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Journal articles on the topic 'Chinese new poem'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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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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3

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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Shim, Jae-Hoon. "An Ever-contested Poem: The Classic of Poetry's “Hanyi” and the Sino-Korean History Debate." Journal of Asian Studies 71, no. 2 (2012): 475–97. http://dx.doi.org/10.1017/s0021911812000125.

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Since 2003, the dispute over the history of the ancient kingdom of Koguryŏ (37 bce, trad.-668 ce), located in Manchuria and northern Korea, has been one of the hottest issues between China and Korea. The debate seems to have fueled a new nationalistic or Sinocentric historiography of the ancient Chinese northeast. A ninth century BCE poem called “Hanyi” in the Classic of Poetry [Shijing] has been the cause of a far older history dispute. Whereas Chinese scholars have generally understood Han as a Zhou feudal state ruled by a Ji-surnamed scion of the Zhou Dynasty (1045–256 bce), most Korean sch

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LU, CHI CHANG, and PO HSIEN LIN. "A Product as a Poem: A Case Study of a Bird-shaped Teapot Design Based on Traditional Chinese Poetic Aesthetics." Journal of Arts and Humanities 7, no. 3 (2018): 41. http://dx.doi.org/10.18533/journal.v7i3.1348.

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<p>The concept of emotional design has become the main focus in the current trend of perceptual consumption. After reviewing the historical development of art, we determined that traditional Chinese art emphasizes subjective expression and favor poetics. Poetics are image based, and personal feelings are used to analyze and understand external objects. These feelings are expressed implicitly through symbols or metaphors. Classical Chinese poetic aesthetic theory is based on nearly 2,000 years of history and, thus, comprises a myriad of valuable ideas. The creator of the bird-shaped teapo

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Barrett, Tim. "Zen and the “Image” in Tang Poetry." British Journal of Chinese Studies 10 (July 2, 2020): 1–14. http://dx.doi.org/10.51661/bjocs.v10i0.58.

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The purpose of the title of this piece is to suggest that behind the bland exterior of the average medieval Chinese poem (at least in English translation) there may lurk processes of composition entirely unsuspected by the modern reader, aspects of the Tang poem that might repay greater study. This approach, namely meditation as a method of creative inspiration, was far from universal in the poetry of the Tang period, since it seems to have arisen within specific historical circumstances, and though references to it remained and were handed down to later ages in widely read works, it is at pre

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Ekström, Martin Svensson. "Metapoetic Readings around Ekphrasis and Fu 賦". Prism 17, № 2 (2020): 353–98. http://dx.doi.org/10.1215/25783491-8690420.

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Abstract The author argues that the Greek tradition of ekphrasis and the Chinese genre of fu 賦 share at least two essential characteristics: they are devoted to exhaustive descriptions and are manifestly nonmetaphorical. The six texts under scrutiny—Mei Sheng's fu poem “Qi fa,” book 6 of Quintilian's Institutio oratoria, Zuo Si's preface to his “Sandu fu,” Xunzi's analysis of Zhou tombs and funerary rituals in his “Li lun” essay, the “Shield of Achilles” episode in the Iliad, and the metaphorical section of Sima Xiangru's “Shanglin fu”—all employ a similar set of rhetorical strategies but with

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Hoogervorst, Tom, and Melita Tarisa. "‘The Screaming Injustice of Colonial Relationships’." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 177, no. 1 (2021): 27–61. http://dx.doi.org/10.1163/22134379-bja10020.

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Abstract An insensitive poem published in 1935 sparked a wave of outrage among the Indies Chinese students in the Netherlands. Titled The yellow peril, it had started as an inside joke among Leiden’s Indologists, yet quickly aroused the fury of both moderates and radicals. Their anti-colonial activism flared up for months, attracting numerous allies and eventually taking hold in the Netherlands Indies. After the Indologists had apologized, the number of activists willing to push for more structural change dwindled. As such, this microhistory lays bare some broader dynamics of anti-racism. We a

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Sari, Risa Junita, Wannofri Samry, and Yudhi Andoni. "Peranakan Chinese’s Literature in Doenia Baroe Magazine (1930)." Andalas International Journal of Socio-Humanities 2, no. 1 (2020): 1–7. http://dx.doi.org/10.25077/aijosh.2.1.1-7.2020.

