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Thematische Bibliographien / Chinese Folk poety / Zeitschriftenartikel

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Zeitschriftenartikel zum Thema „Chinese Folk poety“

Autor: Grafiati

Veröffentlicht am 28. Juli 2024

Zuletzt aktualisiert am 31. Juli 2025

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1

Boldyreva, Elena M. "Citizen poet as a cultural hero in russian and chinese poetry: the theme of folk suffering in the works of Du Fu and N. A. Nekrasov." Yaroslavl Pedagogical Bulletin 5, no. 122 (2021): 226–38. http://dx.doi.org/10.20323/1813-145x-2021-5-122-226-238.

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The article is devoted to one of the aspects of the Russian-Chinese cultural dialogue: a citizen poet as a cultural hero in Russian and Chinese poetry on the example of the theme of folk suffering in the works of N. Nekrasov and Du Fu, analyze historical, autobiographical and philosophical determinants of the poets' appeal to civil and folk subjects, considered how archetypal situations, motives and images are actualized in the work of both poets, determined by their writing reputation, their status in the cultural life of the era – the role of a citizen poet, patriot poet, singer of folk suff

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Wang, Yong, and Olga V. Vinogradova. "Contemporary Chinese poetry and Russian modernist and postmodernist poetry: influence and analogy." RUDN Journal of Studies in Literature and Journalism 24, no. 4 (2019): 704–12. http://dx.doi.org/10.22363/2312-9220-2019-24-4-704-712.

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For the last thirty years, Chinese poetry mostly has been well-known for three schools, namely: “Misty Poetry”, “Intellectual Writing”, and “Folk Writing”. Russian poets of diff erent periods were among those who had a notable impact on the works of Chinese poets. Russian lyric poets praising freedom, love, and relationships with nature became the main source of inspiration for “misty” poets. “Intellectual” poets felt their being close to the Russian Silver Age poets: A. Akhmatova, A. Blok, B. Pasternak, M. Tsvetaeva. Their poems include examples of direct addressing to them. “Folk” poets crea

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Wang, C., and K. N. Galay. "Symbolic Meaning of Images of Moon and Month in Poetry of Li Bo and Sergei Yesenin." Nauchnyi dialog 14, no. 2 (2025): 205–30. https://doi.org/10.24224/2227-1295-2025-14-2-205-230.

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The article is dedicated to the study of the symbolism of the images of the Moon and the Month in the works of the Chinese poet Li Bo and the Russian poet Sergey Yesenin, as well as to defining the cultural and aesthetic significance of these concepts in the individual-authorial perception of both poets. The authors of the article argue that in Yesenin’s poetry, the image of the Month is created based on a synthesis of folk traditions and Christian beliefs, with the Moon and the Month serving as symbols associated with events from the past, nostalgia, and a sense of the irreversibility of time

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Abuduwaili Aisa. "Study on Uyghur translation of Quyuan." International Journal of Education and Humanities 19, no. 3 (2025): 159–64. https://doi.org/10.54097/6sdrgp37.

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Qu Yuan (born c. 339 BCE, Quyi [now Zigui, Hubei province], China—died 278 BCE, Hunan) was one of the greatest poets of ancient China and the earliest known by name. His highly original and imaginative verse had an enormous influence over early Chinese poetry. Quyuan was born in Chu. Chu was one of the most important states at that time, it was a large state in the central valley of the Yangtze River (Chang Jiang). Shamanistic tradition in folk rites and legends that influenced poetry of Quyuan. Although the main idea of Quyuan’s poetry is patriotism. In this paper I’ve mainly study on Uyghur

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Sisa, Abuduwaili. "Study on Structure of Quyuan." International Journal of Education and Social Development 3, no. 2 (2025): 1–3. https://doi.org/10.54097/qjv1s069.

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Qu Yuan (born c. 339 BCE, Quyi [now Zigui, Hubei province], China—died 278 BCE, Hunan) was one of the greatest poets of ancient China and the earliest known by name. His highly original and imaginative verse had an enormous influence over early Chinese poetry. Quyuan was born in Chu. Chu was one of the most important states at that time, it was a large state in the central valley of the Yangtze River (Chang Jiang). Shamanistic tradition in folk rites and legends that influenced poetry of Quyuan. Although the main idea of Quyuan’s poetry is patriotism. In this paper I’ve mainly study on structu

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Zhang, Yining. "Xu Yuanchong’s Translations of Reduplicated Words in 300 Yuan Songs." Journal of Education, Humanities and Social Sciences 49 (April 15, 2025): 8–18. https://doi.org/10.54097/mjh9he08.

