Bibliographies thématiques / Chinee poetry

Littérature scientifique sur le sujet « Chinee poetry »

Auteur : Grafiati
Publié le 25 juillet 2024

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Articles de revues sur le sujet "Chinee poetry"

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

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The article is about the influence of Buddhism on Chinese literature, especially poetry, the uniqueness of the verses in Buddhist scriptures, their emergence as a new genre, the peculiarities of Zen poetry, which began to spread in the late and early Sung dynasties as well as about the state of poetry in the late 19th century, which promoted Buddhist ideas and culture.
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Bo, Zhang, et Seong-moon Kim. « Poetic Rhythm and Translation of Chinese Poetry ». East Asian Ancient Studies 73 (31 mars 2024) : 37–69. http://dx.doi.org/10.17070/aeaas.2024.3.73.37.

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Chang, Haoxiang, Beitong Li, Fengwei Wang et Yue Bin. « Thematic classification of ancient Chinese poetry using TwinEmbedAttentionNet ». Applied and Computational Engineering 39, no 1 (21 février 2024) : 302–14. http://dx.doi.org/10.54254/2755-2721/39/20230619.

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Ancient Chinese poetry, a reflection of Chinas rich cultural and philosophical fabric, encapsulates the evolving socio-cultural nuances of its historical epochs. Despite its cultural significance, there remains an evident lacuna in comprehensively classifying its recurring themes, due in part to the conciseness and polysemy intrinsic to the language and the essentiality of embedded cultural and historical contexts. Addressing this challenge, this study introduces TwinEmbedAttentionNet, a pioneering method tailored for the thematic classification of ancient Chinese poetry. This approach synergistically integrates pretrained word and sentence embeddings with an attention mechanism, ensuring the nuanced representation of the poetrys intricate details. Our results showcase its superior performance over existing models. Furthermore, an in-depth examination of model components offers insights into their respective thematic categorization efficacies. This research not only advances the academic understanding of ancient Chinese poetry but also underscores the potential of innovative neural networks in processing historically rich textual data.
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Xu, Bao-yu. « Tang Poetry Hermeneutics in Korean Poetic Discourse ». Society for Chinese Humanities in Korea 84 (31 août 2023) : 155–70. http://dx.doi.org/10.35955/jch.2023.08.84.155.

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Koreans have adopted a variety of methods in the interpretation of Tang poetry, among which the five aspects of interpretaion of poetry by Chinese classics(以經解詩), Neo-Confucianism(以理解詩), other Tang poetry(以唐解唐), dialect slang and customs(以方言风俗解詩), and personal experience are the most distinctive. The interpretation of poetry by Chinese classics shows the role of Confucian classics such as the Book of Poetry in regulating and restraining poetry, highlighting the complex and insoluble relationship between scripture and literature. Some neo-Confucianism had a hostile attitude towards literature, believing that literature was harmful, such as Er-Cheng(二程), and some neo-Confucianism had a tolerant attitude towards literature, such as Zhu Xi(朱熹). This had also created some characteristics of Koreans in understanding poetry. Interpreting poetry in dialect slang and customs brought Tang poetry into the Korean context, and tried to interpret Tang poetry regionally with its own social customs and linguistic environment, which could indeed increase and expand the ways and methods of interpretation, but it also made some misunderstandings because it was separated from the specific environment created by Tang poetry. On the contrary, the interpretation of poetry by experiencing it was somewhat in the spirit of textual research in Qing Dynasty, and the interpreter only felt some emotions and even facts in Tang poetry after experiencing certain scenes or events personally, so as to better experience the charm of Tang poetry, which can be said to be a step further in the hermeneutics of Tang poetry. There are also some foreseeable problems in the methods used by Koreans in interpreting Tang poetry, such as curious interpretation, overinterpretation, etc., which existed in Chinese poetics, and also existed in Korean poetics. If it can be rooted in the local environment of Chinese poetics, combined with the interpretive experience of Koreans, and reasonable speculation and deduction within the limits of interpretation, Korean Tang poetry hermeneutics still has important academic historical value, especially as an exotic eye, Korean poetics criticism of China should attract the attention of Chinese scholars.
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Yong, Ping. « The Imagination of Romantic Poetry under Different Regional and Cultural Backgrounds : Comparison and Analysis of Kubla Khan and Mount Skyland ascended in a Dream-A Song of Farewell ». Communications in Humanities Research 3, no 1 (17 mai 2023) : 340–47. http://dx.doi.org/10.54254/2753-7064/3/20220335.

