also has a huge impact on the genre structure and linguistic art of Chinese literature, etc., which is a role model for writers of later generations. “The Shi Jing”has already been translated into the languages of the countries of the world. “The Shi Jing”has been influencing Chinese poetics; it has become the source of the classical realistic tradition and literature in China. Lively description is essential for historical, anthropological and sociological research. We expect that as the cultural ties between China and Russia deepen, as well as the popularization and spread of Chinese-Russian translations, more and more Russian people will read “The Shi Jing”， study “The Shi Jing”， the Russian translation of “The Shi Jing” will improve and play its role as the original classic of Chinese literature. “The Shi Jing”is a book that cannot be read or translated forever. Keywords: “The Shi Jing” （“The Book of Poetry” )， regional songs, odes, hymns, artistic features, Chinese unique cultural value
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Zhou, Jianxin. "Translation Features of Emily Dickinson’s Poetry’s Chinese Translation Dust is the Only Secret". International Journal of Language and Literary Studies 4, n.º 1 (30 de marzo de 2022): 364–84. http://dx.doi.org/10.36892/ijlls.v4i1.803.
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Using program written in python language to conduct a statistical and comparative analysis of poetic form and vocabulary use of Emily Dickinson's poems and its Chinese translation in the poetry collection, Dust is the Only Secret, translated by Xu Chungang, to reveal features of the translation, it is found that, compared with the original, the form of translated poetry deviates obviously from the original, in which quantity of verse line is close to the original, while the stanza deviation is large. Punctuation deviations such as deviations of dash, comma and period from the original are the most prominent. The translation is slightly inferior to the original in terms of richness of nouns and delicacy and exquisiteness of image depiction with adjectives, but far advantageous in dynamic of language due to abundant use of verbs.
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Li, Huirong. "A Comparative Study on the English Translation of the Book of Songs". Journal of Education and Educational Research 3, n.º 1 (9 de mayo de 2023): 74–78. http://dx.doi.org/10.54097/jeer.v3i1.8192.
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The Chinese nation has a history of 5000 years. In such a long history, we have constantly developed and created many splendid cultures. Ancient Chinese classics can be said to be the crystallization of all the people of our nation, but also the precious wealth left by ancient ancestors for us. Poetry is a classic of Chinese traditional literature, so the Book of Songs, as the earliest collection of poetry in China, naturally has an irreplaceable position. Civilization is developing, history is moving forward, and the world is gradually becoming connected with each other. As early as the first half of the fifth century, the Book of Songs was introduced to Japan, then to Western Europe, and then to the United States. The Book of Songs was gradually accepted by more and more people, and was translated into many translations. There are many different English versions of the Book of Songs abroad. The two versions selected here are the earliest complete versions of the Book of Songs at home and abroad, which respectively are Book of Poetry translated by Xu Yuanchong and The She King translated by James Legge. Of course, everyone’s translation purposes are different, not to mention people from two different countries, their translation purposes must be different. In the contemporary situation, understanding the different translation purposes of foreign translators for Chinese ancient books and conducting a comparative study of ancient books are conducive to promoting the dissemination of Chinese ancient books and the development of our culture.
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Tang, Jun. "The Sparkling Flower of Poetry on the Realism of Cruelty: A Chinese Reading in the Pluralism of Palestinian Identity in the Poetry of Mahmoud Darwish". Chinese and Arab Studies 2, n.º 2 (1 de diciembre de 2022): 151–61. http://dx.doi.org/10.1515/caas-2022-2013.
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Abstract Mahmoud Darwish (1941-2008) is regarded as the Palestinian national poet, and the leader of Palestinian resistance poetry. The Chinese version of his poetry collection A Lover From Palestine was published in 2016, then republished in 2020. In the eyes of Chinese researchers and admirers of poetry and Arabic literature in China, Mahmoud Darwish has long been aware of the Palestinian identity crisis under the Israeli-Palestinian conflict, and endeavored, through his abundant works, to implement a dynamic poetic construction of the Palestinian national cultural identity, in order to unite, to maintain, and to expand Palestinian national identity on one hand, and to document and inherit Palestinian cultural legacy on the other hand. This paper, based on Darwish’s work, tries to explore the poet’s considerations of Palestinian national identity crisis, and his faith of the poetry’s indispensable role to build up the national cultural identity from three aspects: his awareness of the identity crisis, his poetic construction of a multiidentity, and his strategy of defending it. Thus the poet made a great effort to document, defend and expand the Palestinian authentic, multidimensional identity in his immortal work.
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He, Yuemin. "A Congeries of Lichee Nuts for America: Chinese Religion in Edgar Lee Masters’s New York Chinatown Poetry Collection". Religion and the Arts 17, n.º 1-2 (2013): 135–56. http://dx.doi.org/10.1163/15685292-12341258.
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Abstract Active in several genres of writing and extremely productive, American poet Edgar Lee Masters (1868–1950) became famous almost overnight with his earlier collection of free verse monologues, The Spoon River Anthology (1915). But as quickly as he rose in prominence, his fame declined thereafter. In the past decades, critics usually regarded The Spoon River Anthology as Masters’s best collection. This essay takes a step toward uncovering the value of Masters’s other work by examining one aspect of Lichee Nuts, a book-length collection of short poems published in 1929. This essay reveals that Masters, a prescient poet, not only displays sophisticated understanding of the composite and complex nature of Chinese religion, but also uses that understanding to construct a positive poetic image of the Chinese. In doing so he actively promotes cultural diversity in a time of racial hysteria and adumbrates the emergence of countercultural voices that transmit spirituality to a Western culture mired in materialism.
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Tsmykal, Olga E. "Literary searches of the poets of the Far East emigration: versification poetics of Larissa Andersen". RUDN Journal of Studies in Literature and Journalism 25, n.º 3 (15 de diciembre de 2020): 447–57. http://dx.doi.org/10.22363/2312-9220-2020-25-3-447-457.