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As an indispensable form of literature and art in ancient China, Yuanqu began to emerge in the Song Dynasty and flourished in the Yuan Dynasty. After the glorious prosperity of the poetry of Tang and the Ci-poetry of the Song, Yuanqu presented its unique charm. It had inherited the fresh elegance of poetry and lyrics, while also attacking the darkness of society, resisting the tyrannical dictatorship of the government and directly pointing to the sharp social contradictions which make it shine uniquely. After Yuanqu emerged on the literary stage, it immediately demonstrated its constant vitali

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Starikova, Ekaterina O. "The moon, the sun, and stars in Vietnamese folk songs." Russian Journal of Vietnamese Studies 7, no. 1 (2023): 82–94. http://dx.doi.org/10.54631/vs.2023.71-109874.

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The article is devoted to astral imagery in Vietnamese folk poetry. Author of the study analyzes folk songs (ca dao) about the Moon, the Sun, stars and constellations, as well as about mythical characters associated with astral myths. Folk songs are cited in Vietnamese language and accompanied by a Russian translation made by the author of the research. Moon imagery is widely represented in Vietnamese folk poetry, as the Moon is associated with the time when love songs are sung. There are both autochthonous Vietnamese and Chinese images. Some of the images of the Chinese origin are very popula

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"'." Society for Chinese Humanities in Korea 72 (August 30, 2019): 427–50. http://dx.doi.org/10.35955/jch.2019.08.72.42710.35955/jch.2019.08.72.427.

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So far, in many “history of modern Chinese literature”, the new poetry has called it a ‘hybrid’ born out of the influence of the West. However, the beginning activities related to the folk songs in the early stage of the new poetry gave new and changes in the process of the spontaneous growth of the new poetry, and felt the difficulties while homogenizing in the songs, and gained a lot of inspiration from it. This thesis expounds the necessity of studying the relationship between new poetry and folk songs, and steps on how to conduct research, and divides the inspiration part of the new poems

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ZORIGT MANDULA. "Research on Folk Tales Sound Features." Academic Journal of Science and Technology 15, no. 3 (2025): 59–62. https://doi.org/10.54097/2faqca31.

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Features of the song culture in the folk tales of Tusheet: Mongolian songs from other countries and Chinese literature have been influenced by the local conditions and the creation of new songs, along with the compositional method that combines the themes of ancient Mongolian literature with the elements of poetry and narration, the ancient form-relational dictionary of Mongolian oral literature, and the melody of all ancient worship songs, which have been carefully preserved and inherited, and have been composed and sung to this day. In particular, the lively and lively nature of the story so

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Seng, Anabela Fong Keng. "THREE MILLENNIA OF CHINESE POETRY." Revista Brasileira de Literatura Comparada 22, no. 41 (2020): 103–9. http://dx.doi.org/10.1590/2596-304x20202241afk.

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Abstract Poetry has a history of thousands of years in China and can be said to be the shining jewel in the crown of Chinese literature, occupying a major proportion in her history. Having originated from folk songs, the Chinese poetry has produced a large number of brilliant examples from the Western Zhou Dynasty (1046-771 BC) to the Chunqiu (Spring and Autumn) Period (770-476 BC). China has, since ancient times, maintained a tradition of education in poetry, which is used to educate the people and arouse their intelligence. Through the reading, studying and writing of poetry, it is possible

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Xiang, Yinnan. "A Quantitative Study on the Linguistic Features of the Tujia Epic Sheba Songs." Advances in Humanities Research 10, no. 1 (2024): 43–52. https://doi.org/10.54254/2753-7080/2024.18465.

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Previous research on the Tujia epic Sheba Songs has primarily relied on qualitative methods, which are less conducive to objectively examining the texts features. This paper introduces quantitative research methods to explore the textual characteristics of Sheba Songs and compares its features with those of regulated verse, modern Chinese poetry, and Chinese folk songs. The structure of the study is as follows: (1) From the perspective of word frequency distribution, Zipfs law is employed to verify the naturalness of the Sheba Songs text. (2) From the perspective of part-of-speech probability

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Koo, Jea-hyoun, and Jae-won Choi. "A Study of the Compilation of Selected Poems, Cheonggusicho and Its Meaningin Korean Chinese Literature History." Daedong Hanmun Association 74 (March 31, 2023): 329–56. http://dx.doi.org/10.21794/ddhm.2023.74.329.

