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Relevant bibliographies by topics / Chinese Experimental poetry

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Academic literature on the topic 'Chinese Experimental poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "Chinese Experimental poetry"

1

Zhu, Mini, Gang Wang, Chaoping Li, Hongjun Wang, and Bin Zhang. "Artificial Intelligence Classification Model for Modern Chinese Poetry in Educatio." Sustainability 15, no. 6 (March 16, 2023): 5265. http://dx.doi.org/10.3390/su15065265.

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Various modern Chinese poetry styles have influenced the development of new Chinese poetry; therefore, the classification of poetry style is very important for understanding these poems and promoting education regarding new Chinese poetry. For poetry learners, due to a lack of experience, it is difficult to accurately judge the style of poetry, which makes it difficult for learners to understand poetry. For poetry researchers, classification of poetry styles in modern poetry is mainly carried out by experts, and there are some disputes between them, which leads to the incorrect and subjective classification of modern poetry. To solve these problems in the classification of modern Chinese poetry, the eXtreme Gradient Boosting (XGBoost) algorithm is used in this paper to build an automatic classification model of modern Chinese poetry, which can automatically and objectively classify poetry. First, modern Chinese poetry is divided into words, and stopwords are removed. Then, Doc2Vec is used to obtain the vector of each poem. The classification model for modern Chinese poetry was iteratively trained using XGBoost, and each iteration promotes the optimization of the next generation of the model until the automatic classification model of modern Chinese poetry is obtained, which is named Modern Chinese Poetry based on XGBoost (XGBoost-MCP). Finally, the XGBoost-MCP model built in this paper was used in experiments on real datasets and compared with Support Vector Machine (SVM), Deep Neural Network (DNN), and Decision Tree (DT) models. The experimental results show that the XGBoost-MCP model performs above 90% in all data evaluations, is obviously superior to the other three algorithms, and has high accuracy and objectivity. Applying this to education can help learners and researchers better understand and study poetry.

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2

Dreyzis, Yulia A. "Performative Strategies in Contemporary Chinese Avant-garde Poetry." Oriental Studies 19, no. 10 (2020): 100–116. http://dx.doi.org/10.25205/1818-7919-2020-19-10-100-116.

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The paper presents an attempt to explore the problem of mediality in Chinese poetry of the last thirty years. New Chinese poetry is particularly susceptible to the influence of the latest concepts of modern art and now more than ever needs a clear contextualization in relation to other forms of culture and avant-garde practice. This can be achieved through applying an analysis paradigm for performative word art developed by Dr. Tomáš Glanc in the context of Czech and Russian neo-avant-garde. It perceives experimental poetry as a form that fulfills a shift of the word thus making it labile. Examples of this phenomena can be found in Chinese poetry in the works of Ouyang Jianghe, Yang Xiaobin, Ouyang Yu, Xia Yu, Chen Li, Xu Bing, Wuqing and many more experimental artists. Their creative use of word shift principles shows how performative strategies are adapted in contemporary Chinese poetry keeping in mind the specific hanzi (character) medium that it is based upon. It seems both a continuation of a long-existing tradition and a radical exploration of the ‘iconic turn’ in the field of language.

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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 (December 15, 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 created an enormous and diverse area of postmodernist poetic texts, which is in sync with Russian poets of postmodernism. In the fi rst part of the article, the authors review the contemporary Russian poetry, in particular the “second avant-garde” poetry, in relation with the contemporary Chinese poetry that was “moved in time” for some decades, but came across the same processes of rising and the dialogue with society (sometimes provocative), with the world poetry, processes of introspection and experimental search. The second part of the article deals with the aspects of infl uence, made by Russian poets of different periods upon Chinese poetry, and with the issues of further development of contemporary Chinese poetry.

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Lavrač, Maja. "China’s New Poetry or Into the Mist." Asian Studies, no. 3 (December 1, 2010): 29–40. http://dx.doi.org/10.4312/as.2010.14.3.29-40.

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The late 1970s and early 1980s represent a period of important innovation in the development of contemporary Chinese poetry. As this was highly personal and experimental, it soon became characterized as being “misty” or “obscure”. A new generation of young poets questioned the Chinese cultural tradition and expressed the need for its re-evaluation. They tried to re-examine the meaning of literature, and while doing so, they based the foundation for their poetry on the tradition and the spirit of personal freedom and democracy of the May 4th Movement (1919), having been at the same time strongly influenced by the Western modernist poetry, in which they found alternative fresh ideas.