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The article analyses the versification features of the poetess of Russian Harbin Larissa Andersen in the general context of the literary process of the Far Eastern branch of Russian emigration. The novelty of this study is determined by the fact that the versification poetics of Larissa Andersens works for the first time becomes the subject of independent and systematic study. The object of the study is the lyrics of L. Andersen of the Far Eastern period (1920-1940s). The purpose of the article is a holistic study of the poetics of L. Andersen versification of 1920-1940-ies on the material of her Harbin works, the collection of poems Through the Earths Meadows (1942) and the collective collection The Island (1946). The author of the article concludes that the technical, formal side of the verse is not a dominant for Larissa Andersen, which reflects the general immediacy of the poetess lyrics. However, if the concept of the work requires it, Andersen resorts to unusual means of versioning (including meter, rhyme and rhythm searches). Larissa Andersen doesnt ignore experiments, which result in poems resembling childrens poetry, folk poetry, Chinese classical poetry, futurist lyrics, etc.
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Mauro, Viviana. "Translation as Rewriting in the Rendering of Classical Chinese Poetry: Pound’s Cathay". TRANS-KATA: Journal of Language, Literature, Culture and Education 2, n.º 2 (30 de mayo de 2022): 109–18. http://dx.doi.org/10.54923/transkata.v2i2.82.
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The concept of translation as a form of rewriting, developed by André Lefevere, identifies translation as a textual adaptation based on a series of social and cultural factors. Therefore, the act of translating means rewriting a foreign text on the basis of local cultural and poetic norms. The purpose of this article is to apply the concept of rewriting in translation to the approach employed by Ezra Pound in his collection Cathay (1915), which has been chosen as a model to conceptualize the writer’s approach to the translation of Chinese texts. The first section of this article will focus on the different approaches employed in the translation of classical Chinese poems. Following a brief historical overview, two diametrically opposed translation methods developed at the turn of the 20th century, namely the Victorian method and Pound’s method, will be compared. The investigation on Pound’s translation methodology will be then discussed through the analysis of some of the poems included in Cathay. The findings of such analysis will allow for a deeper understanding of Pound’s method, and finally identify to what extent Pound translations (or rewritings) succeeded in painting a clear and unbiased picture of Chinese culture for his Western readers.
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Xiao, Yilan y Xinyi Li. "The Musical Characteristics of the Chinese Poem Art Song: focus on 「Yanggwan Sandie」". Global Knowledge and Convergence Association 6, n.º 1 (30 de junio de 2023): 11–29. http://dx.doi.org/10.47636/gkca.2023.6.1.11.
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Chinese Poem contains the rich essence of traditional Chinese culture (called “Chinese Poem” in Korea because it includes modern works), and is used as an important material in contemporary Chinese artist songs due to its high literary value containing the wisdom and aspirations of ancient poets. “Yanggwan Samchop” is also known as “Yanggwangok” or “Satanggok”, which became widely sung after being included in the collection of poems of musicians based on the Tang poet Wang Yu’s “Songwon Issaanseo”. Since then, Chinese Poem Temple has been developed for thousands of years and has been reborn in various art styles such as vocal music and instrumental music. After the introduction of Western music into China, many Chinese composers tried to pursue unique Chinese music by incorporating Western composition techniques into traditional Chinese music. This study will examine the musical characteristics of the works in harmony with tradition and modernity, China and the West, by analyzing the vocal and piano of 「Yanggwan Samchop」, an artist song of Gosisa Temple. To this end, we will describe the poetry, content, and background of Gosisa 「Yanggwan Samchop」 and analyze the formal structure and music of the song in detail to derive unique artistic characteristics of this work, such as the combination of poetry and music and the intersection of imagination and reality. Through this study, it is hoped that Chinese vocal researchers and majors will be able to understand “Yanggwan Samchop” in depth, and that overseas vocal researchers and majors will be well-known for Chinese national vocal works, especially traditional Gosisa artist songs. In addition, it is expected that this paper will play an important role in the conservation and development of traditional Chinese culture and research on the combination of Chinese and Western cultures.
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Jiajing, Song. "Affinity and Influence of Federico García Lorca on the Poetry of Dai Wangshu". Sinología hispánica 7, n.º 2 (14 de enero de 2019): 133. http://dx.doi.org/10.18002/sin.v7i2.5734.
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As one of the most representative modern poets in China, Dai Wangshu not only contributs a lot to the development of the modern Chinese poetry, but also plays an important role in introducing western poetics to China. Dai’s translation of western poetry has a profound influence on his poetic creation. Dai, throughout his poetic career, was at first influenced by the French romanticism, then was fascinated by the French symbolism and post-symbolism. The years of Disaster, a collection of poems in his later years, however, demonstrates an inclination to the Spanish modernist poetry, especially to the poems of Federico García Lorca, one of the most representative poets of the Generation of 27. This paper focuses on analyzing the characteristics of the works of these two poets, Dai Wangshu and Lorca, and is intended to make a comparative study of the affinities and similarities in their poetic beliefs and practice and the Lorca’s deep influences on Dai’s poetic creation, thus filling the blank in this field.
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Zhou, Jianxin. "Chinese Translation of Emily Dickinson’s Poetry: Translation Features of Shi Li’s Lilacs in the Sky". International Journal of Language and Literary Studies 3, n.º 1 (30 de marzo de 2021): 177–92. http://dx.doi.org/10.36892/ijlls.v3i1.512.
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Using program written in python language to conduct a statistical and comparative analysis of poetic form and vocabulary use of Emily Dickinson's poems and its Chinese translation in the poetry collection, Lilacs in the Sky, translated by Shi Li, to reveal features of the translation. It is found that in translation, there is a large number of increases in stanzas and a relatively small adjustment in verse lines; a large number of dashes are omitted or translated into commas, and many commas are added, exclamation marks are basically deleted. Prepositions and conjunctions are used less frequently, making language structure less complete, and lyrical intensity is slightly inferior to the original. The less number of adjectives results in less delicate and less rich description in translation, but large increase in verbs and four-character words make translation more concrete, vivid and cordial. In short, the translation version deviates significantly from the original in terms of poetic form and vocabulary use, and the translation expression tends to be closer to the standard of Chinese poetry expression rather than to the source language.