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Romanticism is an important branch of the literary genre, and imagination is an important feature of it. From different historical backgrounds, Both British poets and Chinese have each profound insight into the imagination in their romantic poetry creations. Samuel Taylor Coleridge, as a pioneer of English Romantic poetry, his dream fragment Kublai Khan established an unshakable position in the poet's literary circle, while Li Bai was a well-known romantic poet in the prosperous Tang Dynasty. His representative work, Mount Skyland ascended in a Dream-A Song of Farewell, shocked the entire Chinese poetry circle as soon as it came out. This essay analyzes the poets' poetic thoughts on imagination by studying the different backgrounds of the two poets, the cultural traditions they contacted, and the philosophical thoughts they infected and meanwhile compares and analyzes the image characteristics of the two poets' representative works to explore the concrete expression of the poet's imagination in the poems. It is found that there are similarities and differences spatially and emotionally in terms of imagery. Moreover, the imagination in romantic poetry not only creates a series of illusory images and casts a phantom veil on the whole poem but also insinuates the poet's poetic thought and inner emotional appeal.
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Xu, Jianzhong, et Chengxia Chang. « Poetic dialogue analysis of Chinese–English poetry translation ». Language and Dialogue 2, no 2 (13 août 2012) : 262–82. http://dx.doi.org/10.1075/ld.2.2.05xu.

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The translation of ancient Chinese Poetry into English is considered to be one of the most challenging tasks not only because of the different features between the two languages, especially as they belong to different linguistic families, but also the unique features of the ancient Chinese poetry itself.. This paper, by applying poetry dialogue analysis based on dialogism, explores the operation of its elements such as context, subject, sense, image, the reader and text form, and tries to seek out the mechanism for understanding the source text and reproducing what the source contains in the target language, thus shedding light on poetry translation studies.
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OCHILOV, OZODJON. « The Rhythmic Paradigm of Classical Chinese Poetry ». Sharqshunoslik. Востоковедение. Oriental Studies 03, no 03 (1 octobre 2022) : 38–42. http://dx.doi.org/10.37547/os/vol-01issue-03-05.

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There are several differences between modern and classical Chinese poetry, and one of the most obvious is related to the strict rules imposed on the rhythm of the poem. By the Tang period (from the 7th century AD), much attention was paid to rhythm, especially to the harmony of the first tone. Rhythmic poetry based on melodies was fully formed by the Tang period and a number of strict rules were developed. These rules were in force until the beginning of the 20th century. Below we will take a closer look at the characteristic features of the rhythmic paradigm of ancient poetry. These features will help us understand the essence of the revolutionary poetry reforms that began to flourish in China at the end of the 19th century.
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Yuqing, Luo. « Transformations of the moon image in Russian translations of Su Shi’s poetry : history and characteristics of perception ». OOO "Zhurnal "Voprosy Istorii" 2024, no 6 (1 juin 2024) : 128–35. http://dx.doi.org/10.31166/voprosyistorii202406statyi01.