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The main purpose of the present study is to elucidate the background and process in the compilation of selected poems, Cheonggusicho published by the Japanese Government-General of Joseon and its meaning in Korean Chinese literature history. Because Kim, Taejun made a diachronic study of Korean Chinese literature history to describe ancient parts of Joseon Chinese Literature History by using a lot of Cheonggusicho. The Competitive Exhibition of Local Products for the Fifth Anniversary of New Politics’ held by the Japanese Government-General of Joseon provided an occasion to publish Cheon

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Miller, Melanie, and Tongyu Zhou. "Scissors, paper, poetry: The interaction between Chinese folk art and contemporary art practice." Journal of Illustration 1, no. 1 (2014): 101–21. http://dx.doi.org/10.1386/jill.1.1.101_1.

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Ting, Yang, та Fan Jia. "毛振翧的《苗疆集》研究". Sinolingua: Journal of Chinese Studies 3, № 1 (2025): 102. https://doi.org/10.20961/sinolingua.v3i1.99946.

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<p class="AA">When Mao Zhenxuan, a Chinese poet in the Qing Dynasty, served in Guizhou, he left two volumes of the poetry collection of The Miao Jiang Collection. The study, using literature research and text analysis methods, aims to explore the content and historical value of the Miao Jiang Collection. The paper discusses Mao Zhenxuan's poetry creation during his tenure in Guizhou. This study focuses on the analysis of the creation theme, artistic characteristics and aesthetic paradigm of Miao Jiang Collection, and finally summarizes its historical value. The study shows that the poems

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Hua, Guanlin, and Marina V. Pankina. "The Image of Death in Traditional Chinese Art." Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 30, no. 4 (2024): 175–86. https://doi.org/10.15826/izv1.2024.30.4.073.

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The theme of death has been an important part of the culture and art of all nations since ancient times. Chinese traditional culture has given people a unique concept of death that protects life, avoiding deep tragedy. In the minds of the ancient Chinese, the underworld buried deep underground is an important symbol of death. This article examines the representation of the theme of death in traditional Chinese art. The main content of ancient Chinese frescoes and paintings about death is based on the description and depiction of local images that have symbolic meaning. With the emergence of li

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Yue, Zhang. "RUSSIAN FOLK SONG "OVER THE SILVER RIVER" AND ITS FATE IN CHINA." Arts education and science 1, no. 2 (2021): 160–67. http://dx.doi.org/10.36871/hon.202102020.

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The article deals with the history of the Russian poet F. N. Glinka's poem "Veiled Traces", which was the basis for the famous folk song "Over the Silver River". The article reveals the content of the text and shows different variants of its "plot". This refers to several Russian collections containing the song "Over the Silver River", including "Ural Folk Songs" by L. Christiansen and "Folk Songs of Krasnoyarsk Region" by K. Skobtsov. Folklore collectors considered this song as an example of Russian lyrical song genre. The author analyzes the arrangement of this song included in A. Chernyavsk

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Pan, Hon Engi. "Chinese National Traditions in the Musical Poetry of the Piano Concert "The Four Spirits" by Chen Yi." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 1, no. 1 (2018): 101–11. https://doi.org/10.31866/2616-7581.1.2018.146265.

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Genre of the piano concert holds a prominent place in the works of contemporary Chinese composers. The interest is due to the integration of Chinese culture into the Western music world, the awareness of piano versatility for national musical material adaptation. Article analyses for the first time one of the most recently written works of the contemporary Chinese-American composer Chen Yi – the piano concert “The Four Spirits” (2016). The purpose of the article is to determine the effect of ancient Chinese mythology on the content and structure of the piano concert “Th

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Qin, Cai, and Cheng Ta Seah. "Chinese Ethnic Minorities and their Oral Poetry: A Perspective from Ethnopoetics." Advances in Language and Literary Studies 12, no. 5 (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 bega

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Jiang, Guohui. "Robert Morrison’s Translation and Introduction of Chinese Literature in the Chinese Repository." Archiv orientální 93, no. 1 (2025): 209–29. https://doi.org/10.47979/aror.j.93.1.209-229.