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Huen, Antony y Felix Chow. "Cosmopolitan Hybridity, Cultural Memory and Curation in Hong Kong Poetry". Writing Chinese: A Journal of Contemporary Sinophone Literature 2, n.º 1 (20 de diciembre de 2023): 34–65. http://dx.doi.org/10.22599/wcj.43.
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This article builds on previous research on the engagement of British-based Hong Kong Anglophone poets with the visual arts. It attempts to outline an object-based curatorial poetics observed in Hong Kong Anglophone poetry. Understanding curation as a mode of writing, we argue that Hong Kong poets writing in English employ a curatorial poetics, transforming the poetic space into a collection of images while refraining from description, as in ekphrasis. Objects with an Asian/Chinese/Hong Kong connection are presented as a collective, inviting the reader to associate with and reflect upon a pluralistic understanding of Hong Kong’s history based on an intermingling of personal and collective memory. We trace the development of this poetics and identify its beginnings in the works of Chinese-language Hong Kong writers. Then, we examine how a range of poets, both locally and internationally based, utilize the curatorial form to demonstrate the cosmopolitan hybridity that characterizes the city and contribute to an increasingly pluralistic discourse on Hong Kong’s identity. The poems employing this form of poetics act as museums of cultural memory, recording the hybridity of Hong Kong and subverting homogenous, totalizing attempts to define the city.
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Zhou, Jianxin. "Big Data Analysis on Features of Wang Jinhua's Chinese Translation of Emily Dickinson's Poetry". International Journal of Language and Literary Studies 5, n.º 1 (31 de enero de 2023): 68–92. http://dx.doi.org/10.36892/ijlls.v5i1.1069.
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The American poetess, Emily Dickinson, whose poems have entered textbooks of Chinese university, primary and middle schools for many years, has become a well-known foreign poet for Chinese public. It is through Chinese translation that most Chinese readers come into contact with Dickinson's poems, yet study on Chinese translation of Dickinson's poetry which will help reveal characteristics of Chinese translation and thus contribute to the development of Dickinson studies and facilitate popularity of Emily Dickinson in China, is obviously insufficient at present. Based on text data of 243 translated poems in Wang Jinhua's collection of Chinese translation,Selected Dickinson’s Poems, and their original poems, programming approach is adopted to make statistics of vocabulary, part of speech, stanza and line, and punctuation of the original and the translated texts, and translation features of Wang's translation is revealed by contrastive analysis. It is found that vocabulary in Wang’s translation is less abundant than the original. Weights of nouns plus verbs in translation and the original text are close, accounting for about 45% respectively, but nouns performance in original text is more prominent, while verbs performance in translation is more significant. There are many additions of verbs in translation, while there are not much changes to original nouns, and sometimes new nouns are added as subjects of clauses, all of which making the translation smooth and easy to understand without lacking of gracefulness. There is little difference in the number of stanzas and verse lines between the original and Wang’s translation. Original dashes and commas have been changed a lot, either by omission or conversion, yet periods undergo little changes. Translation of exclamation marks and question marks is with high faithfulness to the original.
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Pei, Jiang. "On Translations and Translators of I. A. Krylov’s Fables in China". Izvestiia Rossiiskoi akademii nauk. Seriia literatury i iazyka 81, n.º 1 (2022): 90. http://dx.doi.org/10.31857/s160578800018926-4.
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The article gives a overview of translations of I.A. Krylov’s fables in China. The first of them appeared more than 120 years ago, but the real acquaintance of Chinese readers with his work took place in the 1950s because of the translations of Meng Hai and Wu Yan. From the late 1970s to the present, the number of translations and editions of Krylov’s fables has been constantly increasing. Now in China there are more than 300 separate editions of his selected fables and 33 complete collections. At various times, at least 64 translators worked on translations of Krylov’s fables into Chinese, and 15 of them translated all nine books of the collection of his fables (these are Wu Yan, He Shiying, Feng Jia, Gu Yu, Xin Weiai, Han Guiliang, He Maozheng, Pei Jiaqin, Qu Hong, Yue Yan, Shi Guoxiong, Ding Lu, Zhu Xiansheng, Qiu Jingjuan and Yang Jianfeng). Some translations are made in prose, but some in poetry. The article summarizes the history of translations of Krylov’s fables in China and provides information about the most important translations and translators.
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Bruno, Cosima. "Thinking Other People's Thoughts: Brian Holton's Translations from Classical Chinese into Lowland Scots". Translation and Literature 27, n.º 3 (noviembre de 2018): 306–18. http://dx.doi.org/10.3366/tal.2018.0353.
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Brian Holton (b. 1949), the only currently working translator of classical Chinese poetry into Scots, is here approached biographically, through his personal history and his career in translating and publishing. Holton's collection of his own translation materials, including drafts, proofs, scores, translations, notes, lectures, correspondence, and journalistic writings, has been made available to the author. As a voice of history, Holton's life and work constitute a subjective narrative that enters into debate, discussion, and interpretation with larger narratives, spheres of diffusion, and power relations. Hence the discussion touches on such matters as as language policy in education and national literatures, and issues of centre and periphery, foreignization and domestication.
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Wang, Wenjuan. "Implementation of Values Education based on the Cultural Essence of Ancient Poems and Classics". Journal of Contemporary Educational Research 5, n.º 7 (30 de julio de 2021): 68–74. http://dx.doi.org/10.26689/jcer.v5i7.2308.
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During COVID-19, the entire human race is facing a major change that is rare in this century. The intricate competition between countries and the ever-changing situation at home and abroad have put forward new propositions for education in schools. As the collection of human wisdom for thousands of years, the classics of poetry and prose carry the endless spiritual strength of the Chinese nation, the spiritual support for the healthy growth of young people, and the cultural essence of morals and values education. Using ancient poems and classics as the breakthrough point, excavating cultural essence, reciting texts, interpreting meanings, and practicing them enhance students’ humanistic quality and cultural self-confidence in addition to cultivating future talents with deep Chinese roots and broad modern vision.