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Doenia Baroe Magazine (1930) is a press media of Peranakan Chinese that contains a lot of literature from various genre. The purpose of this study is to explain themes, forms and orientation of Peranakan Chinese’s literature, so that might explain author’s idea of literary works.Literature from Doenia Baroe Magazine has become the overview of history of literature that written by Peranakan Chinese that use historical methodology. Chinese literature in Doenia Baroe Magazine are influenced by the identity tendency as Chinese people which brings out rendering literary works. Literature from Doeni

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Hul, Oleksandra. "DISSIDENCE AND IMMIGRATION THROUGH THE WORLDVIEW OF “MISTY POET” BEI DAO." Polish Studies of Kyiv, no. 35 (2019): 444–51. http://dx.doi.org/10.17721/psk.2019.35.444-451.

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The key focus of the Article is based on the new trend in Chinese poetry named “Misty poetry”, which appeared in China in the 20 century as a rebellion and notice of appeal in the literary circles of young generation. Under the political and social pressure of the totalitarian regime in China, and in the conditions of total control over the literary process, there appeared a new style of expressing own thoughts and believes among youth, called “Misty poetry” or revolutionary poetry. This Article is revealing the aim, preconditions and key tasks of Misty poets. Being a leader of the Misty poets

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Tang, Xiaobing. "The Ocular Turn, Misty Poetry, and a Postrevolutionary Imagination." Prism 16, no. 1 (2019): 62–84. http://dx.doi.org/10.1215/25783491-7480333.

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Abstract “The Answer,” a poem by Bei Dao first published in 1978, marks the emergence of a defiant voice in contemporary Chinese poetry and asserts skepticism as the political stance of a young generation in post–Cultural Revolution China. It also heralds a historic transition from an era of sonic agitation to an aesthetics based on visual perception and contemplation. This rereading of Bei Dao's canonical poem and other related texts goes back to the late 1970s, when the political implications of the human senses were firmly grasped and heatedly debated. The author shows that an ocular turn o

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Jabb, Lama. "THE CONSCIOUSNESS OF THE PAST IN THE CREATIVITY OF THE PRESENT:MODERN TIBETAN LITERATURE AND SOCIAL CHANGE." International Journal of Asian Studies 8, no. 1 (2011): 89–95. http://dx.doi.org/10.1017/s147959141000029x.

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Thus sings Sangdhor in a metrical poem in praise of Tibetan versification, countering an anti-verse sentiment that is prevalent on the contemporary Tibetan literary scene. Since the flourishing of free verse form in the 1980s, thanks to the pioneering works of Dhondup Gyal, many Tibetan writers have attacked metrical composition for its perceived inflexible, archaic and inadaptable form and uniformity of content. Sangdhor, one of the most iconoclastic and forward-thinking intellectuals writing in Tibetan today, vehemently refutes such a stance on the grounds that the bulk of great Tibetan work

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Porol, Polina V. "The image of a dragon in the poetry of N. Gumilev: Chinese subtext." RUDN Journal of Studies in Literature and Journalism 24, no. 4 (2019): 691–703. http://dx.doi.org/10.22363/2312-9220-2019-24-4-691-703.

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The article discusses the image of a dragon in the poetry of N. Gumilev. New in the work is the hypothesis on the intertextuality of the poems by N. Gumilyov “The Poem of the Begining” and A. Tolstoyʼs “Dragon”. The Chinese subtext of the image of the dragon in the poetry of N. Gumilev is grounded. The relevance of the topic is due to the development of the study of the mutual perception of Russian and Chinese cultures in the space of a poetic text. At the same time, the problem of reception of the image of China in the poetry of the Silver Age remains not yet fully understood. The objectives

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Wang, Yanning. "Qing Women's Poetry on Roaming as a Female Transcendent." NAN NÜ 12, no. 1 (2010): 65–102. http://dx.doi.org/10.1163/156852610x518200.

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AbstractYouxian shi (poetry on roaming as a transcendent) has long been a conventional poetic genre in Chinese literature. It has been the common conception that youxian poetry was most popular from the Wei dynasty (220-265) through the Tang dynasty (618-907), and up until now, scholarly studies on the genre seemed to focus exclusively on Tang and pre-Tang periods. This gives the impression that after the Tang nothing of interest was written in this particular genre. Consequently, very little scholarly attention has been given to the youxian poems composed in post-Tang periods. This article ex

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Li, Ming. "The Creative Poetry Translation Method from the Perspective of the Cultural Turn — Longfellow’s A Psalm of Life as a Case Study." Theory and Practice in Language Studies 6, no. 5 (2016): 946. http://dx.doi.org/10.17507/tpls.0605.05.

