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Journal articles on the topic 'Book of Odes'

Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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1

Harrison, S. J. "Deflating the Odes: Horace, Epistles 1.20." Classical Quarterly 38, no. 2 (December 1988): 473–76. http://dx.doi.org/10.1017/s0009838800037083.

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Epistles 1.20, the last poem of its book, begins with an elaborate joke on the entry of Horace's book of epistles into the world and ends with a well-known σϕραγίς describing the poet himself. It will be argued here that this final poem recalls and subverts the pretensions of two earlier final poems in Horace's own Odes, and that its good-humoured depreciation of Horace himself is matched by a similar attitude towards his previous grand poetic claims as a lyric vates.

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2

Barchiesi, Alessandro, R. G. M. Nisbet, and Niall Rudd. "A Commentary on Horace, "Odes" Book III." Classical World 100, no. 1 (2006): 73. http://dx.doi.org/10.2307/25433986.

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3

Kim JuWon, Dongho Ko, and 정제문. "On Manchu Translations of Book of Odes." ALTAI HAKPO ll, no. 19 (June 2009): 1–30. http://dx.doi.org/10.15816/ask.2009..19.001.

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4

Tarrant, Richard. "Book review: Horace, Odes, Book I, written by Mayer, R." Mnemosyne 67, no. 3 (June 10, 2014): 500–504. http://dx.doi.org/10.1163/1568525x-12341705.

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5

Kilpatrick, R. S., and Michael C. J. Putnam. "Artifices of Eternity: Horace's Fourth Book of Odes." Phoenix 41, no. 2 (1987): 207. http://dx.doi.org/10.2307/1088751.

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6

Zanker, Andreas T. "Horace, Odes. Book 1. Edited by Roland Mayer." Gnomon 86, no. 3 (2014): 214–17. http://dx.doi.org/10.17104/0017-1417_2014_3_214.

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7

Nethercut, William R., and Michael C. J. Putnam. "Artifices of Eternity: Horace's Fourth Book of Odes." American Journal of Philology 109, no. 4 (1988): 615. http://dx.doi.org/10.2307/295091.

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8

Barchiesi, Alessandro. "A Commentary on Horace, Odes Book III (review)." Classical World 100, no. 1 (2006): 73–74. http://dx.doi.org/10.1353/clw.2006.0084.

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9

McCune, Blanche Conger. "CHLOE TEMPESTIVA, MISERA, DOCTA AND ARROGANS (HORACE, ODES 1.23, 3.7, 3.9 AND 3.26)." Classical Quarterly 66, no. 2 (October 26, 2016): 573–79. http://dx.doi.org/10.1017/s0009838816000677.

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The name ‘Chloe’ appears four times in Horace's Odes, once in Book 1 (1.23) and three times in Book 3 (3.7, 3.9, 3.26). Whether the ‘Chloes’ represent a woman or women from Horace's real life is probably not something we could know. Furthermore, there is no obvious reason to assume that all the ‘Chloes’ are the same person. However, there is likewise no obvious reason not to read the odes in which the name ‘Chloe’ appears, as some scholars have done, as referring to the same woman, fictional or otherwise. This article argues both that ‘Chloe’ is a consistent character in the Odes and that the portrayal of Chloe is not only connected across odes but also sequential. Taking the poems in order, we see Chloe grow up from a girl who is inexperienced in the world of men to a mature mistress who plays the dominant role in her love affairs.

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10

Saussy, Haun. "Repetition, Rhyme, and Exchange in The Book of Odes." Harvard Journal of Asiatic Studies 57, no. 2 (December 1997): 519. http://dx.doi.org/10.2307/2719486.

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11

Novak, Michael Anthony. "The Odes of Solomon as Apocalyptic Literature." Vigiliae Christianae 66, no. 5 (2012): 527–50. http://dx.doi.org/10.1163/157007212x635812.