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Li, Shengnan, Hazlina Abdul Halim y Roslina Mamat. "Unravelling Yu Guangzhong’s Identity Through His Poetic Reflections: A Corpus-Based Investigation". Theory and Practice in Language Studies 14, n.º 2 (1 de febrero de 2024): 561–69. http://dx.doi.org/10.17507/tpls.1402.29.
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This study examines Yu Guangzhong’s identity presented in his self-translated poetry collection, The Night Watchman. It employs corpus linguistic methodologies and utilizes the corpus linguistic tool AntConc for analysis. This study highlights Yu Guangzhong’s identity, which is presented in different categories and topics of poems. It is found that Yu Guangzhong’s identity is ever-changing, varying at different times, and occasionally conflicting and opposing. This study may have practical implications for Chinese literature and culture looking to enhance their international influence, and it may also provide academic insights for investigating other literary giants.
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Hardiningtyas, Puji Retno. "STILISTIKA DAN UNSUR KEALAMAN DALAM CIAM SI: PUISI-PUISI RAMALAN KARYA TAN LIOE IE". JENTERA: Jurnal Kajian Sastra 4, n.º 2 (2 de octubre de 2017): 86. http://dx.doi.org/10.26499/jentera.v4i2.470.
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This study aims to analyze (1) the stylistic of Ciamsi:Puisi-Puisi Ramalan; (2) The faulty elements of Chinese culture in Ciam Si: Puisi-Puisi Ramalan. Data collection of this research use literature review and observation method by technical note. This study is analyzed by using hermeneuticmethods and content analysis techniques, etnography approach with stylistic theory and ecocritic. The analysis showed that Ciam Si poetry is a forecasts poetry generally used in the Chinese community in temple rituals. The Stylistic element in Ciam Si is Tang Dynasty poetry, consist of four rows, the first row as an opener and the fourth line as the closing, each row is generally seven syllables. Meanwhile, the faulty element of Ciam Si is a Chinese tradition that is believed to the three concepts of nature: the celestial world, the natural world, and afterlife. Therefore, Ciam Si: Puisi-Puisi Ramalan illustrates the strong tradition of the spirituality of nature combined with the traditions and rituals of Chinesesociety as a form of environmental preservation. AbstrakPenelitian ini bertujuan menganalisis (1) stilistika Ciam Si:Puisi-Puisi Ramalan; (2) unsur kealaman budaya Tionghoa dalam Ciam Si: Puisi-Puisi Ramalan. Pengumpulan data penelitian menggunakan metode pustaka dan simak dengan teknik catat. Penelitian ini dianalisis dengan menggunakan metode hermeneutik dan teknik analsisis kontens, pendekatan etnografi dengan teori stilistika dan ekokritik. Hasil analisis menunjukkan bahwa puisi Ciam Si merupakan puisi ramalan yangumumnya digunakan masyarakat Tionghoa dalam ritual di Klenteng. Unsur stilistika pada puisi Ciam Si berbentuk syair Dinasti Tang, terdiri atas 4 baris, baris pertama sebagai pembuka dan baris keempat sebagai penutup, tiap barisnya umumnya tujuh suku kata. Sementara itu, unsurkealaman pada Ciam Si merupakan tradisi Tionghoa yang mempercayai tiga konsep alam: alam langit, alam bumi, dan alam baka. Oleh karena itu, Ciam Si: Puisi-Puisi Ramalan menggambarkan tradisi yang kuat tentang spiritualitas alam berpadu dengan tradisi dan ritual masyarakat Tionghoa sebagai bentuk pelestarian lingkungan.
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Park, Myoung Hui. "The Life of Nampo Geum Man-Young, A Literary Person of Honam In The 17th Century and Development of Yeomrakpung Poetry". Korean Language and Literature 121 (30 de julio de 2022): 53–80. http://dx.doi.org/10.21793/koreall.2022.121.53.
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This study aimed to examine the development aspect of Yeomrakpung poetry by Nampo Kim Man-Young, a literary person of Honam in the 17th century and the meaning and perspective of the poetry. Yeomrakpung is related to the poetical style of Confucian scholars in Song Dynasty. Kim Man-Young’s poetry was connected to Yeomrakpung because it was mentioned in the preface and epilogue of his collection of literary works and his records.
Kim Man-Young is a local Confucian scholar who was born in Naju, Jeonnam in the 17th century and finished his life there. At that time, he was recommended for an official post by many people due to his learning and virtue, and good behaviors, but he was a local scholar from noble family who stayed out of the government service. He was also much respected by many local people as he lived a life as a Confucian scholar. Meanwhile, he was naturally engaged in writing poems while living a common life and approximately 530 poems with 460 themes were handed down. Of all the poems handed down, 85 poems with 73 themes were classified into Yeomrakpung poetry.
It was suggested that the main themes of Yeomrakpung poetry by Kim Man-Young were moral mind, government property, nature and reading. Specifically, he expressed the will of moral mind training, acquired the exquisite principles through government property, admired nature, declared he would obey to nature, dealt with pleasure of reading and criticized Scriptures. Therefore, this study recognized that they were main themes of Yeomrakpung poetry and specifically examined the development aspect.
In Chinese poetry history in Korea, Yeomrakpung poetry continued since Confucianism of Song Dynasty had been introduced. It is meaningful that Kim Man-Young’s Yeomrakpung poetry naturally reflected his academic world through poetry and revealed his peculiar characteristics. Kim Man Young witnessed difficulties of local people while living in local areas and expressed what he saw in his poetry. This study suggested that future studies should pay attention to it.
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Lee, Jae-sook. "Contents of Lee Dong-yoon's writings and an overview of poetry". Daedong Hanmun Association 72 (30 de septiembre de 2022): 147–76. http://dx.doi.org/10.21794/ddhm.2022.72.147.
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Minjae Lee Dong-yoon(1727~1809) is a writer of ≪Baksochonhwa≫. After he was introduced to the academic world, research has been accumulated, but there is still lack of research on his life, thoughts, and literature. By introducing Lee Dong-yoon’s collection of works, ≪Minjaeyugo≫, this study is aimed to examine the aspects of him as a writer found in his life, works, and Chinese poems and figure out his pursuit in literature.
