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Thèses sur le sujet « Chinee poetry »

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Auteur : Grafiati

Publié le 25 juillet 2024

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1

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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2

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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3

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

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4

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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5

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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6

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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7

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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8

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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9

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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10

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.
published_or_final_version
Chinese
Doctoral
Doctor of Philosophy

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11

朱少璋. « 現代新詩人舊體詩硏究 = Study of Chinese classical poetry written by modern Chinese poets ». HKBU Institutional Repository, 2002. http://repository.hkbu.edu.hk/etd_ra/471.

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12

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

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13

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

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14

Ming, Yau-yau, et 明柔佑. « Qing poetry on Ming ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B44204723.

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15

Manfredi, Paul Richard. « Decadence in modern Chinese poetry problems and solutions / ». access full-text online access from Digital dissertation consortium, 2001. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3024264.

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16

何思慧 et See-way Christine Ho. « Talking Chinese Canada : the poetry of Fred Wah ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B43209804.

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17

Ho, See-way Christine. « Talking Chinese Canada the poetry of Fred Wah / ». Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B43209804.

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18

Zeng, Hong. « A deconstructive reading of Chinese natural philosophy in poetry ». online access from Digital dissertation consortium, 2002. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3070928.

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19

Kherbek, William. « Chinese whispers Chinese rooms : the poetry of John Ashbery and cognitive studies ». Thesis, Birkbeck (University of London), 2014. http://bbktheses.da.ulcc.ac.uk/60/.

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

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20

Chung, Shuk-fan. « Teaching of rhyming skills in poems for primary school : a case study = Xiao xue xin shi yin jie jiao xue ke tang ge an fen xi / ». Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25752327.

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21

Ming, Yau-yau. « Qing poetry on Ming a historical perspective focusing on the writing on Ming Yuefu = Qing zhao yong Ming shi ji de shi xue shen shi : yi Ming yue fu de zhuan shu wei zhong xin / ». Click to view the E-thesis via HKUTO, 2010. http://sunzi.lib.hku.hk/hkuto/record/B44204723.

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22

Qian, Fang. « Zai xi shou yu chuang zao zhong chuang jian Zhongguo de shi si xing shi : jian lun shi si xing shi de Han yu hua jin cheng = A study of the sonnets by the Chinese poets : the sonnet development in China / ». click here to view the abstract and table of contents, 2001. http://net3.hkbu.edu.hk/~libres/cgi-bin/thesisab.pl?pdf=b17041466a.pdf.

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23

Liu, Weicheng. « Sha qiu zhi lü : qi shi zhi jiu shi nian dai Xianggang xin shi zhong de si wang biao shu = Travel to the dunes : an exploration of the representation of death in modern Hong Kong poetry from the 1970s to the 1990s / ». click here to view the abstract and table of contents, 2003. http://net3.hkbu.edu.hk/~libres/cgi-bin/thesisab.pl?pdf=b17626559a.pdf.

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24

Ng, Kam-lung. « A study of the Yuan period criticism of the Song poems Yuan dai dui Song shi ping jia zhi yan jiu / ». Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B39634085.

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25

Hsieh, Daniel. « The origins and development of jueju verse / ». Thesis, Connect to this title online ; UW restricted, 1991. http://hdl.handle.net/1773/11070.

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26

Lai, Hing-fong Camilla. « Ci poems on plum blossoms of the southern Song period (1127-1279) / ». Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19929638.

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27

Law, Yuen-mei Vicky. « A critical study of the Five Dynasties poetry = Wu Dai shi yan jiu / ». Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25018681.

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28

Ng, Lui Nam. « The life and poetry of Dai Tian ». Thesis, SOAS, University of London, 1999. http://eprints.soas.ac.uk/29231/.

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The thesis studies the life and poetry of Dai Tian (1937-) as a Hong Kong poet. Hong Kong literature and poetry have seldom been studied by scholars in the West in past years. With the ending of British colonial rule and the handing over of the sovereignty of Hong Kong back to the Chinese on 1st July 1997, there is an urgency in the study of Hong Kong poetry to render overdue recognition to Hong Kong poets. Dai Tian was bom in China, raised in Mauritius, studied in Taiwan and the USA, and now lives in Hong Kong. In this thesis, I demonstrate that Hong Kong poetry exists and that Dai Tian is one of its foremost representatives. The thesis is in 5 chapters. Chapter 1 introduces the literary activities and development of Hong Kong from 1842-1997. A definition of Hong Kong poetry on the basis of themes will be given. The question of Hong Kong being a place of importance in poetry is raised. Chapter 2 is an account of the life of Dai Tian. Chapter 3 is the discussion of Dai Tian's poetry. Dai Tian's poetry is divided into 3 stages, the 1st stage is from 1957-1966, the 2nd stage from 1967-1980 and the stage from 1981-1990. Recurring themes like Chineseness, Chinese arts and artists, time and life, international politics, fables and cultural China are discussed. Chapter 4 is the study of Dai Tian as a Hong Kong poet. Dai Tian's poetry will be studied as representative of Hong Kong poets. The themes of anti-colonialism and Hong Kong as a periphery to Mainland China, Taiwan and the United Kingdom will be examined. Chapter 5 concludes the thesis and examines the friendship between Dai Tian and contemporary poets, Dai Tian's influence on Hong Kong poets and his plans for future writings.