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5

Hu, Xiaoying. "Experimental Metafunction Study of Ode to the West Wind and Its Chinese Translations." English Language and Literature Studies 7, no. 2 (May 30, 2017): 151. http://dx.doi.org/10.5539/ells.v7n2p151.

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Guided by Halliday’s Systemic Functional Linguistics, this paper attempts to apply functional approach to translation studies by making a contrastive analysis of Shelley’s Ode to the West Wind and its two Chinese versions from the perspective of Experimental Metafunction. It aims to exemplify how a literary text, especially for poetry, can be interpreted properly and systematically with the assistance of linguistic theories, and also testify the applicability of Systemic Functional Linguistics to translation studies, both in English and Chinese.

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6

Isaeva, Natalia, Alina Akimova, Anastasiya Akimova, and Svitlana Chernyshova. "Lesya Ukrainka's Poetry in Chinese Translation: Psycholinguistic Aspect." PSYCHOLINGUISTICS 30, no. 2 (November 6, 2021): 85–103. http://dx.doi.org/10.31470/2309-1797-2021-30-2-85-103.

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Aim of the study. On the basis of the theories of dynamic translation, determine the degree of correspondence between the psycho-cognitive reactions of Ukrainian and Chinese recipients to the original and translated texts of the poetry-cycle of Lesya Ukrainian “Tears-Pearls”. Research methods. Psycholinguistic methods of empirical research are basic in this article: Osgood’s semantic differential method, content analysis and free associative experiment, other linguistic methods (cognitive and semantic analysis) and general scientific methods (analysis, synthesis, description and classification of linguistic facts) are also used. Results. On the basis of previous theoretical studies, the essential characteristics of translation as a psycho-cognitive process have been established. It is argued that the degree of equivalence of the translation of a literary text is determined not only by the work of the translator, but also by the emotional-evaluative reaction of the target recipients. An important thesis is that the perception of the text (original and translation) is influenced by the interhemispheric asymmetry of the mental activity of speakers of different languages (Clark & Paivio, 1991; Fenollosa, 1968; Zasyekin, 2010). Empirical research has shown that the “right-brain” imaginative thinking of the Chinese partly determines the degree of equivalence of their perception of the translation of Lesya Ukrainka’s poetry. The semantic profiles showed a fairly neutral emotional and evaluative reaction of the Chinese to translation incentives, which, in our opinion, was conditioned by the ethnonational specifics of the original text and the difference in poetic traditions. Despite the preservation of the thematic categories of the original in translation, in the new (Chinese) semantic space, these categories partly acquired other sociocultural meanings, which significantly influenced the equivalence of the translation. Conclusions. The degree of conformity of the psycho-cognitive reaction of target recipients to the original and the translation is determined not only by the type of mental activity of speakers of different languages, but also by a number of extralinguistic factors that determine the formation and state of activity of the verbal-associative network of representatives of different nations.

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Xie, Heping, and Sue Deng. "Drawing as a strategy for children to learn ancient Chinese poetry." Acta Psychologica 240 (October 2023): 104039. http://dx.doi.org/10.1016/j.actpsy.2023.104039.

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8

Francis, Norbert. "New poetics in China." Chinese Language and Discourse 6, no. 2 (December 30, 2015): 205–17. http://dx.doi.org/10.1075/cld.6.2.05fra.

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A new study of modern Chinese poetry has been published that deserves the attention of linguists working in both the applied and theoretical fields. The focus of the book is experimental and avant-garde literature, and as such it raises questions that are different than the ones we are accustomed to considering in the field of poetics. This review essay considers proposals for understanding poetic ability and sensibility from the point of view of applications of cognitive science.

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9

Shan, Kexin, and Marcos Mortensen Steagall. "Forgotten: an autoethnographic exploration of belonging through Graphic Design." DAT Journal 8, no. 1 (March 15, 2023): 293–335. http://dx.doi.org/10.29147/datjournal.v8i1.690.