The three books of ≪Minjaeyugo≫ that have been handed down up to now are unfinished manuscripts of which order is not decided. It contains 631 themes and 1,276 works of Chinese poetry written by him from 1757 when he was 30 years old to his later years. About the contents, it includes 49 Seo(書), 3 Seo(序), 3 Gi(記), 17 Jebal(題跋), 45 Jemun(祭文), 7 Gomun(告文), 6 Haengjang(行狀), 8 Haengrok(行錄), 2 Eonhaengrok, 4 Yusa(遺事), 8 Myoji(墓誌), and 25 Japjeo(雜著).
This study outlines Lee Dong-yoon’s works of Chinese poetry as 1) the records of daily life grounded on Cheonghan(淸寒) and affection, 2) the life of Anbunjijok (安分知足) and intention for Seonghak(聖學), and 3) preference for creating Old poems written at full length and Chinese poems written in series. First, although Lee Dong-yoon had the reputation of the royal Jeonju Lee’s family, he was in distress through his life for poverty and destitution. Taking ordinary and plain things in everyday life as the themes of his Chinese poems, he pursued simplicity about all sorts of feelings in the world. This is in line with the meaning of ‘Bakso(樸素)’ taken from ≪Jangja(莊子)≫. Second, as an old man in the rural area of the Chungcheong Province, Lee Dong-yoon was immersed into Gyeonghak(經學), solidified his will for Studies for oneself, learning to develop and cultivate oneself, and pursued the life of Anbunjijok(安分知足) by writing Chinese poems. Third, Lee Dong-yoon’s Chinese poems were intensively created in his later years, and concerning the forms, Jangpyeongosi and Yeonjaksi formed a large part. In the Hoseo area, he interacted with Namdang’s disciples and the brothers of Andong Kim’s family deeply, and it seems that this influenced him when he wrote Jangpyeongosi in the 18th century.
Lee Dong-yoon learned from Namdang Han Won-jin and Byeonggye Yoon Bong-gu and was greatly influenced by Yoogeundang Kim Gyo-haeng. In fact, ≪Minjaeyugo≫ contains a large number of writings related to that. There are many notable works such as memoirs about his wife and sisters or about Sir Yoogeundang, and this author expects that in-depth studies will be carried out about Lee Dong-yoon’s literature and thoughts afterwards.
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Li, Xiaorong. "Woman Writing about Women: Li Shuyi's (1817-?) Project on One Hundred Beauties in Chinese History". NAN NÜ 13, n.º 1 (2011): 52–110. http://dx.doi.org/10.1163/156852611x559349.
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AbstractThis article examines the woman poet Li Shuyi's (1817-?) poetry collection Shuyinglou mingshu baiyong (One hundred poems on famous women from Shying Tower). Through a reconstruction of Li Shuyi's life, a reading of her self-preface, and an analysis of her poems, this study aims to demonstrate how a woman author's perception of her own ill fate leads to her becoming a conscious writing subject, and how this self-realization motivates her to produce a gendered writing project. It argues that Li Shuyi articulates in her project her intervention into representations of women's images from her individual perspective on women's history, and her aims for immortality through writing.
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Dyakonova, Elena M. "The Саnon and the Commentary. Exegesis in Japanese Classical Poetry". Studia Litterarum 5, n.º 3 (2020): 104–27. http://dx.doi.org/10.22455/2500-4247-2020-5-3-104-127.
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The study of classical religious and literary texts was the main trend of the Far Eastern traditional culture. Exegesis prompted a specific vision of philosophy, literature, and science. Examining the ties between classical texts and their commentaries is important for the better understanding of the development of the Far Eastern civilizations, including Japanese. Japanese commentaries developed, first, around central religious texts of Buddhism, Shinto, and writings by Confucius, and, second, around literary texts. This article mostly examines comments on poetic monuments of medieval Japan. These comments prompted canonization of the main literary works. Already in the early medieval time (Heian era 9–12 cc.), there appeared first comments on the classical texts of antiquity, for example, the comments to Manyōsyū (Collection of Ten Thousand Leaves, 8 c.), the first poetic anthology of Japan. These comments were an early attempt to restore the image of the Japanese recorded in the eight century in Chinese hieroglyphs. In the tenth century, the classical poetry acquired a new form, being recorded in both hieroglyphs and Japanese syllabary (hiragana). There were several genres of literary criticism in Japan: treatises on literature, commentaries on classical texts, compilations of anthologies (e.g. selection of literary texts for intricately organized collections), and poetic contests. Commentators mostly concentrated on deciphering the meaning of select words and phrases while the overall meaning of the text remained behind-the-scenes. The ordinary compilers and commentators on medieval artistic texts became elevated to the level of poets whereas comments began to form part of the canon. The canon itself appears to have been closely connected with compiling, editing, and commenting on the text.
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Niedermaier, Jeffrey. "The Jesuits in Japan and Asian Poetries in Moveable Type". Journal of World Literature 5, n.º 1 (14 de febrero de 2020): 132–57. http://dx.doi.org/10.1163/24056480-00501600.
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Abstract In 1600, Japan-based Jesuits printed a moveable-type edition of the Wakan rōeishū (The Collection of Japanese and Chinese resonant verse), a bilingual anthology of classical Japanese and Chinese poetry that had long been an emblem of Japan’s literary world. Made to educate Japanese and foreigners alike in the scripts, languages, and literatures of Japan, the Amakusa Rōeishū was a component of an educational and evangelizing mission. Although it was neither translated into European languages nor widely circulated, the Amakusa Rōeishū represents an alternative to prevailing conceptions of world literature in its capacity to invite and challenge readers to work through its (decreasingly) foreign systems of meaning. By redesigning the anthology’s title page, reediting its contents, and repositioning it on a multilingual and multidirectional curriculum, Jesuit printers and teachers invited an incommensurate ecumene of readers to work through a singular text from a plurality of directions.