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Abstract The Odes of Solomon is generally categorized as early Jewish-Christian apocrypha, particularly as a lyrics-book of early Christian worship songs. They give us a glimpse into earliest Christian worship and Christian understandings of the recent advent of the Messiah. As a matter of genre, they are easily discussed as liturgical texts, poetry, or musical lyrics. This examination reveals that the Odes are filled with themes of apocalyptic literature, far beyond the extent hitherto recognized. These apocalyptic themes situate the Odes in earliest Christian literature, revealing ties to the Johannine corpus, particularly to the Revelation, to “Two Ways” catechetical literature, and to merkabah mysticism. In the Odes, there is revealed a need for a wider understanding of apocalyptic literature. Such recognition of other expressions of an apocalyptic worldview, transcending the boundaries of the formal genre of the apocalypse, would illumine relations among a variety of early Christian texts.

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12

Harrison, S. J. "The Praise Singer: Horace Censorinus and Odes 4. 8." Journal of Roman Studies 80 (November 1990): 31–43. http://dx.doi.org/10.2307/300279.

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The criticism of the eighth ode of Horace's fourth book has been bedevilled by three major uncertainties: probable interpolation in its text, confusion about the identity of its addressee, and doubt as to its literary quality.1 These issues will form the central concerns of this discussion. Earlier critics have been consistently scathing in their view of Odes. 4. 8: some editors have even gone so far as to deny Horatian authorship,2 many have made dismissive judgements, following the verdict of Wilamowitz (‘really very bad’), and a recent commentator has classed 4. 8 as ‘the least lyrical of the Odes … much of it, indeed, reads like prose—limpid, logical, but pedestrian’.3 I shall not claim that the poem is a previously unacknowledged masterpiece of inspiration, but that it has been underestimated as a poetic artefact: as a careful analysis will show, it is a well-conceived, well-finished and allusive piece, relevant to its addressee and cohering well both with the following ode to Lollius and with the purposes of Book 4 as a whole.

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13

Kovacs, David. "Horace, Odes 4.1: a Contradiction Removed." Journal of Roman Studies 107 (January 19, 2017): 140–45. http://dx.doi.org/10.1017/s0075435816001131.

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AbstractOdes 4.1 is difficult to understand on a literal level. At its beginning Horace is complaining that Venus, after leaving him alone for many years, is attacking him, that is, he is feeling a reawakening of sexual desire. But after suggesting that the goddess go off to visit Paullus Fabius Maximus and describing the rewards the young man will give her, he returns to himself. Now, he says, he is delighted by neither woman nor boy nor by the prospect of mutuality in love, that is, he is not in the grip of eros. Additionally, the use of iuuare, ‘delight’, with a person as subject seems to be without any parallel. These problems disappear if in l. 29 we read mi for me: ‘I no longer have either woman or boy (as lover) nor do I have the hope of mutual affection.’ Horace's having no lover and no hope of one is compatible with his feeling a generalized desire for sex or a desire for someone unattainable. The tone of the last two quatrains is affected as well as the contribution of the poem to the fourth book of odes.

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14

Barchiesi, Alessandro. "Poetry, Praise, and Patronage: Simonides in Book 4 of Horace's "Odes"." Classical Antiquity 15, no. 1 (April 1, 1996): 5–47. http://dx.doi.org/10.2307/25011030.

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The paper aims at reconstructing the influence of Simonides on a contiguous series of Horatian poems ("Odes" 4.6-9). The starting point is provided by the discovery of new Simonidean fragments published by Peter Parsons and by Martin West in 1992. But the research casts a wider net, including the influence of Theocritus on Horace-and of Simonides on Theoocritus-and the simultaneous and competing presence of Pindar and Simonides in late Horatian lyric. The influence of Simonides is seen in specific textual pointers-e.g., a simile on the death of Achilles in 4.6, the idea of caducity in 4.7-as well as in the composite role-model of Simonides, the immortalizing poet, the flexible praise-singer. Some wider questions are put in perspective: (1) As for Horace's approach to the poetic tradition, the Roman poet is able to glance across whole genealogies of models, without necessarily making a choice, but making the invocation of several predecessors, already linked in a tradition, relevant to his new text. "Odes" 4.7, for instance, features a dialogue of Horace, Homer, Mimnermus and Simonides. The oscillation in modern criticism between an "Alexandrian" and a "classicizing" Horace could be better explained by constructing a complex model of intertextuality: "Pindar" plus "the Pindar in Callimachus"; "Simonides" plus "the Simonides in Theocritus." (2) The dominating influence of Pindar in Book IV could be a part of a richer picture of influence, now difficult to reconstruct since all we have is the four Pindaric books of epinicia, not necessarily the only (and not even the most) widely read choral lyric in antiquity. (3) The reuse of early-classical praise poetry includes references to social constructs and cultural models of patronage, gift exchange, and poetic addressee: they are important in Augustan lyric precisely because they are felt as distant and impossible to recreate, and become a part of Horace's deft and often ironical negotiations with the problem of being a lyric poet in Augustan Rome.