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This article presents a practice-led artistic research project that asks: How to represent an international Chinese student’s sense of belonging (or not belonging) through the aesthetics of visual poetry? The project looked into concrete poetry as a visual strategy to develop a design outcome consisting of two publications using an experimental typographic layout and two corresponding posters. This research employs autoethnography and heuristic inquiry as a methodological approach to the creative process to achieve high levels of originality. Based on personal experience, this research project explores the lack of sense of belonging faced by a Chinese student in an unfamiliar place when initially studying in Aotearoa New Zealand. In a design response to this temporary loss of belonging, the project investigated profiled individuals to analyse two specific negative emotions: restless and lonely. In addition, the study applies poetic writing to self-narrative to enhance the potential of personal expression, metaphorically telling stories while creating a visual typographic artefact that breaks with the traditional written prose form. The project is a retrospective of the self, graphically articulating two unforgettable emotions arising from two of the most profound periods affecting the researcher. On the one hand, the project takes a further step towards self-understanding and helps the viewer understand the issues of belonging experienced by Chinese students in a foreign country. On the other hand, it contributes to the discussion of autoethnography and heuristic inquiry to achieve originality in graphic design.

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Hu, Zhiyuan, Chumin Liu, Yue Feng, Anh Tuan Luu, and Bryan Hooi. "PoetryDiffusion: Towards Joint Semantic and Metrical Manipulation in Poetry Generation." Proceedings of the AAAI Conference on Artificial Intelligence 38, no. 16 (March 24, 2024): 18279–88. http://dx.doi.org/10.1609/aaai.v38i16.29787.

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Controllable text generation is a challenging and meaningful field in natural language generation (NLG). Especially, poetry generation is a typical one with well-defined and strict conditions for text generation which is an ideal playground for the assessment of current methodologies. While prior works succeeded in controlling either semantic or metrical aspects of poetry generation, simultaneously addressing both remains a challenge. In this paper, we pioneer the use of the Diffusion model for generating sonnets and Chinese SongCi poetry to tackle such challenges. In terms of semantics, our PoetryDiffusion model, built upon the Diffusion model, generates entire sentences or poetry by comprehensively considering the entirety of sentence information. This approach enhances semantic expression, distinguishing it from autoregressive and large language models (LLMs). For metrical control, its constraint control module which can be trained individually enables us to flexibly incorporate a novel metrical controller to manipulate and evaluate metrics (format and rhythm). The denoising process in PoetryDiffusion allows for the gradual enhancement of semantics and flexible integration of the metrical controller which can calculate and impose penalties on states that stray significantly from the target control distribution. Experimental results on two datasets demonstrate that our model outperforms existing models in terms of automatic evaluation of semantic, metrical, and overall performance as well as human evaluation. Codes are released to https://github.com/ChorlingLau/PoetryDiffusion.

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Books on the topic "Chinese Experimental poetry"

1

Jilin, Sun. Rise and noise: From misty poetry to the third generation. Gossenberg: Ostasien Verlag, 2021.

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2

Johnson, Halvard, ed. Fellating the Pickle, Chinese Water Torture, etc. California, USA: On Barcelona, 2012.

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3

translator, Zhang Xiaohong 1970, ed. Jing shen yu jin qian shi dai de Zhongguo shi ge: Cong 1980 nian dai dao 21 shi ji chu. Beijing: Beijing da xue chu ban she, 2017.

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4

Crevel, Maghiel van. Language Shattered: Contemporary Chinese Poetry and Duoduo. Leiden University Press, 1996.

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5

Teo, Tze-Yin. If Babel Had a Form. Fordham University Press, 2022. http://dx.doi.org/10.5422/fordham/9781531500184.001.0001.

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In twentieth-century intersections of China and Asia with the United States, translations did more than communicate meaning across politicized and racializing differences of language and nation. Instead, transpacific translation breached the regulative protocols that created those very differences of cultural value and meaning. The result saw translators cleaving to the sounds and shapes of poetry to imagine a translingual “likeness of form” but not of meaning or kind. At stake in this form without meaning is a new task of equivalence. As a concept, equivalence has been rejected for its colonizing epistemology of value, naming a broken promise of translation and false premise of comparison. Yet in veering from those very ways of knowing, the writers studied in this book theorized a poetic equivalence, negating the colonial foundations of the concept to discover the power of translation in surprising places. Igniting aporias of meaning into flashpoints for a radical literary translation, the book’s immanent readings narrate accounts of poetic equivalence across the iconoclastic poetics of American modernist Ernest Fenollosa, the vernacular experiments of Republican-era China’s central reformer Hu Shih, the trilingual musings of modern Chinese writer and Los Angeles expatriate Eileen Chang, the unfinished work of the Asian American transmedial artist Theresa Cha, and a post-Tiananmen elegy by the contemporary Chinese poet Yang Lian. The conclusion returns to the deconstructive genealogy of recent debates on translation and untranslatability, displacing the convention of radical alterity for a no less radical equivalence.