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29

Ma, Xuecong. « The Crescent Moon School : the poets, poetry, and poetics of a modern conservative intellectual group in Republican China ». Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25761.

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The Crescent Moon School (新月派Xinyue pai) is a Chinese intellectual group that was active from 1923 to 1934. Its members include Xu Zhimo 徐志摩(1897-1931), Hu Shi 胡适 (1891-1962), Liang Shiqiu 梁实秋(1903-1987), Wen Yiduo 闻一多(1899-1946), Luo Longji 罗隆基(1896-1965), and many other Anglo-American educated scholars in the Republican era. Although the group was engaged in various activities, poetry was their primary concern and their most notable practice. This thesis intends to solve two problems: 1) what common values or core spirit guided the various cultural practices of the group? 2) what are the poetic features and underlying poetics of the group as a whole? To answer the two questions, this thesis firstly examines the core spirit of the group by reviewing their activities and historical development. It argues that underlying the various activities and facts, there was a core spirit shared by the group. This core spirit, which I refer to as the “modern conservative spirit”, reflected a unique understanding of modernity that was different from that of the May Fourth discourse. They understood modernity not as a negation of tradition, but as a critical synthesis and mutual conformity between the old and the new, the local and the global. I show how the Crescent Moon intellectuals acquired this core spirit, and how it was displayed in their various activities. Secondly, this thesis provides detailed textual analysis of several Crescent Moon poems and reconstructs their poetics. It argues that their poetics demonstrated three faces, i.e. a romantic temperament, a classic ideal, and a modern consciousness. The three faces coexisted throughout the poetic practice of the group, although a certain face might have dominated in a certain period. I demonstrate how the three faces were unified under the guidance of the modern conservative spirit, and I argue that the simultaneousness of the three faces embodied the modern conservative intellectuals’ pursuit of literary modernity. By discussing the core spirit and poetics of the Crescent Moon School, this thesis concludes that the group was a missing link in Republican modern conservative trend, linking the late 1910s and early 1920s neotraditionalist thinkers with the mid-1930s Beijing School writers. The modern conservative intellectuals represented a dissenting voice in the Republican era, but they were also committed pursuers of modernity and cosmopolitanism.

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30

戴穗華 et Sui-hua Dai. « A critical study of the poetry of Xu Hun (788-867?) ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31225925.

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31

Wan, Yu-pui, et 溫羽貝. « Time and space in Zheng Chouyu's Poetry ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B3963405X.

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32

Lun, Yan-lai, et 倫欣麗. « A study of Chen Xianzhang's poetry ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B39793801.

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33

張為群 et Wai-kwan Cheung. « The monk-poets of the mid-Tang period ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31220617.

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34

周業珍 et Yip-chun Rita Chau. « A study of Zhu Ziqing's (1898-1948) poetry and prose ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31212153.

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35

馮陳善奇 et Sydney S. K. Fung. « The poetry of Han-shan in English : a culturalapproach ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31224386.

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36

Luo, Feng, et 洛楓. « The image of the city in contemporary Chinese poetry ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B31210168.

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37

Skerratt, Brian Phillips. « Form and Transformation in Modern Chinese Poetry and Poetics ». Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11116.