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15

Smith, Adam, and Maddalena Poli. "Establishing the text of the Odes: the Anhui University bamboo manuscript." Bulletin of the School of Oriental and African Studies 84, no. 3 (October 2021): 515–57. http://dx.doi.org/10.1017/s0041977x22000015.

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AbstractIn this article we review the newly published fourth-century bce manuscript of the Book of Odes (Shi jing 詩經) in the collection of Anhui University. We describe the preservation and material features of the manuscript, discuss issues of provenance, and compare the text with the received version of the Odes. We conclude that the text of the Odes was already fundamentally stable by the date of the manuscript, and that written versions like the Anda manuscript provided important support for the stability of the text. However, we also argue that the manuscript shows signs of having been produced from memory, rather than sight-copying from another manuscript. We suggest that the function of the Anda manuscript was to support the learning and memorization of the Odes.

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16

Ledderose, Lothar, and Julia K. Murray. "Ma Hezhi and the Illustration of the Book of Odes." Artibus Asiae 56, no. 1/2 (1996): 175. http://dx.doi.org/10.2307/3250108.

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17

Lyne, R. O. A. M. "HORACE ODES BOOK 1 AND THE ALEXANDRIAN EDITION OF ALCAEUS." Classical Quarterly 55, no. 2 (December 2005): 542–58. http://dx.doi.org/10.1093/cq/bmi049.

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18

JIANG, Xiangyan. "A Preliminary Study on the First Selected Translation of The Book of Poetry into French." Asian Studies 3, no. 2 (December 30, 2015): 75–86. http://dx.doi.org/10.4312/as.2015.3.2.75-86.

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This article aims to sketch a preliminary analysis of eight poems from The Book of Poetry, translated into French by the French Jesuit Joseph de Premare (1660–1736) in the early 18th century. Premare implanted the doctrines of Christianity in his translation of the eight poems that were selected from the Greater Odes of the Kingdom (大雅), Minor Odes of the Kingdom (小雅) and the Sacrificial Odes of Zhou (周頌), which were analysed from three aspects: firstly, the theme of the eight odes, king and kingship, allude to the Lord; and the first ode Jing Zhi (敬之), meaning to reverence Tian (敬天) by title, refers virtually to reverence God. Secondly, the Christianized translation is especially obvious in the translation of the words Tian (天), Haotian (昊天), and Shangdi (上帝): these were translated as the God in Christianity. Thirdly, even the story of Paradise Lost in the Bible is implanted in the translation of the ode Zhan Yang (瞻卬). This article also clarifies that because of Premare’s translation the image of the wise king Wen (文王) was shaped and became known in Europe.

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19

Khan Khattak, Dr Satar. "Comparative Study of Allama Iqbal’s Urdu and Persian Composition of ode." DARYAFT 14, no. 01 (October 31, 2022): 87–110. http://dx.doi.org/10.52015/daryaft.v14i01.213.

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Allama Muhammad Iqbal started his poetry from Urdu ode or amatory verses. But very soon he started his poetry in Persian. Iqbal realized that the skirt of Urdu language is very narrow for his ideas and thoughts. He recognized that Urdu is a young inexperienced language. Urdu is spoken, written and reading in a limited part of the subcontinent. On the other hand person is an old and experienced language of the world and is spoken, written and reading in a vast part of the Muslim world. Persian language keeps the most valuable assets of poetry and prose. The Persians odes of Allama Iqbal are found in Piyam-e-mashriq and Zaboor-e-Ajam. Some Urdu odes of Iqbal are found in Bang-e-Dara and Zarb-e-kaleem, but the most important odes are found in his famous book of Urdu poetry named as Bal-e-jibreel. This collection of poems by Allama Iqbal is very important, because what is clearly stated in his Persian odes, is what is indicated in Bal-e-Jibreel. The first part of Bal-e-Jibreel consists of ghazals. Essentially, these ghazals portray the same meaning that the Persian ghazals imply. However, the experimental writing of these ghazals, the sheer talent employed in this book are as climactic in terms of poetry.