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This review article explores the translation and introduction of Chinese literature by Robert Morrison, a 19th-century Protestant missionary, in the Chinese Repository. As a significant bridge for cultural exchange between East and West, Morrison’s work not only facilitated Western understanding of Chinese literature but also influenced perceptions of Chinese society and culture. The article analyzes the Chinese literature translated and introduced by Morrison, which includes Chinese biography, Confucian classics, Taoist morality books, Chinese opera, and Chinese folk poetry. It examines the c

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Jin, Xi, and Hyuntai Kim. "The Incorporation of Chinese Traditional Elements in “Chinese Style” Pop Music." Yixin Publisher 1, no. 4 (2023): 19–34. http://dx.doi.org/10.59825/jcs.2023.1.4.19.

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Chinese pop music, often regarded as an ‘imported’ commodity, possesses concise compositions, easy comprehensibility, and a diverse range of styles. Due to its relatable content mirroring everyday life, it enjoys widespread adoration among the Chinese populace. In recent times, with the global proliferation of pop music, Chinese musicians have embarked on integrating traditional elements from Chinese culture into their melodies, background instruments, and lyrics, while drawing inspiration from and assimilating Western pop music. Consequently, this fusion has birthed distinctive works of Chine

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Liu, Yuqing. "Sinicizing European Languages: Lexicographical and Literary Practices of Pidgin English in Nineteenth-Century China." Sungkyun Journal of East Asian Studies 22, no. 2 (2022): 135–58. http://dx.doi.org/10.1215/15982661-10040867.

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Abstract This article reconsiders the social, economic, and literary significance of Chinese Pidgin English (CPE) in Chinese society by exploring lexicographical and literary practices of pidgin in nineteenth-century China. Resituating the history of CPE in Chinese language history, this article problematizes the concept of pidgin and pursues three arguments. First, the author maintains that CPE arose from the marginalized status of the Euro-American traders who were restricted from learning the Chinese language in Canton. Second, by exploring foreign-language glossaries, this article foregrou

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Hao, Wang Shih, and Pei-Jung Wang. "A Study of Mystical Thinking in Ancient Chinese Expressions: Focusing on “Chen Wei”." International Journal of Religion 5, no. 11 (2024): 5853–68. http://dx.doi.org/10.61707/p4petr02.

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Ancient Chinese have expressed culture that communicated with gods and spirits through sound and language. This culture has contained mystical thinking that expressed orally, through spoken words, presenting a form of sound. This paper comprehensively examined and summarized the materials of mystical thinking in ancient Chinese from the texts of “Chen Wei”, analyzing the forms of mystical consciousness and the linguistic cultural features that favor cautious speech and silence over verbosity. The study explores the origins of mystical thinking in Chinese culture, tracing it back to the ancient

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Hwang, Ji-You. "A Study on the Origin of Chinese New Poetry on the basis of relationship with Folk song." JOURNAL OF CHINESE HUMANITIES 72 (August 31, 2019): 427–50. http://dx.doi.org/10.35955/jch.2019.08.72.427.

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Lin, Li Mao, and Shafizan bin Sabri. "The Fusion of Tradition and Modernity: Reviewing the Lyrics and Vocal Style of Chinese Art Songs." Grenek Music Journal 14, no. 1 (2025): 60–67. https://doi.org/10.24114/grenek.v14i1.64501.

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This study explores the characteristics of Chinese art songs, with a particular focus on their lyrics and vocal style, through a literature review approach. Chinese art songs (yishu gequ) emerged during the May Fourth Movement as a fusion of Western compositional techniques and traditional Chinese cultural elements. The lyrics are deeply rooted in Chinese ancient poetry, drawing on classical themes such as nature, emotions, and philosophy, while maintaining structural integrity through poetic forms like shi (詩) and ci (詞). The linguistic complexities of Mandarin Chinese, a tonal language, pres

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Luo, Jun, and Guijun Li. "A Culturalist Interpretation of the Dark Brothers’ Sound Bitterness in Hughes’s I, Too, Sing America." Studies in Linguistics and Literature 2, no. 1 (2018): 27. http://dx.doi.org/10.22158/sll.v2n1p27.

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<em>Langston Hughes is an important poet over the Harlem Renaissance who has contributed to the enhancement of the thematic profundity of his poetry in the association of African-American culture rooted in its literature, music, theater, art, and politics with his poetic production. Inspired by the original newness of his great poems, many foreign and Chinese scholars and critics have not only discussed much about his indispensable role in promoting dark brothers’ folk culture on the basis of their valuable explorations among his works but also made a mention of dark brothers’ lower soci

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Gan, Lu, Han Wang, Haoyue Liu, Xinyu Li, and Yi Hu. "The Study on Localization of Bronze and Sunflower." English Language Teaching and Linguistics Studies 6, no. 2 (2024): p259. http://dx.doi.org/10.22158/eltls.v6n2p259.