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This article discusses the problems of literary translation from Chinese into Russian based on the poems of Su Shi. The image of the moon in the poet's work has a special symbolic meaning. The moon in Chinese classical poetry carries a deep cultural semantic load, reflects a rich spectrum of human feelings, and it has vivid imagery and artistic expressiveness in Su Shi poetry, in this regard, the study of strategies for translating the image of the moon seems relevant. The article also analyzes the strategies of translation of Su Shi's poems by such translators as I.S. Golubev, V.E. Vitkovsky, M.I. Basmanov, S.A. Toroptsev.
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Weezoohwang. « Several Rules for Choosing Poetic Words in Chinese Poetry ». Journal of Korean Literature in Classical Chinese ll, no 66 (juin 2017) : 7–36. http://dx.doi.org/10.30527/klcc..66.201706.001.

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Ouyang Yu. « A Poetic Revolution in Keywords : On Contemporary Chinese Poetry ». Antipodes 29, no 1 (2015) : 193. http://dx.doi.org/10.13110/antipodes.29.1.0193.

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Thèses sur le sujet "Chinee poetry"

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

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Women's poetic writing in modern China, its context and position in literary history as well as its ideological and social constitution are at the root of this thesis' subject. Having stated my intellectual and personal limitations regarding its writing as an introduction, examples of contemporary women's poetic text will serve to broaden its conclusion. My analysis begins with a reflection on its own terminology in philosophical debate, followed by a study of the modernist background that from 1977 leads to what is termed as neo-modernity in literature. A paradox in the women's avant-garde of antipatriarchal antagonism against the literary institution will be illustrated by examples of critical text on women's poetic production. My point is to address this paradox with the identification of false values placed from the very beginnings of poetic modernity on women's poetry within the avant-garde.
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Yu, Liwen. « Politicizing poetics the (re)writing of the social imaginary in modern and contemporary Chinese poetry / ». Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B42841628.

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

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

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Zhu, Shaozhang. « Xian dai xin shi ren jiu ti shi yan jiu = Study of Chinese classical poetry written by modern Chinese poets / ». click here to view the abstract and table of contents, 2002. http://net3.hkbu.edu.hk/~libres/cgi-bin/thesisab.pl?pdf=b17563586a.pdf.

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Li, Xiaorong 1969. « Rewriting the inner chambers : the boudoir in Ming-Qing women's poetry ». Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100645.

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My dissertation takes the social and symbolic location of women---the inner chambers [guige or gui]---as a point of departure to examine Ming-Qing women's unique approach to the writing of poetry. In Ming-Qing China, women continued to be assigned to the inner, domestic sphere by Confucian social and gender norms. The inner chambers were not only a physically and socially bounded space within which women were supposed to live, but also a discursive site for the construction of femininity in both ideological and literary discourses. The term gui embraces a nexus of meanings: the material frame of the women's chambers; a defining social boundary of women's roles and place; and a conventional topos evoking feminine beauty and pathos in literary imagination. Working with the literary context of boudoir poetics, yet also considering other indispensable levels of meanings epitomized in the cultural signifier guige, my dissertation demonstrates how Ming-Qing women poets re-conceive the boudoir as a distinctive textual territory encoded with their subjective perspectives and experiences. Compared with the poetic convention, the boudoir as inscribed in Ming-Qing women's texts is far more complex as its depiction is informed by nuances in their historical, social and individual experiences.
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莊柔玉 et Rouyu Zhuang. « Mad pursuit ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1990. http://hub.hku.hk/bib/B31209683.

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Au, Chung-to, et 區仲桃. « Shifting ground : modernist aesthetics in Taiwanese poetry since the 1950s ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B2554939X.