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20

Sullivan, Michael B. "ON HORACE'S PYRAMIDS (C. 3.30.1–2)." Cambridge Classical Journal 60 (August 19, 2014): 100–108. http://dx.doi.org/10.1017/s1750270514000050.

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This paper contends that Horace's comparison of his completed poetic monument to pyramids at the end of Odes 1–3 is both figurative and literal insofar as we possess ample art historical, literary and papyrological evidence from antiquity for the stacking of an appropriate number of book (sc)rolls in ‘pyramidal’ form. Most notable in this regard is the dedication to Delian Apollo of a triangular casket containing the ten books of Aristarchus' edition of Alcaeus, whose resonances with the Pythagorean τετρακτύς, and implications for Horace's own oeuvre, are duly explored.

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21

Camp, John. "Book Review: The Golden Needle and Other Traditional Odes of Acupuncture." Acupuncture in Medicine 10, no. 2 (November 1992): 80. http://dx.doi.org/10.1136/aim.10.2.80-a.

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22

Lee, Seung yong. "Seokjung Lee jeong-jik’s theory on Book of Odes and Poetic Consciousness." ONJI COLLECTION OF WORKS 52 (July 31, 2017): 9–37. http://dx.doi.org/10.16900/onji.2017.52.01.009.

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23

Porter, David H. "Artifices of Eternity: Horace's Fourth Book of Odes. Michael C. J. Putnam." Classical Philology 84, no. 2 (April 1989): 165–70. http://dx.doi.org/10.1086/367154.

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24

Pucci, Joseph. "Originary Song, Poetic Composition, and Transgression: A Reading of Horace, Odes 1.3 and 1.22." Ramus 34, no. 1 (2005): 1–21. http://dx.doi.org/10.1017/s0048671x00001028.

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This paper argues for a combined reading of Odes 1.3, the propempticon for Virgil, and Odes 1.22, the Lalage ode. The arrangement of the first book of Odes places 1.3 in structural relation to 1.22; and the appearance of scelus, ‘sin’, in the penultimate verse of 1.3 and the initial line of 1.22 activates a thematic affiliation that has gone unexamined in the scholarship. I take the poet's use of scelus as my starting point, analysing in what follows the ways in which Virgil and Horace are both positioned in the drama of 1.3 as practitioners of scelus of a kind that associates them with Prometheus, Daedalus and Hercules. Then I press the question of how such a depiction makes sense, given the ways in which these mythological exemplars are shown to be transgressors of natural boundaries. I then turn to 1.22 for an answer otherwise not forthcoming in 1.3, where scelus reappears in a poem about the power of song. I argue that the transgression Virgil and Horace practise in 1.3 is poetic composition itself—a sin Horace himself commits in the very odes that dramatise it, but whose staging extols the purity and integrity of a kind of singing that is prior to the concatenation of word, metre and music that go into the composing of any poetry. I see in these odes, then, a meditation on the ways in which poets cross back and forth between a boundary that separates originary song from the polished songs of poetry that it initiates—surely a topic that interested, and vexed, Horace for all of his career, and about which these odes have something fundamental to tell.

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25

Xiao-bing, Zhao, and Zhao Wenqing. "About the Chinese Book “The Book of Poetry”." Humanitarian Vector 16, no. 1 (February 2021): 25–34. http://dx.doi.org/10.21209/1996-7853-2021-16-1-25-34.