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Cao Wenxuan's works are a typical representative of "going out" in Chinese children's literature. In April 2016, Cao Wenxuan won the Hans Christian Andersen Award, the highest award for children's literature in the world. This achievement is closely related to the translator's translation ability. This paper takes the English translation of Bronze and Sunflower by Cao Wenxuan (translator Helen Wang) as the research object, and aims to explore the translation strategies suitable for the localization of Bronze and Sunflower, which can be divided into three aspects:landscape description,folk poet

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Hangi Jeong. "The Historical Aspect and Emotion of Folk Song in the Chinese Poetry with the Matters of Gathering Firewood." Society for Korean Language & Literary Research 38, no. 2 (2010): 219–46. http://dx.doi.org/10.15822/skllr.2010.38.2.219.

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Selimović, Ena. "Weltliteratur and Its Others: The Serbian Poem in Eckermann's Conversations with Goethe." PMLA/Publications of the Modern Language Association of America 136, no. 3 (2021): 356–69. http://dx.doi.org/10.1632/s0030812921000225.

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AbstractA critical account of the Serbian poem in Goethe's conversations with Eckermann reveals the place of Balkan folk poetry in the discourse on world literature and adds a neglected narrative to the myriad genealogies of comparative literature. Building on Laura Doyle's concept of inter-imperiality, the essay foregrounds how language politics manifest the variegated contours Europe takes in Goethe's formulation of world literature. While recent scholarship in comparative literature largely examines Goethe's Eurocentrism through his invocation of an unnamed Chinese novel, an analysis of the

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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, no. 3 (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

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Xiao-bing, Zhao. "Analysis of the Russian Translation of the “Shijing” Song “Longing for the Husband”." Russian and Chinese Studies 5, no. 1 (2021): 56–61. http://dx.doi.org/10.17150/2587-7445.2021.5(1).56-61.

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Translating into Russian and studying “Shijing” (“The Book of Poetry”) is a significant milestone in Russian-Chinese literature exchange which was initiated in the 19th century when Wang Xili school was founded. In the USSR, V. Alexeev school was established, in which one of the most famous translators was A. Shtukin. His Russian translation of “Shijing” is considered the first and the most complete one. The object of research in this article is Russian translation of the song in “Wang kingdom's songs” “Longing for the Husband”| by A. Shtukin. “Longing for the Husband” is the brightest folk so

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Chen, Ying. "Research on the Protection and Inheritance of Opera Art in Linchuan Area Based on the Effectiveness Analysis of Witch Elements in Big Data Era." E3S Web of Conferences 218 (2020): 04031. http://dx.doi.org/10.1051/e3sconf/202021804031.

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Opera art, which is a cultural symbol and life memory of a nation and a region, is the cultural root of people’s homesickness, which combines various artistic elements such as excellent music, dance and poetry of the Chinese nation. Witchcraft custom, which has appeared since the primitive human period, is a series of activities made by human beings to try to explain some phenomena in daily life, and to predict, influence and control the development of implementation objects with the help of illusory supernatural forces. Witches and artists have the same line of thinking-similar social identit

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Baofeng, Li, and Shi Yixuan. "STUDY ON THE TRANSLATION STRATEGIES OF HANSHAN POEMS FROM THE PERSPECTIVE OF CROSS-CULTURAL PRAGMATICS." MODERN VECTORS OF SCIENCE AND EDUCATION DEVELOPMENT IN CHINA AND UKRAINE 2023, no. 9 (2023): 10–21. http://dx.doi.org/10.24195/2414-4746-2023-9-1.

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In Japan, Europe, the United States and other countries, Hanshan and his poems have intrigued great enthusiasm of scholars and the public. Since the 1950s, Hanshan poems have been constantly being translated and successfully spreading in the United States, which has exerted a great influence. With the continuous enhancement of the cultural soft power, China attaches great importance to the foreign translation of excellent traditional culture. The medium of translation is language, which is a cross-cultural pragmatic practice. By integrating cross-cultural pragmatics into studies of the classic

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Xie, Jin, and Lan Jiang. "A study on the singing method of Chinese composer Zhao Yuanren art song ‘Listening to the Rain’." Korean Society of Music Education Technology 59 (April 16, 2024): 199–221. http://dx.doi.org/10.30832/jmes.2024.59.199.