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A Psalm of Life is a well-known poem written by Henry Wadsworth Longfellow, and it has been translated into many different versions since the Qing Dynasty. From the 1980s, translation studies have focused on the cultural aspects rather than the literal equivalence. The new perspective takes into account how the translated version is adapted and accepted and influences the target culture. This paper, based on the cultural turn perspective, examines the theoretical background of translation research and analyzes a translated version of A Psalm of Life in light of the target language and culture.

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Wang, Duangui. "“The Eight Songs” by Zhao Jiping as the embodiment of the vocal and instrumental poem." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (2019): 53–70. http://dx.doi.org/10.34064/khnum1-52.04.

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Formulation of the problem. An analysis of the genre-dramaturgical patterns in a poorly studied composition by the Chinese composer Zhao Jiping (2011) has been proposed. The relevance of the topic and the novelty of the received results of the genre-semantic analysis of the chosen vocal cycle are concluded in the search for the definition dictated by the artistic concept of its author – a cantata-type vocal poem (a small choir is introduced into the score). Among its criteria there are reliance on the orchestral accompaniment, the timbre variation of each song of the cycle, the poetry dictated

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Deng, Wensheng, and Ke Zhang. "Translation Idea: What Is Under-appreciated by a Teacher of Scholar." Theory and Practice in Language Studies 10, no. 7 (2020): 777. http://dx.doi.org/10.17507/tpls.1007.08.

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The time of “China’s culture going to global” has new idea for a translator, which refers to that translation is supposed to both highlight Chinese culture and to be readily accepted by others. Drawn on particular part of translation history dating back from Ezra Pound to Howard Goldblatt, first, the paper has explored translation paradigm, strategy and relations centered on translation idea. And then, an intermittent line hidden beneath the translation could be sketchily found in subsequent order: poem-composing upon the original image, national-character-reforming by relying on foreignizatio

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Barrett, Nick. "Misty Transcendence and the Irony of (Dis)belief." Journal of Reformed Theology 13, no. 2 (2019): 135–48. http://dx.doi.org/10.1163/15697312-01302017.

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AbstractIn the late 1970s and ’80s, a new generation of Chinese poets emerged with a powerful critique of the state’s aggressive political reforms. After the 1976 Tiananmen Square incident, the Bejing poet Zaho Zhenkai (known as Bei Dao) wrote a startling poem titled “The Answer” about his refusal to believe in the unquestioned ultimacy of China’s worldview. Bei Dao’s unique style of poetry helped readers make new associations that were otherwise inaccessible to them. This article examines Bei Dao’s use of metaphor in “The Answer” through the lens of the aesthetic philosopher Lambert Zuidervaa

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Stenberg, Josh. "Multiplicity in lieu of authority." Babel. Revue internationale de la traduction / International Journal of Translation 64, no. 4 (2018): 579–93. http://dx.doi.org/10.1075/babel.00058.ste.

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Abstract Over the past two decades, internet users have been the prolific producers of online English translations of Chinese classical poetry, resulting in multiple variant translations of the same short originals. This essay gives reasons for the popularity of such translations before examining how this corpus can be approached through ‘near-simultaneous reading.’ A case study of ten amateur internet translations of a line from a well-known Tang poem shows how, regardless of the deficiencies or limits of any single internet translation, a richer and more accurate understanding of the origina

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Song, Tian. "Composer – Artist: The role of pianist Hsu Fei Ping in the creative activity of Huang An Lun." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (2018): 43–60. http://dx.doi.org/10.34064/khnum1-50.04.

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Background. The article is dedicated to the creative communication of two outstanding Chinese musicians – a pianist Hsu Fei Ping and a composer Huang An Lun. Complete mutual understanding facilitated their communication. Practically in all his programs, the pianist included the music of Western European and Chinese composers. Critics especially noted that Hsu Fei-Ping had the musical penetration, brilliance and poetry of interpretations. Among many Chinese pianists, he was recognized as the best interpreter of piano works by Huang An Lun. This musician has a special role in the work of Huan An

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Wang, Cheng-hua. "One Painting, Two Emperors, and Their Cultural Agendas." Archives of Asian Art 70, no. 1 (2020): 85–117. http://dx.doi.org/10.1215/00666637-8124988.