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Zhang, Qingqing. "An Analysis on the Translation of The Book of Songs from the Perspective of Translation Aesthetics". English Language Teaching and Linguistics Studies 6, n.º 4 (13 de julio de 2024): p26. http://dx.doi.org/10.22158/eltls.v6n4p26.
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The Book of Songs is the first collection of Chinese poems and the representative of Chinese classical culture. It plays an indelible role in the development of Chinese social culture. The Book of Songs not only boasts rhythm in reading, but also has a good effect in meaning expression and rhetoric. Taking the translation of The Book of Songs as an example, this thesis focuses on the study of aesthetic features in Xu Yuanchong’s translation from the perspective of Translation Aesthetics, and analyzes the translation aesthetic principles embodied in the translation cases. Poetry translation can be concluded that it not only requires accurate language, but also needs aesthetic features. Therefore, the translator should analyze the aesthetic features of the original poem before translating the poem, namely the beauty of meaning, sound and form. At the same time, the translator should give full play to his creative ability, and seek for the harmony and unity of meaning, sound and form on the basis of the original text, so as to make the translated poem equal to the original poem in aesthetic function.
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Nguyễn, Đình Hiền y Hai Ha Vu. "Exploring the relationships between Nôm characters by comparing forms, sounds, and meanings". Journal of Chinese Writing Systems 5, n.º 2 (junio de 2021): 125–33. http://dx.doi.org/10.1177/2513850221945393.
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This article identifies and distinguishes Nôm characters by comparing their forms, sounds, and meanings. In this light, the relationships between Nôm characters can be classified into eight specific cases. This article provides examples, in-depth analysis, and a discussion of issues related to each specific case. The corpus this article draws on includes the Nôm characters in Quốc Âm Thi Tập (National language poetry collection) by Nguyễn Trãi (1380–1442) and Truyện Kiều (The tale of Kieu) by Nguyễn Du (1766–1820). The research results of this article can carry implications for the identification of Nôm characters, the studies of authors and their works, phonetics research, as well as the investigation into other scripts adapted from the Chinese script.
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Kormilov, S. I. "Review of Tarlinskaya, M. and Akimova, M., eds. (2017). M. L. Gasparov. About him. For him. Moscow: NLO. 720 pages." Voprosy literatury, n.º 5 (19 de diciembre de 2018): 384–89. http://dx.doi.org/10.31425/0042-8795-2018-5-384-389.
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The collected articles are divided into sections Publications, Memoirs and Essays, Personalia, and Articles, although not always logically distinguished. A special focus is on M. Gasparov’s encyclopaedic entries, M. Lotman’s publications, and articles by M. Vakhtel, S. Zolyan, and T. Smolyarova. The critic points out deficiencies in A. Zholkovsky’s works. The collection completes their depiction of M. Gasparov with observations that are predominantly private, yet interesting due to the scale and unconventionality of his character. The book also features a wide selection of Gasparov’s entries for the Mandelstam Encyclopaedia, as well as his hitherto unpublished translations of Chinese poetry and reminiscences about his youth. Articles on his favorite subjects are written by like-minded philologists.
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Kim, Ho. "Literature value of the Chinese version of the Ming Dynasty poetry collection stored in Kyujanggak - Focusing on 《lujunbomingwuxianshangshigao》, 《Shaogushigao》, 《Kuaijihuaigushi》". Journal of Chinese Literature 86 (28 de febrero de 2022): 51–74. http://dx.doi.org/10.31985/jcl.86.3.
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Mohammed, Shanaaz. "Reimagining the Aapravasi Ghat: Khal Torabully's poetry and the indentured diaspora". Journal of Indian Ocean World Studies 4, n.º 2 (14 de abril de 2021): 118–43. http://dx.doi.org/10.26443/jiows.v4i2.80.
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National narratives in Mauritius often affiliate the Indian diaspora with the experience of indentureship and the Aapravasi Ghat, a nineteenth century immigration depot classified in 2006 as a UNESCO World Heritage Site. This affiliation inevitably disregards the African, Malagasy, and Chinese laborers who also worked under the system of indenture in Mauritius during the nineteenth and twentieth centuries. In his 2013 collection of poetry, Voices from the Aapravasi Ghat: Indentured Imaginaries, Khal Torabully returns to the Aapravasi Ghat to recast the history of indentureship and highlight the various ethnicities of the indentured diaspora, their shared trauma, and displacement. This study contends that Torabully’s poetic engagement with the Aapravasi Ghat, as an historical site of indentureship and its overlooked diversity, challenges the perception of the Ghat as a representation of Indian indentured memory. It uses Torabully’s Coolitude poetics as a conceptual frame to consider the Aapravasi Ghat as an inaugural space that facilitated the creation of a complex, open-ended identity that aspires to promote a culture of diversity but not without its limitations and contradictions. Despite efforts to disrupt ethnic distinctiveness, Torabully reproduces Indo-centric perspectives expressed through the concept of kala pani and the fakir figure.
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Chen, Rubi. "The Characteristics and Significance of Gu Zhi’s Annotations and Research on the Poetry of Wei and Jin Dynasties". SHS Web of Conferences 168 (2023): 02026. http://dx.doi.org/10.1051/shsconf/202316802026.