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

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To interpret a poem is to comprehend a complete act of written communication. And to comprehend such an act, the reader must break the codes in which the communication is framed. Thus, poetic interpretation becomes the study of codes--or semiotics. Poetic codes exist at pragmatic, semantic, syntactic, and phonic levels. The decoding requires the reader's linguistic skills, literary competence, and personal experience. It involves an initial reading and a retroactive reading. At the first step, the reader attempts to supply elements missing in the text. Yet trying to interpret the text literally, he encounters problems in pragmatics, semantics, syntactics, or phonics, and is unable to grasp a coherent sense of the poem. Those problems give rise to a retroactive reading. At this step, the reader looks for a higher level of understanding where a unity of meaning can be identified. And by explaining the clues in the text according to his linguistic and literary competence, and revising his understanding on the basis of his new findings, he finally discovers a kernel concept, on which the whole text can be seen as a single unit, and every element, which first appeared to be puzzling, has a significative purpose. This semiotic model of interpretation has proven to be very fruitful in the explication of Tu Mu's poetry. It also enables the reader to appreciate the poetic discourse more thoroughly. Some of the ideas advocated by the model may also serve as principles for the translation of poetry. For example, in reading a poem, the model requires a search for unified pragmatic, semantic, syntactic, and phonic patterns, which convey the kernel concept. Thus, in translating a poem, the translator should also try to re-produce in the target language such unified patterns so that the reader may grasp the same kernel concept as contained in the original discourse. The model stresses implicities of poetry. Hence the rendition of a poem should preserve the implicities of the original text in order to invoke from the reader a response similar to what would be induced by the original poem.
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Sun, Yingying, et 孙莹莹. « Cultivation through classical poetry : the poetry and poetic studies of Huang Jie (1873-1935) = "Yi shi wei jiao" : Huang Jie (1873-1935) shi ge ji shi xue yan jiu ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/209557.

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This dissertation examines the cultural dilemma that Chinese intellectuals are forced to confront with between tradition and Western Scholarship in Late Imperial and Modern China. As a traditional poet and scholar, Huang Jie (1873-1935) believed that the Manchurian reign was the reason for China’s collapse during Late Qing Era, and Chinese traditional culture would be the only remedy for the rapidly decaying society. Therefore, Huang initiated the campaign named “Nationality Conservation” in the aim of overthrowing the Manchu Empire. While sticking to “conservative” values, Huang adopted foreign/ Western cultural concepts and attempted to rephrase them with Chinese scholarship. All these endeavors had made Huang’s cultural identity confusing. Hence, this dissertation attempts to deal with Huang Jie’s understanding of culture through analyzing his poetry writings and poetic studies. Immersed by Confucian doctrines about the relationship between poetry and politics, Huang paid special attention to the cultural cultivating function of classical poetry. This ideology of “Cultivation through Poetry” was specifically generated from the Mao Shixu in Eastern Han Dynasty, and then repeatedly expressed in Huang’s poetic works in order to change the corrupt Modern society. In spite of this, Huang still respected and paid serious attention to the literariness of poetry, either in poetry writings or poetic studies. He spent great efforts on the prosody and therefore was well commended among Late Qing and Early Republican poets. Hence, this dissertation thoroughly examines how Huang Jie negotiated the tension between political and literary aspects of classical poetry. After introducing his life history and the ideology of “Cultivation through Classical Poetry”, chapter two and three focus on themes and characteristics of Huang’s poetry. These two chapters explore how Huang established his own poetic style under the trend of Song Poetry Movement commencing from Late Qing. The last chapter investigates Huang’s view on the evolution of literature and focuses on his abundant studies of classical poetry. In the conclusion, this dissertation would like to demonstrate that as a poet and scholar, Huang Jie established the traditional cultural identity, same as his friends in Nanshe, while his faith of “Cultivation through classical poetry” was well challenged at that tumultuous Modern time.
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Livres sur le sujet "Chinee poetry"

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

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

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Chan, Kwan-hung. Claw prints : Ancient Chinese poetry. West Conshohocken, PA : Infinity Publishing, 2011.

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

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Chan, Kwan-hung. Bouncing pearls : Ancient Chinese poetry. West Conshohocken, PA : Infinity Publishing, 2011.

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

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Chan, Kwan-hung. Jade rainbow : Ancient Chinese poetry. West Conshohocken, PA : Infinity Publishing, 2018.