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Book chapters on the topic "Chinese Experimental poetry"

1

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

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Hockx, Michel. "From Writing to Roaming." In The Making of Chinese-Sinophone Literatures as World Literature, 203–16. Hong Kong University Press, 2022. http://dx.doi.org/10.5790/hongkong/9789888528721.003.0011.

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Black and Blue is the collective name of a unique group of writers that has been promoting experimental fiction in China for over two decades. This article assesses the group’s contributions to global avant-garde aesthetics through its innovative practices and its dedication to its art. Close readings of work published in the group’s magazine provide insight into what David Damrosch calls the “negotiation between two different cultures,” in this case an engagement between Chinese fiction and Dutch poetry. These investigations are framed by an argument concerning the significance of the World Wide Web as a production site for world literature, the study of which continues to be dominated largely by print culture practices and values.

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Damrosch, David. "Conclusion." In Comparing the Literatures, 334–48. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691134994.003.0010.

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This chapter points out the acceleration of globalization that had a major impact on making comparative literature a good setting to explore interests and concerns from the conflictual transformation of the world's economic and cultural landscape. It also discusses the increase in international communication and travel fostered by the internet and deregulated airfares that enables scholars to gather and critique neoliberalism. The chapter explains how postcolonial writing is thought and changed differently within world literature and analyzes the interactions between postcolonial and global or world literary studies. It looks into comparative studies that involve novel intersections of perspectives that can be seen in forward-looking work often pursued by comparatists. It also cites Jacob Edmond's “A Common Strangeness,” in which he examines globalization through case studies in experimental Chinese, Russian, and American poetry.

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Bachner, Andrea. "World-Literary Hospitality." In The Making of Chinese-Sinophone Literatures as World Literature, 103–21. Hong Kong University Press, 2022. http://dx.doi.org/10.5790/hongkong/9789888528721.003.0006.

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Most debates about what constitutes world literature put emphasis on movement and creation, on world literary originality or activity, thus drawing a skewed map of world-literary intensity. What if we paid attention to an equally important part of literary worlding, namely the capacity for receiving literary impulses from other cultures, the ability to translate, integrate, rewrite, and (re-)create? This essay challenges commonplaces of textual agency and espouses a methodology attentive to world-literary hospitality. It juxtaposes two examples of world-literary circulation from the early 1920s between Latin America and China: The first is Mexican writer José Juan Tablada’s (1871-1945) 1920 poetry collection Li-Po y otros poemas (Li-Po and Other Poems)—an experiment in visual poetry inspired by Chinese and Japanese culture. The second is one of the earliest translations of a Latin American literary text into Chinese: Mao Dun’s 1921 Chinese rendition of Nicaraguan writer Rubén Darío’s story “El velo de la reina Mab” (“The Veil of Queen Mab”), published originally in 1888. Rather than showing how Chinese literary texts can be read through the lens of world-literary approaches, I aim to read these texts as scenes of world-literary hospitality, and thus as experiments in proposing alternative world-literary patterns.

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"Measure Words Not for Measure: a Linguistic Experiment in Modern Chinese Poetry." In Chinese Poetic Modernisms, 235–57. BRILL, 2019. http://dx.doi.org/10.1163/9789004402898_012.

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Conference papers on the topic "Chinese Experimental poetry"

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Chen, Huimin, Xiaoyuan Yi, Maosong Sun, Wenhao Li, Cheng Yang, and Zhipeng Guo. "Sentiment-Controllable Chinese Poetry Generation." In Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. California: International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/684.

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Expressing diverse sentiments is one of the main purposes of human poetry creation. Existing Chinese poetry generation models have made great progress in poetry quality, but they all neglected to endow generated poems with specific sentiments. Such defect leads to strong sentiment collapse or bias and thus hurts the diversity and semantics of generated poems. Meanwhile, there are few sentimental Chinese poetry resources for studying. To address this problem, we first collect a manually-labelled sentimental poetry corpus with fine-grained sentiment labels. Then we propose a novel semi-supervised conditional Variational Auto-Encoder model for sentiment-controllable poetry generation. Besides, since poetry is discourse-level text where the polarity and intensity of sentiment could transfer among lines, we incorporate a temporal module to capture sentiment transition patterns among different lines. Experimental results show our model can control the sentiment of not only a whole poem but also each line, and improve the poetry diversity against the state-of-the-art models without losing quality.

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