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“The Shi Jing’’(‘‘The Book of Poetry”） is one of the first poems in the world, including Chinese poems, from the 11th century BC to the 6th century BC. During this period, about 3 000 verses appeared, of which 305 poems were selected by Confucius. Poetic texts in “The Shi Jing’are divided into three categories: regional songs, odes, hymns. The composition of the poems uses such techniques as Fu, Bi and Xing. These poems constitute the creative source (source) of Chinese poetry. “Fu”，“Bi” and “Xing” are important artistic features of “The Shi Jing”. “Fu”” - direct narration, parallelism. “Bi” is a metaphor, comparison. “Sin” means “stimulation”， it first speaks about others, then about what the poet wants to express. Fu and Bi are the most basic techniques of expression, and Xing is a relatively unique technique in “The Shi Jing”， even in Chinese poetry in general. “The Shi Jing” is an excellent starting point for Chinese literature, which has already reached a very high artistic level from the very beginning. "The Shi Jing” affects almost all aspects of the early social life of ancient China, such as sacrifice, banquet, labor, war, love, marriage, corvee, animals, plants, oppression and resistance, manners and customs, even astronomical phenomena, etc. It became historical value for the study of that society. The overwhelming majority of the poems in “The Shi Jing”reflect the reality, everyday life and everyday experience. There is almost no illusory and supernatural mythical world in it. As the first collection of poetry in China, “The Shi Jing” laid the foundation for the lyrical and realistic tradition of Chinese literature. “The Shi Jing” also has a huge impact on the genre structure and linguistic art of Chinese literature, etc., which is a role model for writers of later generations. “The Shi Jing”has already been translated into the languages of the countries of the world. “The Shi Jing”has been influencing Chinese poetics; it has become the source of the classical realistic tradition and literature in China. Lively description is essential for historical, anthropological and sociological research. We expect that as the cultural ties between China and Russia deepen, as well as the popularization and spread of Chinese-Russian translations, more and more Russian people will read “The Shi Jing”， study “The Shi Jing”， the Russian translation of “The Shi Jing” will improve and play its role as the original classic of Chinese literature. “The Shi Jing”is a book that cannot be read or translated forever. Keywords: “The Shi Jing” （“The Book of Poetry” )， regional songs, odes, hymns, artistic features, Chinese unique cultural value

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26

Del Gais Muller, Deborah. "Ma Hezhi and the Illustration of the Book of Odes (review)." China Review International 1, no. 2 (1994): 205–11. http://dx.doi.org/10.1353/cri.1994.0047.

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27

Chen, Tianyi. "The Opposition and Continuation Between Life and Death ——A Preliminary Analysis of <The Book of Songs> and <The Tale of Genji>." Journal of Education, Humanities and Social Sciences 4 (November 17, 2022): 101–4. http://dx.doi.org/10.54097/ehss.v4i.2729.

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<The Book of Songs> and <The Tale of Genji> are both literary works [1] that have exerted great influence on the views of life and death of their respective nations. <The odes of bin · July> brings people's inexhaustible expectations for life. <The odes of qin · Wuyi> embodies the courage of facing death when we are obliged to defend our own country [2-5]. As for Japan, after the <Collection of Ten Thousand Leaves> developed the plum chanting culture which was introduced from China to a certain height, the sad thoughts reflected in <Tale of Genji> and the concept of appreciating the beauty of cherry blossom fall matured gradually [6-9]. Whether life and death are distinct or simply reincarnation, the two peoples' general cognition has taken quite different paths.

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28

LEARY, T. J. "KIPLING, STALKY, REGULUS & CO.: A READING OF HORACE ODES 3.5." Greece and Rome 55, no. 2 (August 18, 2008): 247–62. http://dx.doi.org/10.1017/s0017383508000557.

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Although born in India, like others of his class and generation Rudyard Kipling was sent back to England for his schooling. From 1878 he attended the United Services College (USC) at Westward Ho! in North Devon, a school that had been recently established under the headmastership of a family friend, Cormell Price, to accommodate the children of Indian Army officers unable to afford the fees of institutions such as Wellington College, originally established to prepare boys for the military academies at Sandhurst and Woolwich. The school was later to provide the inspiration for Kipling's Stalky & Co., a collection of stories first assembled for publication in book form in 1899 and re-issued, with five further tales, in 1929. The reception of this work and the characters within it was not universally favourable, the school upon which it was based was in many ways atypical of the standard English public school (if ever such a thing existed), and, although unquestionably a ‘school story', it is not in line with the tradition fathered by Tom Brown.