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Chan, Kwan-hung. Water mirror : Ancient Chinese poetry. West Conshohocken, PA : Infinity Publishing, 2014.

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

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

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Chapitres de livres sur le sujet "Chinee poetry"

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

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

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

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

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Carroll, David. « Short Stories and Poetry ». Dans Chinua Achebe, 146–66. London : Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1057/9780230375215_6.

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Li, Haotian, Jiatao Zhu, Sichen Cao, Xiangyu Li, Jiajun Zeng et Peng Wang. « Poetic Expression Through Scenery : Sentimental Chinese Classical Poetry Generation from Images ». Dans Database Systems for Advanced Applications, 629–37. Cham : Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73197-7_43.

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

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

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

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Bruno, Cosima. « Experimental and opaque poetry ». Dans Routledge Handbook of Modern Chinese Literature, 491–501. London ; New York, NY : Routledge, 2018.| Includes bibliographical references and index. : Routledge, 2018. http://dx.doi.org/10.4324/9781315626994-40.

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Actes de conférences sur le sujet "Chinee poetry"

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

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The poetry inscription, with Bai Juyi in the Middle Tang Era as its representative, began to express purely personal emotions in terms of content, which reflects the poet’s creative individuality. Bai takes stone as his friend, loves it, chants it, and inscribes poems on it, endowing it natural and personal qualities. Bai was the first poet to consciously combine “poetry” and “stone” with nearly 20 kinds of poetry inscriptions. Compared with book documents, Bai’s poetry inscriptions not only have the philological value of text criticism, but also have multiple functions, i. e., reproducing the historical context of poetry creation and transmitting as a “linguistic landscape”. Such humanistic connotation determines the significance of Bai’s poetry inscription in the history of Chinese literature and culture.
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Kravtsova, Marina. « “A LOST TREASURE” : ON FOLK ORIGINS OF THE VERSES OF CHU (CHUCI) ». Dans 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.17.

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This article is focused on analysis of the hypothesis of the local song folklore origins of the famous poetic phenomenon chuci (elegies/songs of Chu) that represents the literary heritage of the southern (Yangtze Basin) region of the Ancient China (the Zhou epoch, 11th–3rd centuries B. C.) and is associated with the emergence of the Chinese poetry. Although today the thesis about the folklore origins of chuci, or rather of the poetic pieces presented by the Chuci (Verses/Elegies of Chu, Songs of the South) collection, is generally accepted, the author argues that, first, during the 1st–7th centuries A. D. the chuci poetry was stable considered within the Chinese book knowledge to be created by exclusively the literary genius of Qu Yuan (4th–3rd centuries B. C.), the great poet of the Chu Kingdom (11th–3rd centuries B. C.). Secondly, the views on chuci as an autochthonous (“southern”) poetic tradition dating back to the local folk art emerged in the 12th–13th centuries and finally established itself in the Chinese literature studies of the first third of the 20th century, all these under the influence of the ideological processes, caused by synchronic historical and political events. Thirdly, although the existence of developed song-poetic folklore in Chu Kingdom seems quite permissible, it for some reason remained out of fixation by that day written sources, including transmitted texts and archaeological materials (epigraphic inscription and excavated manuscripts). Therefore, almost nothing is known as a matter of fact of the hypothetic Chu song folklore what makes it impossible to recognize its true influence on origins and further on evolution of the chuci tradition.
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Mitkina, Evgenia. « QIU XIAOLONG’S NOVELS : AMERICAN DETECTIVE STORIES WITH CHINESE ROOTS ». Dans 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.23.

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Qiu Xiaolong is an American writer born in China, but he has been living in the United States since 1988. He wrote eleven novels about Inspector Chen, who lives in Shanghai and investigates crimes committed in that city. One of the features of Qiu Xiaolong’s work is insertions of poetry. Its main character is an educated person, he writes poetry himself, translates and actively uses the Chinese poetic heritage to express feelings. The author uses the form of a detective novel to show the various problems of modern China (the period covered is from the 1990s to the present day).
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Zeng, Haijin. « INFLUENCE OF CHRISTIANITY ON THE CREATIVITY OF THE GUANGDONG POET HUANG LIHAI ». Dans 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.25.

