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Relevant bibliographies by topics / Chinese new poem

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Academic literature on the topic 'Chinese new poem'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Chinese new poem"

1

Lin, Hong. "Software Aided Classic Chinese Poem Composition." International Journal of Computer-Assisted Language Learning and Teaching 4, no. 1 (2014): 63–83. http://dx.doi.org/10.4018/ijcallt.2014010104.

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The forms of Chinese classic poetry have been developed through thousands years of history and are still current in today's poetry society. A re-classification of the rhyming words, however, is necessary for the classic poetry writing to be done in the new settings of modern Chinese language. In order to maintain the continuation of the poetry forms, computing technology can be used to help the readers as well as poetry writers to check the compliance of poems in accordance to the forms and compose poems without the effort to learn the old grouping of rhyming words. This work will help revive

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LIN, HONG. "TOWARD AUTOMATED GENERATION OF CHINESE CLASSIC POETRY." New Mathematics and Natural Computation 09, no. 02 (2013): 153–81. http://dx.doi.org/10.1142/s1793005713400024.

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The forms of Chinese classic poetry have been developed through thousands of years of history and are still current in today's poetry society. A re-classification of the rhyming words, however, is necessary to keep the classic poetry up to date in the new settings of modern Chinese language. To ease the transition process, computing technology is used to help the readers as well as poetry writers to check the compliance of poems in accordance with the forms and to compose poems without the effort to learn the old grouping of rhyming words. A piece of software has been developed in a faculty/st

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Na, Sai. "Artistic space in I.S. Turgenev’s prose poem «threshold» and in chinese literature of the XX century." Solov’evskie issledovaniya, no. 4 (December 15, 2019): 167–76. http://dx.doi.org/10.17588/2076-9210.2019.4.167-176.

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The popularity of «Prose Poems» (1878–1882) by Ivan Sergeevich Turgenev dates back more than a hundred years, while they remain the very first works of the writer, translated into Chinese. The study of Turgenev has gained particular relevance in China. This article discusses the understudied issue of the influence of the Turgenev’s prose poem «Threshold» on Chinese literature through the example of the work of the classics of Chinese literature of the first half of the 20th century, such as Lu Xin (1881–1936), the father of the modern Chinese novel, Li Ni (1913–1968), the singer of «sorrow and

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Porol, Polina Vadimovna. "The image of China in K. Balmont’s poem “The Great Nothing”." Litera, no. 9 (September 2020): 1–10. http://dx.doi.org/10.25136/2409-8698.2020.9.33647.

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This article reviews the image of China in Konstantin Balmont&rsquo;s poem &ldquo;The Great Nothing&rdquo;. Significant attention is given to interpretation of the poem. The author refers to the cultural and historical realias of China, as well as mythology and philosophy. Genesis of the image of Zhuang Zhou and peculiarities of his perception by the poet is revealed. The goal of this work consists in determination of semantic saturation of the image of China in reception of Konstantin Balmont. The line of reasoning and conclusions of the author of this article are founded on the c

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Jiang, Hongxin. "PAINTING AND POETRY: EZRA POUND’S “SEVEN LAKES CANTO” AND EIGHT VIEWS OF XIAO XIANG." Revista Brasileira de Literatura Comparada 22, no. 41 (2020): 84–94. http://dx.doi.org/10.1590/2596-304x20202241jh.

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Abstract: In the history of cultural exchange between China and the West, it’s a deed praised far and wide that the Chinese paintings Eight Views of Xiao Xiang had exerted great influence on Ezra Pound’s poetic work “Seven Lakes Canto” or “Canto 49.” By exploring the details of the paintings and tracing the influence of the paintings on the creation of the poem, this paper reveals that the etymological and compositional use of Chinese ideograms had an enormous impact on Pound’s thinking about poetry and cultural matters, and on the writing of The Cantos. Pound, by adopting the images of China

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Pulungsari, Rahadjeng. "MENGLONGSHI 朦胧诗DAN REVOLUSI KEBUDAYAAN CINA". Paradigma, Jurnal Kajian Budaya 8, № 1 (2018): 84. http://dx.doi.org/10.17510/paradigma.v8i1.188.

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<p>Misty poetry or 朦胧诗 <em>menglongshi</em> is a poem that appeared in the era of the 70s during the Cultural Revolution (1966-1976). The emergence of a new kind of poetry that is different from the previous poem marks a new way of writing poetry in China. Its uniqueness is in wordplay, metaphor, synesthesia, and symbols that are not open to its meaning. This new type of Misty poem also received attention from the Chinese government, because behind the symbols and sequence of sentences contain thoughts that are considered not in accordance with the government. Among these Mis

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Porol, Polina Vadimovna. "Receptive aesthetics of China’s image in poetry of K. Balmont." RUDN Journal of Studies in Literature and Journalism 24, no. 1 (2019): 16–26. http://dx.doi.org/10.22363/2312-9220-2019-24-1-16-26.