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29

장정임. "The Grammaticalization of Demonstrative 斯 based on its Occurrences in The Book of Odes." Journal of Chinese Language and Literature ll, no. 65 (October 2014): 1–37. http://dx.doi.org/10.26586/chls.2014..65.001.

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30

Syndikus, Hans Peter. "R. G. M. Nisbet and Niall Rudd: A commentary on Horace, Odes Book III." Gnomon 77, no. 5 (2005): 414–18. http://dx.doi.org/10.17104/0017-1417_2005_5_414.

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31

김희성. "A Study on the ‘Chaegal in the Wangpoong’ in the Book of the Odes." Journal of North-east Asian Cultures 1, no. 41 (December 2014): 149–63. http://dx.doi.org/10.17949/jneac.1.41.201412.008.

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32

우지영. "A Study on the Quotations of the 󰡔Book of Odes(詩經)󰡕 in the Four Books(四書)." DONG-BANG KOREAN CHINESE LIEARATURE ll, no. 78 (March 2019): 215–46. http://dx.doi.org/10.17293/dbkcls.2019..78.215.

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33

Wonseok Yang. "Sap-kyo(霅橋) Ahn Seok-kyung(安錫儆)’s Study on The Book of Odes(詩經) and Characteristics in Ahn Seok-kyung’s Explanation Methods of The Book of Odes." Journal of Korean Classical Chinese Literature 31, no. 1 (December 2015): 7–39. http://dx.doi.org/10.18213/jkccl.2015.31.1.001.

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34

Yue, Anne O. "Study of Grammar in Temporal and Spatial Perspectives: You3 有 in the OBI, Ancient Documents and the Dialects." Bulletin of Chinese Linguistics 4, no. 2 (January 24, 2011): 1–68. http://dx.doi.org/10.1163/2405478x-90000061.

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A survey of the functions of the existential verb in Chinese in temporal and spatial perspectives reveals a closer typological similarity between the oracle-bone inscription language and the Southern Sinitic languages, and a grammaticalization process observable from archaic time shows the formation of a marker for ‘affirming existence’ which provides residual evidence in the Book of Odes and the Eastern Min dialects for possible language contact between a ‘to-have’ language and a ‘to-be’ language.

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35

이영환. "Education Interpretations of Poems in the Book of Odes Used in the Analects of Confucius." History of Korean Education 35, no. 4 (December 2013): 155–89. http://dx.doi.org/10.15704/kjhe.35.4.201312.155.

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36

鄭日男 and 李香. "Yangchon Kwonkun(陽村權近)’s literature and 'the book of odes(詩經)'." DONG-BANG KOREAN CHINESE LIEARATURE ll, no. 74 (March 2018): 185–216. http://dx.doi.org/10.17293/dbkcls.2018..74.185.

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37

Reckford, Kenneth J. "Book Review: Time and the Erotic in Horace's Odes, and: Horace: Behind the Public Poetry." American Journal of Philology 117, no. 4 (1996): 657–60. http://dx.doi.org/10.1353/ajp.1996.0050.

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38

Zhitin, Ruslan M., and Aleksey G. Topilsky. "G.R. Derzhavin’s personal library as a reflection of poet’s literary interests and artistic creativity." Neophilology, no. 20 (2019): 558–65. http://dx.doi.org/10.20310/2587-6953-2019-5-20-558-565.

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We study G.R. Derzhavin's personal library. The study is relevant due to the high historical and cultural significance of Gavriil Romanovich’s book collections. Reconstruction of his original collection – one of the most important areas of research of book culture of the late 18th century and, of course, the key story of the study of poet creativity sources. We analyze the thematic diversity of the preserved books, the history of the Derzhavin collection, its fate after the death of G.R. Derzhavin. Derzhavin’s library was transferred to D.V. Polenov – well-known diplomat and bibliophile of his time, and then entered the Naryshkin special library of Tambov. The study of the qualitative and quantitative composition of the transferred collections allowed to establish the safety of 293 volumes from his collection. The collection is distinguished by special brown leather bindings with flyleaf of decorative paper (presumably handmade), a lot of tray copies. Part of the journals convolutes from Derzhavin’s collection are bound in hard cardboard paper with a rectangular label-sticker of the early 19th century, reflecting the name of the journal, the year of publication and superexlibris “G. D.” (Gavriil Derzhavin). Analysis of Derzhavin's books from the library demonstrated a significant diversity of reading interests of G.R. Derzhavin. His library has preserved many rare lifetime copies of odes, letters, epigrams, messages of famous authors of the 18th century, a huge number of periodicals. The method of instance analysis of literature made it possible to identify and analyze the author’s marginalia on the poet’s books, their significance for the characteristics of the poet’s literary work.