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Huang Lihai is one of the most active contemporary Chinese poets in the past two decades. His poems are a return to poetry, language and life. In the era of change and grand discourse dominating the aesthetic interpretation of literature, Huang Lihai’s poetry and spiritual exploration have obvious implications. His vitality in poetry creation and poetry activities has an important connection with his Christian faith and his thought resources. Huang Lihai pays close attention to individual life with heavy religious feelings, and tries to restore the relationship between man and god, the relationship between man and man, and the relationship between man and nature in the post-modern era. Backed by belief, he maintained human dignity and integrity with poetry, and opened up the divine dimension of poetry writing, which opened up a new aesthetic dimension for the Chinese contemporary poetry.
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Dyakonova, Elena. « THE “WAY OF POETRY” (UTA-NO MICHI) IN THE TREATISES OF MASTERS OF “LINKED VERSE” ». Dans 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.38.

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The paper analyzes Sasamegoto (Whispered Conversations, 1463–1464), a treatise by Shinkei, the influential Buddhist poet and thinker of the Muromachi period (1392–1568). In this treatise on the collaborative poetry of “linked verse” (renga), the author addresses the category of the “Way” (michi) or the “Way of Poetry” (uta-no michi), which he interprets on the basis of ancient Chinese philosophers (Confucius and Lao Tze) and early Japanese authors of Zen school (e. g., Mujū Ichien, who wrote the Shasekishū — The Collection of Sand and Rocks, 13th century) and even endows it with a new meaning. In Shinkei’s view, the Way is not only mastery and its perfection. This is a sum total of many diverse things: the entire corpus of belles-lettres, theoretical treatises, schools, teachers and disciples, ideal poets, trends, styles, inner discipline, lifestyles, the past and the present.
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Storozhuk, Alexander. « BAI JUYI AND ORIGINS OF THE NEW YUEFU ». Dans 10th International Conference "Issues of Far Eastern Literatures (IFEL 2022)". St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063770.07.

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The first poetic cycle of 50 New Yuefu was written by Bo Juyi (白居易, 772–846) in 809 after the works of by his friend Li Shen (李紳, 772–846). Bo Juyi wrote it simultaneously with another great Tang poet Yuan Zhen (元稹, 779–831), and the new literary style has been known for centuries as Yuan-Bo (元白). Both of the poets shared the same attitude towards the role of letters in the society and aspired to implement their credo at the official posts they held. The origin of New Yuefu philosophy dates back at least to 806, when he together with Yuan Zhen created the illustrious political composition known as Celin (策林), where the bulk of their sociopolitical concepts were pronounced and stated. Most of these notions, inspired by Fugu movement, seem quite predictable and naive: the belief in an omni harmonizing role of ancient ritual, claim of necessity to promote worthy and knowledgeable, appeal to stop war and cut taxes. With all that this was a declaration of primary of benevolence over quasi orderliness, and this idea fully revealed later in New Yuefu poetry. Surely enough, New Yuefu have not been limited to the 50 poems, inspired by Li Shen. The new poetic experience gave birth to a whole literary trend, covering the most burning, up-to-date issues of contemporaneousness as well as the nearest past, picturing typical characters of different strata, pointing out social diseases and perils. The absolute trust in uppermost ritual role of a text has been embodied in such texts as, for example, Song of Eternal Grief (《長恨歌》), where the infamous story of Emperor Xuan-zong (玄宗, 685–762) and his favorite concubine Yang Gui-fei (楊貴妃, 719–756) found a new interpretation, that later would have become mainstream. Thus, the main conclusions are: 1) New Yuefu had a philosophic basement, carried out long before the first poem of the new style appeared; 2) its main goal was to revive the actual social role of poetry; 3) it had a great impact on the later Chinese poetry and social thought.
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Xiangyu, Li. « TRANSLATION AND RESEARCH HISTORY OF O. MANDELSTAM'S WORKS IN CHINA ». Dans VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3757.rus_lit_20-21/337-341.