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Zhao Yuanren was a famous Chinese linguist and composer in the early 20th century. While studying the Chinese language, he began to create art songs with Chinese national characteristics, and achieved great results. Not only that, he was also one of the first Chinese composers to use western music creation techniques. Zhao Yuanren used his language research results and music research results. He combined Chinese folk music with Western creative techniques and created a new Chinese art songs. As a result of all these aspects of his achievements. Artists like Xiao Youmei called him Oriental Schu

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Bi, Wei. "Five Basic Colour Terms and Colour Taboos in Ancient China (Part One)." Roczniki Humanistyczne 72, no. 9 (2024): 101–20. https://doi.org/10.18290/rh24729.6.

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This paper aims to explore the use of five basic colour terms and colour taboos in ancient China. Looking at many literary texts, including Classic of Poetry, Collection of Oracle Bone Inscriptions, Discussing Writings and Explaining Characters, and several other collections, the paper offers a detailed analysis of the etymology and meanings of the following Chinese colour terms: huang 黄 ‘yellow’, chi 赤 ‘red’, bai 白 ‘white’, hei 黑 ‘black’ and qing 青 ‘cyan’. Colours have always carried well-defined symbolic meanings in China, for instance, red is associated with wealth, dignity and happiness. B

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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, no. 9 (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. T

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Belozerova, Vera. "The Unity of the “Four Perfections” (si jue) in the Works of Wu Changshi (1844–1927)." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 3 (2022): 184. http://dx.doi.org/10.31857/s086919080020440-1.

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The article is devoted to the creativity of Wu Changshi (1844–1927), who played a key role in preserving the continuity of Chinese fine art at the crucial initial stage of the global modernization of China&apos;s traditional culture. The subject of the study is the aesthetics of the unity of the “four perfections” (si jue), which means poetry, calligraphy, painting and seals. The synthesis of the four arts seems to be a unique achievement of Chinese culture, which influenced the countries of the hieroglyphic area. Wu Changshi&apos;s creativity is considered the culmination of the embod

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Gromova, Mariya. "Transformation of the Image of Japan in Murzilka Magazine in the 20th century." Stephanos Peer reviewed multilanguage scientific journal 49, no. 5 (2021): 18–24. http://dx.doi.org/10.24249/2309-9917-2021-49-5-18-24.

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The image of Japan in the children’s magazine “Murzilka” has been changing depending on the relations between the USSR and Japan and the development of interliterary ties during the 20th century. During the period of the Japanese invasion to Manchuria and the Lake Khasan Battle, abstract “Japanese” are presented as aggressors, fascists, encroaching on the Soviet borders. The class nature of the Japanese-Chinese conflicts is emphasized. During the period of the Khrushchev Thaw Japan turns out to be a country with an interesting and unique culture. There are published poems and songs of Japanese

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Mustafaeva, Samida Toshmukhammedovna. "Conditions For The Formation Of Ming Romans." American Journal of Social Science and Education Innovations 02, no. 10 (2020): 440–44. http://dx.doi.org/10.37547/tajssei/volume02issue10-71.

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The Ming period is recognized as a period that introduced a new genre to Chinese literature, especially Chinese prose. During this period, novels from the masterpieces of Chinese literature saw the light of day. They are a valuable source for the study of Chinese literary language, as well as providing valuable information on the plot, historical facts, and the Darwin. In particular, the novel "Three Kingdoms", created in the Ming period, has a large volume and a plot rich in sharp turns, the events of the novel are based on the collapse of the Eastern Khanate, in general, various contradictio

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Huang, Lei. "Heroic pastoral and its national-style reception IN THE CANTATA “YELLOW RIVER” BY XIAN XINGHAI." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 60, no. 60 (2021): 126–50. http://dx.doi.org/10.34064/khnum1-60.07.