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Abstract This research focuses on one of the most famous paintings made at the court of the Qing dynasty (1644–1911)—Qingming shanghe (Up the River during Qingming). Commissioned by the Yongzheng emperor (r. 1723–1735) and completed in the second year of the Qianlong emperor's reign (1736–1795), the painting is a rare example of Qing court art that reveals how Qianlong furthered his father's artistic vision while formulating his own in the first fifteen years of his long tenure as ruler. This vision involved how to reinterpret and reinvent the Chinese painting tradition through time-honored th

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Ponkratova, Ekaterina M., and Daria A. Tarakanova. "China in the Perception of Fyodor Dostoevsky." Vestnik Tomskogo gosudarstvennogo universiteta, no. 462 (2021): 49–55. http://dx.doi.org/10.17223/15617793/462/6.

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The aim of the study is to form a holistic image of China as presented in the artistic and journalistic works of Fyodor Dostoevsky. The article examines the issue of China’s place in Dostoevsky’s works and its special significance for the formation of a holistic picture of the writer’s world. A broad historical and cultural background is presented, showing the relevance of Dostoevsky’s views on Chinese issues. Despite the existence of works devoted to the Chinese issue in the writer’s work, the issue of the place and significance of China in the writer’s heritage has not yet been resolved. For

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Bush, Ronald, and David Ten Eyck. "A Critical Edition of Ezra Pound’s Pisan Cantos: Problems and Solutions." Textual Cultures 8, no. 2 (2015): 121–41. http://dx.doi.org/10.14434/tc.v8i2.13278.

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If for no other reason the fact that all published editions of the Pisan Cantos have been unable to execute Ezra Pound’s instructions for the insertion of Greek and have omitted over fifty sets of Chinese characters that he directed his publishers to include would be sufficient cause to re-edit the poem. But the case for a new edition is stronger than that. Owing to the extraordinary conditions of its composition and transmission, approximately five hundred corruptions of Pound’s typescript text survived into the poem’s first English and American publications. Pound’s typescript of the Pisan C

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He, Yuemin. "A Congeries of Lichee Nuts for America: Chinese Religion in Edgar Lee Masters’s New York Chinatown Poetry Collection." Religion and the Arts 17, no. 1-2 (2013): 135–56. http://dx.doi.org/10.1163/15685292-12341258.

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Abstract Active in several genres of writing and extremely productive, American poet Edgar Lee Masters (1868–1950) became famous almost overnight with his earlier collection of free verse monologues, The Spoon River Anthology (1915). But as quickly as he rose in prominence, his fame declined thereafter. In the past decades, critics usually regarded The Spoon River Anthology as Masters’s best collection. This essay takes a step toward uncovering the value of Masters’s other work by examining one aspect of Lichee Nuts, a book-length collection of short poems published in 1929. This essay reveals

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K. R. Aman, Yasser. "Theory of Time and Literature: A Study of Tina Chang’s “Origin and Ash” and “The Idea of Revelation”." University of Bucharest Review. Literary and Cultural Studies Series 9, no. 2 (2020): 10–23. http://dx.doi.org/10.31178/ubr.9.2.2.

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The researcher discusses different theories of time and proposes a hybrid theory in order to investigate the two poems “Origin and Ash” and “The Idea of Revelation” by Tina Chang, daughter of Chinese immigrants and poet laureate of Brooklyn, New York, born in Oklahoma and spent two years of her childhood in Taiwan. I argue that the proposed theory of time can be applied to Chang’s poems since she questions current issues in order to solve them and see the future from a new angle. Although time in Chang’s poems assumes a straightforward nature that tries either to downplay the past as a separat

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Yan, Hanjin. "Reforming the Relations of the Sexes: Zhou Zuoren’s Translation and Imitation of William Blake’s Poems about Love and Sexuality." NAN NÜ 22, no. 2 (2020): 313–41. http://dx.doi.org/10.1163/15685268-02220003.

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Abstract This article probes into the motivation behind Zhou Zuoren’s (1885-1967) translation and imitation of the English poet William Blake’s (1757-1827) poems about love and sexuality in the May Fourth era. It situates Zhou’s approach to Blake’s poems in the contemporary context of the New Culture Movement and traces the Japanese and English sources that informed Zhou’s reading of Blake. By analyzing Zhou’s selective use of his foreign sources and his calculated translation of Blake’s poems, it argues that Zhou’s appropriation of Blake was driven by his agenda for unfettered sexuality, free

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Damrosch, David. "Scriptworlds Lost and Found." Journal of World Literature 1, no. 2 (2016): 143–57. http://dx.doi.org/10.1163/24056480-00102002.