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This article reviews the translation history and research of Mandelstam's works in China, and introduces the most representative translations by famous Chinese researchers of Russian. The author of this article presents the main carriers of research on Mandelstam's poetry in the Chinese scientific community.
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Chen, Huimin, Xiaoyuan Yi, Maosong Sun, Wenhao Li, Cheng Yang et Zhipeng Guo. « Sentiment-Controllable Chinese Poetry Generation ». Dans Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. California : International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/684.

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Expressing diverse sentiments is one of the main purposes of human poetry creation. Existing Chinese poetry generation models have made great progress in poetry quality, but they all neglected to endow generated poems with specific sentiments. Such defect leads to strong sentiment collapse or bias and thus hurts the diversity and semantics of generated poems. Meanwhile, there are few sentimental Chinese poetry resources for studying. To address this problem, we first collect a manually-labelled sentimental poetry corpus with fine-grained sentiment labels. Then we propose a novel semi-supervised conditional Variational Auto-Encoder model for sentiment-controllable poetry generation. Besides, since poetry is discourse-level text where the polarity and intensity of sentiment could transfer among lines, we incorporate a temporal module to capture sentiment transition patterns among different lines. Experimental results show our model can control the sentiment of not only a whole poem but also each line, and improve the poetry diversity against the state-of-the-art models without losing quality.
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Zhang, Mengyun. « A RESEARCH ON BAI JUYI’S POETRY CREATION FROM THE PERSPECTIVE OF CHILDREN’S LITERATURE ». Dans 10th International Conference "Issues of Far Eastern Literatures (IFEL 2022)". St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063770.11.

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The works of the Tang Dynasty poet Bai Juyi have been selected for many times into Chinese general language textbooks because of their popular significance and aesthetic value. The overall length is as much as 15 articles, ranking second only to Li Bo, Du Fu and Wang Wei. His poetry not only has a profound theoretical level, but also is widely accepted by readers of different ages. The reason is that his poetry creation has the characteristics of combining simplicity and sublime, which can naturally integrate popularity and aesthetics, reflecting more real life in thought, and at the same time has a high level of poetry theory. From the perspective of children’s literature, taking the internal research of literature as the method, this paper attempts to conduct an in-depth discussion on the theoretical guiding ideology, creative characteristics, writing content and aesthetic dimensions of Bai’s poetry, and combined with specific works, it analyzes the unique classical aesthetic phenomenon of giving consideration to the popularity in the readers’ expectation vision and the literary nature of the rules of poetry creation.
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Yuan, Shaozu, Aijun Dai, Zhiling Yan, Ruixue Liu, Meng Chen, Baoyang Chen, Zhijie Qiu et Xiaodong He. « Learning to Generate Poetic Chinese Landscape Painting with Calligraphy ». Dans Thirty-First International Joint Conference on Artificial Intelligence {IJCAI-22}. California : International Joint Conferences on Artificial Intelligence Organization, 2022. http://dx.doi.org/10.24963/ijcai.2022/696.

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In this paper, we present a novel system (denoted as Polaca) to generate poetic Chinese landscape painting with calligraphy. Unlike previous single image-to-image painting generation, Polaca takes the classic poetry as input and outputs the artistic landscape painting image with the corresponding calligraphy. It is equipped with three different modules to complete the whole piece of landscape painting artwork: the first one is a text-to-image module to generate landscape painting image, the second one is an image-to-image module to generate stylistic calligraphy image, and the third one is an image fusion module to fuse the two images into a whole piece of aesthetic artwork.
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