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The statement of the problem. The cantata “Yellow River” (&#40644;&#27827;) is one of the most expressive works in Chinese musical art. The article offers interpretation of the cantata in the light of national Chinese pastoral symbolism. Created in 1939 by Xian Xinghai (&#20924;&#26143;) and based on the text of a poem by Guang Weizhan (&#20809;&#26410;&#28982;), the cantata is still of great interest to the researchers. The poetic text of the cantata tells about hard struggle of the Chinese people against the Japanese invaders during the Second Sino-Japanese War. T

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Yanping, Xu. "THE DYNAMICS OF CHORAL CULTURE DEVELOPMENT IN CHINA IN THE 1930S ON THE EXAMPLE OF HUANG TZI’S ORATORIO ETERNAL REGRET." Scientific and analytical journal Burganov House. The space of culture 17, no. 5 (2021): 109–24. http://dx.doi.org/10.36340/2071-6818-2021-17-5-109-124.

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Choral music in China is a dynamically developing form of contemporary musical art. Scientific works devoted to the Chinese choral culture consider the 1930s of the 20th century as the most productive period in the development of this branch of musical creativity. The article examines the phase of the active entry of Chinese choral music into the sphere of the oratorio genre, which is directly related to the name of the great Chinese composer — Huang Tzi. It also highlights the issues of the country’s political life in the 1930s, which actively influenced the creation of nationwide singing mov

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Youjie, Wang. "Pastoral poetics in the compositions for the flute by European and Chinese composers of the 20th –21st centuries." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 71, no. 71 (2024): 214–39. http://dx.doi.org/10.34064/khnum1-71.12.

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Statement of the problem. The pastoral complex, which is expressed in the genre and stylistic components of musical works, starting with the musical art of the Ancient World, constitutes a separate direction of modern musical semantics. Such a complex is relevant for the flute works of Chinese composers, but it is no less relevant for European flute art. In 20th–21st centuries, the compositions with pastoral semantics were created by the composers of Europe (C. Debussy, A. Honegger, J. Mouquet, O. Messian, S. Gubaidulina) and China (Tang Mizhi, Huang Huwei, Bright Sheng, He Lutin, Li Guochen,

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Gromova, M. M. "Japan in <I>Murzilka</I> Magazine (1924–2021)." Russian Japanology Review 5, no. 2 (2023): 116–35. http://dx.doi.org/10.55105/2658-6444-2022-2-116-135.

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The article attempts to generalize and analyze the materials dedicated to Japan, its folklore, culture, and literature in the children’s literary and art magazine Murzilka since its founding up to the present time. It traces the evolution of the image of Japan in the pages of the magazine for almost a hundred years, taking into consideration the historical circumstances, the SovietJapanese relations, the change in the approach to showing the peculiarities of daily life of other peoples in children’s literature. One can single out five periods of interest towards Japan in the magazine. In the s

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Ting, Liu. "Aesthetic principles of interpretation of early arias in the vocalist’s concert repertoire: air de cour." Aspects of Historical Musicology 27, no. 27 (2022): 73–96. http://dx.doi.org/10.34064/khnum2-27.05.

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Statement of the problem. Nowadays, there has been a high demand for historically informed performance, including in the educational process. However, a young performer often faces not only technical problems, but also a lack of understanding of the performance style. So, the relevance of the topic of the article is caused by urgent needs of modern concert and stage practice related to historically oriented performance as well as by the task of modern music education to introduce the Baroque styles into the educational process of vocal performers. The article offers the experience of musicolog

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Xi, Xuesong, Xingrun An, Guangming Zhang, and Shifan Liang. "Spatial patterns, causes and characteristics of the cultural landscape of the Road of Tang Poetry based on text mining: take the Road of Tang Poetry in Eastern Zhejiang as an example." Heritage Science 10, no. 1 (2022). http://dx.doi.org/10.1186/s40494-022-00761-y.

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AbstractThe Road of Tang Poetry in Eastern Zhejiang is a poetic cultural route linked by Tang poetry which is the pinnacle of ancient Chinese poetry history, and is a cluster of cultural landscapes where nature and humanity blend together under the narrative of Tang poetry. The research has mined and collated the text information of poems, such as trails, persons, places and landscapes, in 1593 poems written by 451 poets of the Tang Dynasty in Eastern Zhejiang, and discerned the overall route of the Road of Tang Poetry in Eastern Zhejiang based on the spatial location of all the text informati

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Тан, Х. "On the Origins of Chinese Folk Songs." Музыковедение, no. 1 (January 2, 2020). http://dx.doi.org/10.25791/musicology.01.2020.1107.