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The article describes receptive aesthetics of the image of China in the poetry of K. Balmont. New in the work is the hypothesis of coexistence in works of the poet of two principles - Logos and Tao. Texts have been found in Chinese, to which poet addresses. The original text have been identified, which became the basis for the creation of a poem by K. Balmont “Chinese sky”. The reasoning and conclusions of the author are based on critical studies comparing two cultures. Analysis of the poetic works of K. Balmont was carried out basing on the semantic aspect using the method of textual parallel

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Yang, Linling. "Reading of Qing Ming and its derivative forms—From the Perspective of Cognitive Poetics." Learning & Education 9, no. 2 (2020): 34. http://dx.doi.org/10.18282/l-e.v9i2.1392.

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Chinese poetry plays an important part in Chinese literature, and has been the focus of research and the way for Chinese people savor life and for their self-cultivation. The appearance of cognitive poetics shed the new light on the research of literature, especially on poetry. It rose up from the 1970s, combining the theories of literature and those of linguistics, and emphasized the recording and interpreting the psychological state of readers or, simply their reading of the texts which involves information processing, individual psychological states, it was naturally connected with the rese

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Kwong, Charles. "Translating Classical Chinese Poetry into Rhymed English: A Linguistic-Aesthetic View." TTR 22, no. 1 (2010): 189–220. http://dx.doi.org/10.7202/044787ar.

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Rhyme is an important element in the fusion of sense and sound that constitutes poetry. No mere ornament in versification, rhyme performs significant artistic functions. Structurally, it unifies and distinguishes units within a poem. Semantically, it can serve to enhance or ironise sense. Emotively, it sets up pleasing resonances that deepen artistic appeal. And prosodically, rhyme can be seen as the keynote in a melody: rhyme is a modulator of pace and rhythm, while rhyme change can mark a turn of rhythm and sense in a long poem. Different languages have different combinations of linguistic r

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LAI, JOHN T. P. "Wellspring of Inspiration: TheMandarin Union Versionand Modern Chinese Poetry in the Early Twentieth Century." Journal of the Royal Asiatic Society 30, no. 1 (2018): 163–77. http://dx.doi.org/10.1017/s1356186318000676.

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Coinciding with the May Fourth new cultural and literary movement, the publication of theMandarin Union Version, the vernacular Chinese translation of the Bible, in 1919 had a profound impact on the formation of modern Chinese literature. This paper examines the ways in which theUnion Versionprovided a novel source of imageries, poetic genres and worldviews for the experimentation of modern Chinese poetry during the Republican period, particularly between the 1920s and 1940s. Revering the Bible as the Holy Scripture, young Christian poetess Bing Xin (1900–99) spontaneously expressed her religi

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Dissertations / Theses on the topic "Chinese new poem"

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梅廣釗 and Kwong-chiu Mui. "Exploration in new music: portfolio of compositions and analysis." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B43894574.

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Kapounová, Karina. "Forma a obsah v "nové čínské básni"." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-370112.

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This thesis focuses on the poets Chen Mengjia 陳夢家 (1911-1966) and Rao Mengkan 饒孟侃 (1902-1967) who were in the late twenties and the early thirties writing "new poems" influenced by a poet and a theoretician Wen Yiduo within the literary society the Crescent moon (Xinyue pai 新月派). Through the analysis of their theoretical articles and especially their own poems, published in the magazine Crescent Monthly (Xinyue yuekan 新月月刊), I try to answer the following questions. Firstly, how they created new fixed verse poems that were able to link a form of a poem to its content. Secondly, how they follow

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Du, Mei. "READING AND TRANSLATING “NOW-NESS” AND “CONTINUITY” IN THE IMAGISTIC LANGUAGE OF TANG POEMS." 2019. https://scholarworks.umass.edu/masters_theses_2/828.

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The imagistic language of Tang poetry can be defined as the language of Tang poetry that presents directly the immediate sensory/emotive experience, which is the early, unprocessed inner response of an external experience that involves what is previously unknown. The primary purpose of my thesis is to explore a theoretical definition of two characteristics: “now-ness” and “continuity” in the immediate sensory/emotive experience as well as to explore how the two characteristics are generally demonstrated in the imagistic language of Tang poems. Through the demonstration of seven individual anal

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YANG, RU-MEI, and 楊茹美. "From“The Special Column For Little Poet” of Chinese Daily News to study The image of parents in children’s mind." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/rqewyy.