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When writing systems spread beyond their language of origin, they bring literacy to formerly oral cultures or intrude on or displace an existing system. The process of learning a new script often entails learning a good deal about the source culture and its literature, sometimes overwriting earlier local traditions, other times creatively stimulating them. This essay looks first at some of the literary consequences of the spread of cuneiform writing in relation to its hieroglyphic and alphabetic rivals in the ancient Near East, and then discusses the advance and later loss of Chinese script in

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Su, Pei Hsuan. "The Digital Innovation of Appropriating Traditional Chinese Lyric Poems in Creative Design." Applied Mechanics and Materials 311 (February 2013): 348–53. http://dx.doi.org/10.4028/www.scientific.net/amm.311.348.

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The research integrates digital editing system while making digital images for interpreting two traditional Chinese lyric poems written by Su Shi (1036-1101 A.D.) in Sung Dynasty. It serves as a digitalized visual language to recognize the Chinese literati aesthetics. The research approach is based on the use of semiotic analysis, in which the researcher emphasizes connections among viewers, content, and its cultural context. Instead of treating each component as a separate entity, the research seeks correspondences. The results suggest the use of visual and sound effects, lighting, color and

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Amy Li, Xiaofan. "A Disintegrating Lyric? – Henri Michaux and Chinese Lyricism." Comparative Critical Studies 17, no. 2 (2020): 285–302. http://dx.doi.org/10.3366/ccs.2020.0363.

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This essay examines the perplexing triangular relation between Henri Michaux's ambiguous and attenuated lyricism, the French lyrical tradition, and Michaux's Chinese-inspired poems. I explore how Michaux's West-Eastern cross-cultural straddling relates to the way he renders the lyric problematic, and how this relation can help us re-read and perhaps unread the lyric (at least, its European understanding) in a comparative way. I first read some poems that are representative of Michaux's uneasy and disintegrating lyricism; then I consider how Michaux's poems that allude to Chinese and Far Easter

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Yung, Judy, and Him Mark Lai. "Him Mark Lai: Reclaiming Chinese American History." Public Historian 25, no. 1 (2003): 51–69. http://dx.doi.org/10.1525/tph.2003.25.1.51.

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In this interview with colleague Judy Yung, Him Mark Lai discusses at length the driving forces behind his passion for researching Chinese American history——his working-class background, progressive politics, training as a mechanical engineer, bilingual skills, and strong ethnic identity. Internationally recognized as the foremost authority on Chinese American history, Lai describes in detail his development as a pragmatic historian while researching and writing about such new topics as Angel Island poems, Pearl River Delta, Chinese American newspapers, regional groups, and Left movements.

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CHIN, TAMARA. "Orienting Mimesis: Marriage and the Book of Songs." Representations 94, no. 1 (2006): 53–79. http://dx.doi.org/10.1525/rep.2006.94.1.53.

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ABSTRACT Modern critics generally locate the beginning of the Chinese aesthetic tradition in the Confucian commentarial repression of the ““love and marriage”” poems of the Book of Songs. This article argues that these commentators were actually using the Songs to engage with Han dynasty debates about desire, and in doing so formulated a new, gendered way of presenting poems as parables.

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Wang, Wenjuan. "Implementation of Values Education based on the Cultural Essence of Ancient Poems and Classics." Journal of Contemporary Educational Research 5, no. 7 (2021): 68–74. http://dx.doi.org/10.26689/jcer.v5i7.2308.

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During COVID-19, the entire human race is facing a major change that is rare in this century. The intricate competition between countries and the ever-changing situation at home and abroad have put forward new propositions for education in schools. As the collection of human wisdom for thousands of years, the classics of poetry and prose carry the endless spiritual strength of the Chinese nation, the spiritual support for the healthy growth of young people, and the cultural essence of morals and values education. Using ancient poems and classics as the breakthrough point, excavating cultural e

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Ang, Claudine. "Writing Landscapes into Civilization: Ming Loyalist Ambitions on the Mekong Delta." T’oung Pao 104, no. 5-6 (2018): 626–71. http://dx.doi.org/10.1163/15685322-10456p06.