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Hu Shi began the modern Chinese New Poetry movement by calling for the liberation of poetic forms, but what constitutes "form" and how best to approach its liberation have remained difficult issues, as the apparent material, objective reality of literary form is shown to be deeply embedded both culturally and historically. This dissertation presents five movements of the dialectic between form and history, each illustrated by case studies drawn from the theory and practice of modern Chinese poetry: first, the highly political and self-contradictory demand for linguistic transparency; second, the discourse surrounding poetic obscurity and alternative approaches to the question of "meaning"; third, a theory of poetry based on its musicality and a reading practice that emphasizes sameness over difference; four, poetry's status as "untranslatable" as against Chinese poetry's reputation as "already translated"; and fifth, the implications of an "iconic" view of poetic language. By reading a selection of poets and schools through the lens of their approaches to form, I allow the radical difference within the tradition to eclipse the more familiar contrast of modern Chinese poetry with its foreign and pre-modern others. My dissertation represents a preliminary step towards a historically-informed formalism in the study of modern Chinese literature.
East Asian Languages and Civilizations

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38

Yung, Lawrence Kwan-chee. « The China which is here : translating classical Chinese poetry ». Thesis, University of Warwick, 1998. http://wrap.warwick.ac.uk/36378/.

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The thesis proposes to address how the tradition of translating Chinese poetry in the English speaking world developed in the early twentieth century and has continued. Problems relating to this issue, such as the great change in poetics and intellectual atmosphere since 1915 when Cathay appeared, its impact on the translation of Chinese poetry, and the universe of discourse of the two cultures involved, those of the Chinese and the English speaking world, as well as the constraints of the target system on the translations, will also be discussed. The introduction provides an overview of the poetics that valued traditional metres at the turn of the century, and applies polysystem theory to explain the lack of enthusiasm for translations of classical Chinese poetry before 1915. Chapter 2 discusses the constraints of language, the poetics and universe of discourse in the target system, suggesting that these constraints handicapped the widespread transfer of classical Chinese poetry before 1915. Chapter 3 examines xing, the poetic device in Chinese poetry that emphasizes the poet's spontaneous response to nature and the merging of scene and feeling. The very nature of xing defies any attempt to make it explicit. The chapter is divided into two parts, discussing xing in the encoding and decoding process respectively. Readerresponse criticism and phenomenology are also incorporated in the discussions. The chapter is followed by an analysis of various attempts to translate poems that are presented with zing in Chapter 4, which shows that there is a tendency on the part of some translators to add logical links between the scene and the feelings expressed. Chapter 5 looks at the translation strategies of Arthur Waley, investigating the traditions of translating classical Chinese poetry that he has helped to build up. The kind of smooth grammatical lines he uses and the Chineseness he conveys have had great influence on subsequent translators. Chapter 6 studies Ezra Pound, with special focus on his innovative work Cathay, and his juxtaposition techniques. Chapter 7 studies Kenneth Rexroth's translations of Du Fu, while Chapter 8 examines Gary Snyder's translations of Cold Mountain. The vehicle of translating Chinese poetry in general-- language and poetics-- was close to that of modern poetry in the target culture. Chapter 9, the conclusion, asserts that various strategies are adopted for various purposes. It tries to place the position of the translators discussed in a polysystem context. In the target system, poems are appreciated more for their charm than their being supposedly faithful to an original. The image of China created through translators remains distant. To the reader in the West, China is always far out "there," not here.

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Chan, Kwok-sing. « A study of Lu You's (1125 - 1210) ci poetry ». Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B42694401.

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40

Sarvis, Will. « T'ao Yüan-ming as reflected in his poetry ». Thesis, Virginia Tech, 1990. http://hdl.handle.net/10919/42153.

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T’ao Yüan-ming (365-427 A.D.) remains China's greatest medieval poet. While no adequate biographical sources exist, the poet’s own work presents the most intimate picture of T’ao Yüan-ming himself, in addition to reflecting various aspects of his historical and cultural era. This essay explores T’ao Yüan-ming’s character as reflected in his verse. When poised against a broader historical and cultural background, T’ao Yüan-ming’s poetry goes furthest in revealing the poet as an individual as well as a product of his times.
Master of Arts

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41

Tseng, Chen-chen. « Mythopoesis historicized : Qu Yuan's poetry and its legacy / ». Thesis, Connect to this title online ; UW restricted, 1992. http://hdl.handle.net/1773/6688.

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42

Chan, Wai-ying. « The "jing" and the "wu" a study of the sign of "jing" and the jingjie in modern Chinese poetry = "Jing" yu "wu" : Zhongguo xian dai shi jing de fu hao yu jing jie yan jiu/ ». Click to view the E-thesis via HKUTO, 2001. http://sunzi.lib.hku.hk/hkuto/record/B43896030.

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43

Chen, Zhihong. « "Jin tian" shi qun yan jiu = A study on Today's poems and poets / ». click here to view the abstract and table of contents, 1998. http://net3.hkbu.edu.hk/~libres/cgi-bin/thesisab.pl?pdf=b15646506a.pdf.