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碩士<br>臺東師範學院<br>兒童文學研究所<br>91<br>The Special Column For Little Poet written by children is one of the pages which started in 1996 by chief editor Kuo-Su Su of Chinese Daily News. The researcher chose this subject as his study theme is because of its bounteous writings in which the trace of parents can be found. There are six chapters in this research analyzing as follow: The first chapter, introduction, is to introduce the reasons, the manners, and the previous researches on this subject. The second chapter is to comprehensively review on the subject including editor

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Books on the topic "Chinese new poem"

1

Chinese apples: New and selected poems. Alfred A. Knopf, 2006.

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Levine, Steve. To and for: New and selected poems. Coffee House Press, 1992.

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Chu ci yan jiu lun wen ji: Fu jin san shi nian guo nei wai suo jian Chu ci lun wen mu lu. Xue hai chu ban she, 1985.

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My Chinatown: One year in poems. HarperCollins, 2002.

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New tide: Contemporary Chinese poems. Mangajin Books, 1992.

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Tian, Xiaofei, ed. Reading Du Fu. Hong Kong University Press, 2020. http://dx.doi.org/10.5790/hongkong/9789888528448.001.0001.

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This is the first collection of English essays on Du Fu, commonly regarded the greatest Chinese poet. Contributed by well-known experts of Chinese literature as well as scholars of a younger generation, these essays are engaged in historically nuanced close reading of Du Fu’s poems, both canonical and less known, from new angles and in various contexts. They discuss a series of critical issues, including the local and the imperial; the body politic and the individual body; poetry and geography; perspectives on the complicated relation of religion and literature; materiality and contemporary re

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Piero, W. S. Di. Chinese Apples: New and Selected Poems. Knopf, 2009.

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Piero, W. S. Di. Chinese Apples: New and Selected Poems. Knopf, 2007.

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9

300 Tang poems: A new translation. Commercial, 1999.

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10

Ping, Wang. New Generation: Poems from China Today. Hanging Loose Press, 1999.

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Book chapters on the topic "Chinese new poem"

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Crespi, John A. "Poetic Memory: Recalling the Cultural Revolution in the Poems of Yu Jian and Sun Wenbo." In New Perspectives on Contemporary Chinese Poetry. Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230610149_10.

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Davis, Nancy E. "Travel to Cuba and up the Mississippi River." In The Chinese Lady. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190645236.003.0009.

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The great New York City fire of December 1835 wiped out the Carneses’ warehouses and their incentive to promote their Chinese goods. Afong Moy’s manager took her on an extensive and strenuous trip to Cuba and up the Mississippi River in 1836, exposing her to many cultures—Spanish, Native American, Creole, and French—as well as the pernicious effects of slavery, Indian removal, and nativism. Her appearance in New Orleans, highlighted in a broadside, presented both the exotic oriental woman and the royal Chinese lady. A poem to “The Chinese Lady—Miss Afong Moy” by antislavery advocate Rev. William Tappan after he saw her in Cincinnati indicated his hope that she might see the Christian “sparkles of the light” and discard her heathen beliefs.

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Davis, Nancy E. "New York to Charleston." In The Chinese Lady. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190645236.003.0007.

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To accompany Afong Moy’s presentation of salable goods in New York City in 1834, the Carneses opened an adjoining public exhibition displaying ancient Chinese artifacts—the first such completely public presentation of Chinese objects in America. In the accompanying exhibition catalogue they featured an image of Afong Moy which greatly differed from that of the Risso and Browne lithograph. This exotic personification would follow her on her trips to Philadelphia, the President’s House in Washington, DC, Baltimore, and finally to Charleston where her bound feet were exposed to the public. Afong Moy’s fame quickly spread across the country. Those who could not see her in person learned of her through articles in children’s magazines, read about her in poems, or saw her image in the local newspaper.

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Hee, Wai-Siam. "New Friend." In Remapping the Sinophone. Hong Kong University Press, 2019. http://dx.doi.org/10.5790/hongkong/9789888528035.003.0002.

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The first chapter searches for evidence of the production of the first Singaporean and Malayan film New Friend in old periodicals from the 1920s held in the British Library. This corrects the common misconception that this film was never screened and confirms the historical significance and standing of New Friend as the first Singaporean and Malayan film. This chapter also describes the origins of, and public response to, the Nanyang Low Poey Kim Independent Motion Picture Company. It also gives an overview of Liu’s tragic life, from film company owner to his return to China to fight against the Japanese as a ‘Nanyang Volunteer Driver and Mechanic’. In addition, this chapter describes the New Friend production team and the debates the film sparked among audiences. It then further investigates the problems that the film confronted at the time of its production, including censorship imposed by the British colonial government during the 1920s, the oscillation found in New Friend’s screenplay between the Nanyang and Chinese styles of literature and art, and the way it handles entanglements between ‘new immigrants’ and Chinese Peranakan. This chapter also observes that New Friend features a Sinophone ‘linguistic creolisation’, inverting the hierarchical relationship between Chinese people and foreigners found in S.E. Asian reality. This reflects Liu’s optimistic hope that S.E. Asian Chinese society would unite under the banner of ‘Chineseness’ and resist colonial power. Liu Beijin and the case of New Friend represent pre–Cold War S.E. Asian Chinese cultural productions of Chinese historical identity, in which Chineseness and hybridity coexisted without a binary choice. This provides a historical dimension to reflections on Sinophone topics related to Chineseness and hybridity.