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All his life, Gu Zhi was interested in the literature research of Han, Wei and six Dynasties, especially focusing on the annotated Wei and Jin poems. His imagination and interpretation of Wei Jin is centered on Wei Jin poetry notes, including Wei Jin poetry notes as evidence, poetry creation as dictionaries, and business interests as righteous people. The academic path embodied in the poetry of Guzhi Wei and Jin With the characteristics of traditional scripture “commenting on scripture and making notes”, academic resources are immersed in the essence of classical scripture and history under the system of classical scripture and history, and academic vision hovers under the overall style of integrating the old and the new. Further expanding this Wei-Jin poetry activity will touch the Wei-Jin complex that is fashionable among the Republic of China. Gu Zhi (1885-1959), character Gongyu, trumpet layer ice, Yuan, Zhengfu, Gusheng.Pangxi, Longwen Township, Mei County, Guangdong villagers. His life is scattered in many literary and historical materials, and his son Gu Chengye’s “Outline of the Genealogy of Gu Zhi Nian” is the most detailed record of his life process. Gu Zhi was born into a poor family and lived in poverty at an early age, but according to his early wisdom, he studied his own. At the age of 16, he went to Xingning to learn from Mr. Luo Yiyun, a suru who was “very good to Mr. Luo”, and saw Mr. Luo’s collection of books such as “Zhaoming Wenxuan” and “Zizhi Tongjian”, especially “Wenxuan”, which laid the foundation for later intensive study of the literature of the Six Dynasties of Han and Wei. In 1906, he joined the “Chinese League Association” and since then has followed Dr. Sun Yat-sen to actively carry out democratic revolutionary activities. In November 1911, Gu Zhi, Zhong Dong and others organized an uprising in Meicheng and recovered Meixian in one fell swoop. In the following ten years, Gu Zhi was engaged in revolutionary propaganda and government affairs, and vigorously established schools. In 1921, he went to Lushan Jiangxi Province in February to build a grass house, named “Ge Taozhai”, and leisurely had the intention of returning to seclusion. During this period, he wrote three volumes of “Wang Rongfu Wenji”, one volume of “Zhuge Wuhou Annals”, four volumes of “Tao Jingjie Poems”, and one volume of “Tao Jingjie Poems and Notes”, together with other poetry works, collected into twelve volumes of “Wuwen Collection”. The book of seclusion, which is becoming more and more mature academically. During the Great Revolution, he was employed as a professor at Guangdong University. In 1926, Guangdong University changed its name for Sun Yat-sen University. In 1928, he was invited by Sun Yat-sen University to return to the university to preside over the Chinese department, where he remained until 1938. During this period, he wrote “Cao ZiJian poetry Notes” “Ruan Si Zong Yong Huai Poetry Notes” “Five Types of Layer Ice Hall”. After the fall of Guangzhou in 1938, Gu Zhi returned to his hometown, resumed Meinan Middle School, served as the principal, created the Meinan Literature Museum, publicized the War of Resistance, and covered the revolutionary activities of the Communist Party. After the liberation of Guangzhou, he was first employed as a counselor of the provincial counsellor’s office, and later became a librarian of the provincial museum of culture and history and a member of the provincial CPPCC. After that, Gu Zhi enthusiastically praised the construction of New China, wrote “Liberation of Poetry Banknotes”, and prepared to rearrange the old works. He died of illness in Guangzhou in 1959 at the age of 74. From the 20s to the 50s of the 20th century, Gu Zhi lasted for more than thirty years, focusing on Wei and Jin poetry notes, and worked hard. Gu Zhi’s notes on Wei and Jin poetry mainly focus on the poems of Cao Zijian, Ruan Zhi and Tao Yuanming, especially the comprehensive study of Tao Yuanming, which can be said to have exhausted his life’s energy.
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Trubnikova, Nadezhda N. "The way to Immortality: the Japanese Continue of the Chinese Taoist Legends". Chelovek 34, n.º 2 (2023): 132. http://dx.doi.org/10.31857/s023620070025541-2.
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The Japanese setsuwa collection Honchō Shinsen-den (11th–12th centuries), continuing the tradition of Chinese stories about Taoist “immortals”, unites thirty stories about people who somehow went beyond the limits of the human lifespan. Not all of them follow the instructions of the Taoist texts about longevity; many combine Buddhist asceticism with the worship of Japanese kami, living in the mountains or, less often, leading an ordinary worldly life. Well-born persons and famous monks coexist here with commoners, and nothing is known about some other than their miracles. The list of Japanese “immortals” unites the heroes of antiquity, famous monks and laity of the 8th–11th centuries. and contemporaries of the narrator. In separate groups, one can single out the founders and keepers of holy places, wonderful helpers, people who have reached the heights of mastery in poetry and music. The path of the “immortal” does not imply the fulfillment of a set of prohibitions or requirements common to all, and the miracles themselves are also different. A common feature of Japanese ascetics in Honchō Shinsen-den is their disinterest in immortality as such: everyone simply does his own thing or keeps “non-action” in the way he chooses for himself. A series of stories about the “immortals” allows us to re-imagine Japanese history and paint a new picture of the country of Japan itself as providing the conditions for achieving immortality. Taoist teaching, as it is presented in the collection, is close to Mahayana Buddhism with its orientation towards asceticism for the sake of others.
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Jin, Lihua. "Compilation of the Chinese Dongkuk Gisa Book Lists by Intellectuals in the Late Joseon Dynasty -Focusing on Lee Deok-moo, Han Chi-yoon, and Lee Kyu-kyung-". Society Of Korean Literature 48 (30 de noviembre de 2023): 237–62. http://dx.doi.org/10.52723/jkl.48.237.
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This paper focused on three Chinese Dongkuk Gisa book lists compiled by intellectuals in the late Joseon Dynasty. Lee Deok-moo(李德懋)’s Hwaingi Dongsa(華人記東事), Han Chi-yoon(韓致奫)’s Dongguk Gisa(東國記事) and Lee Kyu-kyung(李圭景)’s Jungwon Gi Dongsa(中原記東事) contain specialized books on the Korean Peninsula compiled by Chinese intellectuals. Lee Deok-moo’s Hwaingigidongsa contained 22 kinds of books, and Han Chi-yoon’s Dongguk Gisa collected 59 kinds of books. Lee Kyu-kyung’s Jungwon Gi Dongsa contained 23 kinds of books and inherited the contents of Lee Deok-moo’s books.
Re-segmenting the literature contained in these books identifies the types of Korean Peninsula encyclopedia, administrative records and observations, books related to the institution of the Korean Peninsula, books on the art of war, poetry collections, and history books. And if you look at the narrative system, it can be said that Lee Deok-moo’s book list belongs to the Joseon-centered narrative system. Han Chi-yoon and Lee Kyu-kyung’s book list showed efforts to objectify their perception of their country in the East Asian Chinese character civilization beyond the Joseon-centered narrative system and can be said to belong to an objective narrative system.