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В статье рассмотрены истоки возникновения китайской народной песни. Китайская народная песня зародилась еще на раннем этапе возникновения китайской музыки. Китайская музыка известна исторически с начала китайской цивилизации с документами и артефактами, свидетельствовавшими о хорошо развитой музыкальной культуре еще в династии Чжоу (1122 г. до н.э.256 г. до н. э.). Истоки китайской музыки могут быть датированы далекой древностью. Так, в династии Чжоу вместо песен люди создавали стихи. Истоками возникновения китайской народной песни являлись племенные пляски, песни, а также различные ритуальные

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Francesca, Puglia. "Tian wen 天問". Database of Religious History, 27 червня 2024. https://doi.org/10.5281/zenodo.12573317.

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The Tianwen 天問 ("Heavenly questions") is a long poem structured in a series of questions (wen 問) directly asked to Heaven (tian 天) or concerning heavenly matters, included in the ancient poetry collection entitled Chuci 楚辭 ("Songs of Chu", often translated into English as "Songs of the south"). Alternative translation for the title Tian wen, besides "Heavenly questions", are "Asking Heaven" and "Heaven asks". The poem is attributed to the 4th century BCE Chu 楚 state official and poet Qu Yuan 屈原 (340–278 BCE), yet his authorship of the poem as a whole is debated. The broad range of topics treat

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Gao, Jin. "Using interactive learning techniques in the study of Chinese folk songs / Técnicas de aprendizaje interactivo para el estudio de canciones populares chinas." Culture and Education: Cultura y Educación, March 31, 2025. https://doi.org/10.1177/11356405251326429.

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The objective of this research is to ascertain the efficacy of interactive instructional methodologies in the exploration of Chinese folk songs. The observation reveals that the main components of Chinese folk songs are singing in unison, music mode structure, variety of rhythmic patterns, contemplative moods, phonetic peculiarities of language, unity of music and textual elements. These indicators show that duplicate sound effects, the twelve-tone technique (scale), no semitones between sounds, the bright melodic patterns, the conciseness of poetry and the unity of phonetic and musical charac

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Лю, С., та А. Е. Кром. "«Времена года» в Китае: национальные традиции в пьесе Чэнь И". АКТУАЛЬНЫЕ ПРОБЛЕМЫ ВЫСШЕГО МУЗЫКАЛЬНОГО ОБРАЗОВАНИЯ, № 2(52) (2 липня 2019). https://doi.org/10.26086/nk.2019.52.2.008.

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Статья посвящена особенностям претворения национальных традиций в оркестровой пьесе современного китайского композитора Чэнь И Времена года. Национальное начало воплощено в сочинении на разных уровнях. Чэнь выразила миропонимание, древние религиозные и философские воззрения китайцев на смену сезонов обратилась к классической утонченной китайской поэзии, связанной с отражением образов природы построила музыкальную ткань сочинения на основе интонационного и метроритмического материала национального жанра бабань. В драматургии сочинения нашло отражение живое дыхание природы, связанное в китайской

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Heng, Du. "Chuci zhangju." Database of Religious History, June 27, 2024. https://doi.org/10.5281/zenodo.12572754.

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The /Chuci zhangju/ 楚辭章句 (The Section and Sentence Commentary to the /Verses of the Chu/) is a collection of verses written in the Chuci—or "Verses of the Chu"—genre, compiled and annotated by Wang Yi 王逸 (fl. 130–140 CE), a scholar-official of the Eastern Han (25–220). The word "Chu" designates the watery southern region of present-day China along the Yangzi River, at one point an independent kingdom before its conquest in 223 BCE by the expanding Qin empire (221–206 BCE). The founders of the subsequent Han empires (202 BCE–220 CE) hailed from the Chu region. As one of the two oldest extant co

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Liu, Yinan. "Chinese Piano Music: the Role of Composer Chu Wanghua in the Evolution of Modern Piano Traditions in China (the Case of the ‘Sounds of the Temple’ Capriccio Suite)." Revista Música Hodie 22 (September 19, 2022). http://dx.doi.org/10.5216/mh.v22.73153.

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Chinese piano music is based on folk songs, Chinese poetry, and the ethnic style, which contribute to the expressiveness of the sound and refinement of the intonation and tonal system. The paper addresses the Chinese piano music and the role of composer Chu Wanghua in shaping contemporary piano traditions, using the ‘Sounds of the Temple’ capriccio suite as an example. Based on the direct method of standardization, the paper determined the significance of the parts of the ‘Sounds of the Temple’ suite. The second part (0.93) is most significant for displaying the piano music, because it involve

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