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44

Si, Tou Sau-ieng, et 司徒秀英. « A study of Li E (1692-1752) and his Ci poems ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1993. http://hub.hku.hk/bib/B31211860.

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45

Chan, Kwok-sing, et 陳國盛. « A study of Lu You's (1125 - 1210) ci poetry ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B42694401.

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46

Fan, Xing. « A crossing of waters : a dialogical study of contemporary indigenous women's poetry : portfolio consisting of creative work and dissertation ». Thesis, University of Macau, 2011. http://umaclib3.umac.mo/record=b2456341.

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Tsang, Wai-sin, et 曾惠仙. « A study of the life and poetry of Xu Zihua ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B4589744X.

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Yu, Liwen, et 余麗文. « Politicizing poetics : the (re)writing of the social imaginary in modern and contemporary Chinese poetry ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B42841628.

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Nagase, Mari. « Women writers of Chinese poetry in late-Edo period Japan ». Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/31444.

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his dissertation investigates kanshi poems written by three Japanese women: Ema Saiko (1787-1861), Hara Saihin (1798-1859), and Takahashi Gyokusho (1802-1868). These three women from the late Edo period cultivated excellent literacy in classical Chinese and established their reputations as scholars and poets. However, their works in Chinese have been underestimated in modern scholarship. The goal of my dissertation is to re-situate these highly literary women more accurately in the discourse of "Japanese literature," while challenging established ideas about "women's literature" and "Edo literature." The introductory chapter argues against the dismissal of Edo-period women kanshi writers. Firstly, it examines the general underestimation of women writers from the Edo period and the dismissal of works written in Chinese from the category of "Japanese literature." Secondly, it investigates the late Edo-period cultural and ideological background, which supported the emergence of women kanshi writers. The next three chapters explore works of each poet. Saihin was a vigorous scholar and poet from Kyushu. She lived in Edo for twenty years, determined to make herself a successful Confucian scholar. I illuminate her complex gender identification, as presented in her poems, while describing her astounding aspirations. Ema Saiko, a scholar-painter and poet, is known for her feminine style in the genre of kanshi. While I examine her conscious use of "feminine expressions," I also present the diversity of her poetic subjects. Takahashi Gyokusho from Sendai established herself as an educator and poet in Edo. She often hosted fund-raising literary parties, and published two anthologies during her lifetime. A comparison of Gyokusho and Saihin, two female scholars who lived in Edo, elucidates how affiliations with different poetic societies affected their careers and poetry. The relative prominence of women kanshi writers in the late Edo period becomes clear through this study. The kanshi writers were, indeed, precursors of early modern Japanese women educators and writers. This dissertation bridges the literary effort by women of the Edo and Meiji periods, while contributing to a revision of the history of women's literature in Japan and correcting a distorted image of the literary environment for women of the Edo period.
Arts, Faculty of
Asian Studies, Department of
Graduate

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Lee, Gregory Barry. « Dai Wangshu : the life and poetry of a Chinese Modernist ». Thesis, SOAS, University of London, 1985. http://eprints.soas.ac.uk/28535/.

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Dai Wangshu as a poet and a personality made a controversial and lasting impact on the Chinese literary world of the 1930s and 1940s. Since the 1950s, however, many literary figures of the time have suffered neglect because they are not easily categorized as belonging to the orthodoxies of Left or Right. This has been so in Dai Wangshu's case. Moreover, there is also genuine confusion about Dai's political and literary beliefs. This thesis aims to revaluate Dai's position in the canon of modern Chinese literature and, by chronicling his literary, political and personal life, to present a comprehensive picture and correct current misconceptions. There is a biographical emphasis as a result of much new information uncovered in the course of the author's research. The approach is chronological and covers Dai's early involvement in poetry and politics in late 1920s Shanghai, the process of intellectual sophistication and expansion in Europe, his anti-Japanese stance during the war period in Hong Kong and the final years of poetic silence leading up to his premature death in Peking, in 1950. Dai's poetry is treated in terms of theme, language and form to reveal the poet's growth and progression of style. The extent of the poet's retention of classical Chinese poetic elements and the assimilation of Western post-Symbolist and other poetic influences are assessed in order to arrive at the essence of the poet's style, to examine its effectiveness as a modern medium for the expression of poetic thought and to decide the appropriateness of the label 'Modernist'. The definition of Modernism is thus broached and discussed. Previously unconsulted material such as letters, diary fragments and manuscripts have been exploited and in the discussion of Dai's poetry and the literary and political questions of his day, extensive use has been made of correspondence and interviews conducted in China.

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