Through these three book lists, it was possible to see the process of intellectuals in the late Joseon Dynasty building an objective narrative system for their country. On the other hand, the collection of Chinese Dongkuk Gisa book lists written by Joseon intellectuals will be evaluated as valuable data showing their own perception and data that can help us explore the origin of the establishment of Korean studies in China.
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Kim, Young. "A Study on the Translation and Enjoyment of <Gongjakdonnambi> in the Joseon Dynasty: Focusing on Manuscripts". Korean Society of Culture and Convergence 44, n.º 9 (30 de septiembre de 2022): 75–86. http://dx.doi.org/10.33645/cnc.2022.9.44.9.75.
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The purpose of this paper is to <Gongjakdonnambi> discuss the influx and enjoyment of the Joseon Dynasty, and the translation characteristics of the famous long-form folk epic of ancient Chinese poetry from the Joseon Dynasty. It only targets materials transcribed in the Joseon Dynasty. Currently, there are 4 Chinese manuscripts and 3 Hangul manuscripts. All of the titles showed the characteristics of being used as “Gongjaksi” and “Gongjakhaeng.” It was named by Joseon itself and was used to reflect the first words appearing in the text of the work and the stylistic nature of the work. The Hangul manuscripts was translated based on a collection of views published in Ming and Qing Dynasties. In addition, there was a use case in which the name “dan” of Taejo Lee Sung-gye was used. The use of subjects was thoroughly observed not only in Hangul manuscripts but also in Chinese manuscripts. In the Joseon Dynasty, the male and female awards required by the feudal social system that emphasized Confucian ethics were divided and evaluated. As for Uranji, who chose to die when she was forced to give a dog at home, she was evaluated as a young woman who lost her husband, and glorified and used it as an ideal female image required by the times.
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Lin, Lynn Qingyang. "Making It Old, Making It New, Making It Chinese: Transcultural Imitation and the Palimpsest of Translation in Pound's Cathay". Translation and Literature 32, n.º 3 (noviembre de 2023): 300–328. http://dx.doi.org/10.3366/tal.2023.0560.
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Drawing on the abundant archival materials and insights afforded by Timothy Billings’ 2019 edition of Pound's Cathay, this article examines Pound's methods of reworking the intermediary notebooks of Fenollosa and reconstructs the multiple processes of mediation in the making of the collection. It proposes a more capacious and versatile framework than is usual for exploring the complexities of transcultural rewriting, and advances a more nuanced treatment of commonly employed categories in Translation Studies such as ‘domesticating’ and ‘foreignizing’. Two analytical concepts are developed: transcultural imitation, which describes the sources and techniques with which Pound signals a certain form of ‘Chineseness’ and mediates the experience of the foreign; and second the palimpsest of translation, which delineates the multilayered richness and prismatic pluralities of Cathay by unpacking the diverse sets of intertexts out of which it is woven. Pound, it is argued, reconstitutes ideas of China's foreignness, endowing Chinese poetry with new transcultural significance.
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Pi-Ching, Hsu. "Feng Meng-lung's Treasury of Laughs: Humorous Satire on Seventeenth-Century Chinese Culture and Society". Journal of Asian Studies 57, n.º 4 (noviembre de 1998): 1042–67. http://dx.doi.org/10.2307/2659303.
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From past to present all is but talk, and all talk is but laughs. The birth of yin and yang from the original chaos, the voluntary abdication and forceful overthrow of the sage kings-who's ever witnessed this sort of thing? It's nothing more than talk. Future generations will talk about our generation, just as our generation talks about past generations. To talk about something and doubt it is laughable; to talk about something and believe it is even more laughable. Classics, philosophy, and histories are nonsensical talk, and people compete to transmit them. Poetry, rhapsody, and prose are preposterous talk, and people compete to perfect them. Praise or sneer, advocacy or suppression-these are whimsical talk, and people compete to respond to them. Sometimes we laugh at others; some other times we are laughed at. Those who laugh at others are in turn laughed at by others. The Treasury of Laughs is a collection of jokes. With all its thirteen chapters, some may still say it's a thin book. If you read it and are delighted by it, please don't be. If you read it and are enraged by it, please don't be. The world from past to present is an immense treasury of laughs; you and I are all in there as laughingstocks. Without talk there're no human beings. Without laughs there's no talk. Without laughs and talk there's no world. Cloth-Sack Monk, you're my master, you're my master!
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Trường, Lê Quang. "CẢM THỨC CỦA NGUYỄN DU VỀ TRUNG QUỐC THANH TRIỀU TRONG BẮC HÀNH TẠP LỤC". Dalat University Journal of Science 11, n.º 2 (25 de abril de 2021): 43. http://dx.doi.org/10.37569/dalatuniversity.11.2.839(2021).
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Nguyen Du (1765-1820), with courtesy name To Nhu, poetic name Thanh Hien, and other pseudonym Hong Son Liep Ho, was born into the noble Nguyen clan of Tien Dien village in central Vietnam. Many of his family members served in high positions in the imperial mandarin system of the Le-Trinh dynasty. Inheriting honors from his father, Nguyen Du was bestowed the titles: Hoang Tin Great Man, Guard Commandant of Origin, and Thu Nhac Count. Therefore, deep within his conscience, Nguyen Du always felt indebted to the Le dynasty. However, the rapid replacement of the Le-Trinh by the Tay Son and then by the Nguyen dynasty during the chaotic years of the eighteen century seriously challenged his beliefs and emotions, pushing him into a reclusive lifestyle during his reluctant service to the Nguyen dynasty. In the 12th year of Gia Long (1813), Nguyen Du was appointed the mission leader on a yearly tribute trip to China, during which he wrote a collection of poetry titled “Bac hanh tap luc” (Trivial Notes on the Northward Trip). His “trivial notes” revealed his complicated thinking and feelings about the Chinese landscape, people and culture under the rule of the Jiaqing emperor. This article analyzes Nguyen Du’s rational and emotional perceptions of China, especially Chinese culture as implied in “Bac hanh tap luc”, to better understand a case of direct interaction of a Vietnamese Confucian scholar with imperial China.