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"CHIN-T’I-SHIH POEMS OF NEW METRICAL PATTERNS." In Chinese Poetry, 2nd ed., Revised. Duke University Press, 1997. http://dx.doi.org/10.2307/j.ctv11cw5z2.13.

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"The Angel Island Poems: Chinese Verse In The Modern Diaspora." In A New Literary History of Modern China. Harvard University Press, 2017. http://dx.doi.org/10.4159/9780674978898-118.

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Huang, Michelle Ying-Ling. "Chinese Artistic Influences on the Vorticists in London." In British Modernism and Chinoiserie. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748690954.003.0005.

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This chapter examines how young poets and artists became interested in Chinese art that in the 1910s was expressed in the tenets of Vorticism. When Ezra Pound came to London in 1908 he got involved in the circle of British poets, artists and critics who held regular social gatherings at the Vienna Café in New Oxford Street. Among them was Laurence Binyon, poet and Assistant Keeper of Prints and Drawings at the British Museum, who shared with the group his scholarship in Oriental painting. When Binyon was developing his friendship with Pound, Percy Wyndham Lewis and other British Modernists, new art movements were rapidly emerging in Europe. At the same traditional Chinese art was becoming available in museums and in London and other Western art markets. Coinciding with a dynamic change in modern European art, Oriental ideas became an alternative source of inspiration for the West. In 1914, Pound collaborated with Lewis and Henri Gaudier-Brzeska to promote a new artistic movement for which Pound coined the name Vorticism. Gaudier-Brzeska took his inspiration from Chinese animal bronzes of the Zhou dynasty and Lewis from the landscape paintings of the Song dynasty. Their common interest in Chinese art, helped formulate the principles of Vorticism.

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"7. Stories Told in New Ways." In The Poet Zheng Zhen (1806-1864) and the Rise of Chinese Modernity. BRILL, 2013. http://dx.doi.org/10.1163/9789004252295_009.

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"On the Historical-Cultural Connotations of “Chinese New Poetry”: Fu Tianhong’s Poems as a Case-Study." In Chinese Literature and Culture in the Age of Global Capitalism. BRILL, 2021. http://dx.doi.org/10.1163/9789004461192_004.

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"Who Wrote the Analects?" In Who Wrote That?, edited by Donald Ostrowski. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501749704.003.0003.

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This chapter focuses on the Analects, which is a collection of 512 passages arranged in twenty chapters that describe what Confucius said. The chapter talks about the rationalist neo-Confucian philosopher Zhu Xi who selected the Analects as one of the Four Books to read in order to understand Confucian teachings during the Song dynasty. It also mentions the Five Classics of Confucianism that were traditionally ascribed to Confucius in the sense that he wrote some and edited others. The chapter discusses Ban Gu, a Chinese politician and poet who provided the seminal narrative for how it was thought the Analects was compiled. It also pays attention to the poet and politician Liu Zongyuan, who expressed the opinion that disciples of Zengzi compiled the Analects.

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Conference papers on the topic "Chinese new poem"

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Peng, Guan-Fu, Yi-Shian Yang, Chen-Yu Tsai, and Von-Wun Soo. "Generate Modern Chinese Poems from News Based on Text Style Transfer Using GAN." In 2019 International Conference on Technologies and Applications of Artiﬁcial Intelligence (TAAI). IEEE, 2019. http://dx.doi.org/10.1109/taai48200.2019.8959907.

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Zhang, Dongmin, Lixin Zhang, Lianfeng Huo, et al. "Application of Nano-Material Based Hybrid Pour-Point Depressant for Long-Distance Waxy Crude Pipeline." In 2012 9th International Pipeline Conference. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/ipc2012-90110.

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A new type of nano-material based hybrid pour-point depressant with significant efficiency has been developed and successfully used in industrial application. For Daqing crude oil, a typical high waxy Chinese crude, with 80–100g/t new pour-point depressant and 58–65°C thermal treatment temperature, the wax appearance temperature of the Daqing crude oil can be decreased by 3–4°C. The viscosity/pour-point reduction, shearing resistance, and fluidity at low temperature of the modified crude with new type of pour-point depressant is much better than the effect of using traditional ethylene-vinyl a

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