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Wonseok Yang. "A comparative study on Zhu-xi’s interpretative books of The Book of Odes - Focused on 『Shijizhuan』, 『Shixubianshuo』, 『Zhuziyulei』, 『Shizhu anyishuo』." Journal of Korean Classical Chinese Literature 19, no. 1 (December 2009): 133–65. http://dx.doi.org/10.18213/jkccl.2009.19.1.006.

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李昌珉 / Lee, Chang-min. "A Study on the meaning of ‘Biao in the Biaoyoumei’ in the Book of the Odes." Journal of North-east Asian Cultures 1, no. 58 (March 2019): 183–200. http://dx.doi.org/10.17949/jneac.1.58.201903.010.

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박종민. "A Metaphor and Symbolic Meaning of Trees Used in the Poems of 『The Book of Odes』." Journal of Korean institute of Forest Recreation 18, no. 2 (June 2014): 81–93. http://dx.doi.org/10.34272/forest.2014.18.2.008.

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Tytler, Graeme. "An Edition of Branwell Brontë’s Translation into English Verse of the First Book of Horace’s Odes." Brontë Studies 44, no. 2 (March 19, 2019): 234–35. http://dx.doi.org/10.1080/14748932.2019.1567171.

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HAMAMURA, Yoshihisa. "The idea of listening is derived from a chorus of music in The Book of Odes." Proceedings of the Annual Convention of the Japanese Psychological Association 76 (September 11, 2012): 1EVA01. http://dx.doi.org/10.4992/pacjpa.76.0_1eva01.

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Chung, Sang-hong. "A Study on Embryological Basis of Old Korean Poems through The Book of Odes - Focusing on「Gongmudohaga」." Korean Literature and Arts 19 (July 31, 2016): 45. http://dx.doi.org/10.21208/kla.2016.07.19.45.

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Park, Jaehee. "The Symbol of the ‘Bird’ Image in the 『Book of Odes(詩經)』 - focusing on the love poetry." Institute of Humanities at Soonchunhyang University 39, no. 3 (September 30, 2020): 29–59. http://dx.doi.org/10.35222/ihsu.2020.39.3.29.

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장정임. "The Grammaticalization Path of yǐ 以 - Based on Its Occurrences in The Book of Odes(Shijing≪詩經≫)." Journal of Chinese Language and Literature ll, no. 78 (December 2016): 1–35. http://dx.doi.org/10.26586/chls.2016..78.001.

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Dai, Fudong. "In quest of the origin of ancient northern city of China: An implication from the Book of Odes." Frontiers of Architecture and Civil Engineering in China 1, no. 4 (October 2007): 389–92. http://dx.doi.org/10.1007/s11709-007-0052-9.

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Seung-Yong Moon. "A study on a modern means of 『the Book of Odes(詩經)』’s humanistic elements in the Confucian classics." China Studies 50, no. ll (November 2010): 19–35. http://dx.doi.org/10.18077/chss.2010.50..002.

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장정임. "The Grammaticalization Path of yǐ (以) (Part 2) ― Based on its Occurrences in The Book of Odes (Shijing ≪詩經≫)." Journal of Chinese Language and Literature ll, no. 84 (December 2017): 75–105. http://dx.doi.org/10.26586/chls.2017..84.002.

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Lee, Chang-Min. "A study about translation of reduplicated words from the Book of the Odes : focused on the Zhou-Nan, Shao-Na." Chinese Studies 57 (December 31, 2016): 173–92. http://dx.doi.org/10.14378/kacs.2016.57.57.11.

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