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AbstractAfter the collapse of the Ming dynasty, a group of Ming loyalists settled in Hà Tiên (located on the Vietnamese side of the modern border between Cambodia and Vietnam) on the Mekong delta. On those frontier lands, they built a settlement around a port that maintained close connections with Guangdong and Fujian. This article examines an eighteenth-century literary project that took as its focus ten scenic sites in Hà Tiên. The poems were distributed via the coastal trading network to poets in Vietnam and the Chinese mainland, who composed matching poems and returned them with the next s

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Krenz, Joanna. "Ice Cream in the Cathedral: The Literary Failures and Social Success of Chinese Robot Poet Xiao Bing." Asiatische Studien - Études Asiatiques 74, no. 3 (2020): 547–81. http://dx.doi.org/10.1515/asia-2019-0024.

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Abstract In May 2017, Xiao Bing, a popular Chinese chatbot built by Microsoft Research Asia, made her debut as a poet with Sunlight Has Lost Its Glass Windows, a collection marketed as the entirely created by artificial intelligence. She learnt the art of poetry by “reading” the works of 519 modern Chinese poets, and her “inspiration” comes from pictures provided first by her programmers and later by netizens, who upload photographs through her website. Xiao Bing’s emergence made a splash in Chinese society and raised grave concerns among the poets, who polemicized with her engineers. This ess

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Polovinkina, O. I. "Pound, E. (2019). Cathay. A critical edition. Ed. by T. Billings. New York: Fordham U. P." Voprosy literatury, no. 2 (June 17, 2021): 282–87. http://dx.doi.org/10.31425/0042-8795-2021-2-282-287.

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The new edition of E. Pound's poetic collection Cathay, first published in 1915, shows the idea of world literature to be as real as it is problematic. Thanks to T. Billings, the editor behind the publication, the book offers the most exhaustive description of the process whereby the translations were created: it involved not only Pound and Fenollosa, but also K. Mori and N. Ariga, who represent the Japanese tradition of reading classical Chinese poetry. The volume contains almost all of Pound's Chinese translations produced in the 1910s, his essay ‘Chinese Poetry,' as well as an impressive sc

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Rošker, Jana. "Wherever We Find Friends there Begins a New Life: Tagore and China." Asian Studies, no. 1 (December 1, 2010): 45–56. http://dx.doi.org/10.4312/as.2010.-14.1.45-56.

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Tagore made a deep impression upon the Chinese culture and society. In 1923, the Jiangxue she 講學社 (Beijing Lecture Association) invited Rabindranath Tagore to deliver a series of talks. The Jiangxue she Association was established in September 1920 and represented one of the many institutions that came to life in China during the May Fourth Movement. Since then, almost all of his works in English have been translated into Chinese. He came to China just when the latter was beginning her Renaissance and his visit certainly gave a great impetus to this new movement. His poems of Stray Birds and T

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Gvili, Gal. "Pan-Asian Poetics: Tagore and the Interpersonal in May Fourth New Poetry." Journal of Asian Studies 77, no. 1 (2018): 181–203. http://dx.doi.org/10.1017/s0021911817001309.

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Rabindranath Tagore's visit to China in 1924 was a milestone in the May Fourth Movement's envisioning of modern literature as a vehicle for social transformation. Moving beyond interpretations of the visit as a political failure, this article locates the reception of Tagore's ideal of Eastern spirituality within the larger climate of literary production, specifically in new poetry. Through close reading of poems by Xu Zhimo and Bing Xin, this article argues that Tagore's ideas were fundamental for the development of poetry as an interpersonal medium that both portrays and effects social bonds.

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Lihong, Zhu, and Wang Feng. "The Zen Relationship between Chinese Poetry and American Poetry." International Journal of Multicultural and Multireligious Understanding 6, no. 4 (2019): 92. http://dx.doi.org/10.18415/ijmmu.v6i4.952.

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Zen has become especially popular after 1950 and the Zen craze of East Asia not only has become a kind of belief but also a way of life in America. Many American writers introduce, advocate, and concentrate on their Zen, and even go to the East to learn Zen. They applied the ideology, content and allusions of Chinese Zen to their works, so they have a close relationship with Chinese Zen. This article aims to analyze the poems of Kenneth Rexroth, Anthony Piccione, Gary Snyder and James P. Lenfesty to explore the mysterious relationship between Chinese and American poetry. These poets imitate th

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Ren, Xiaoxuan. "Turgenev’s traditions and motifs in the collection “Dragons, Tigers and Dogs” by Ba Jin." Litera, no. 2 (February 2021): 19–29. http://dx.doi.org/10.25136/2409-8698.2021.2.35042.

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The subject of this research is the adoption and development of the motifs of I. S. Turgenev&rsquo;s &ldquo;Poems in Prose&rdquo; in the lyrical collection &ldquo;Dragons, Tigers and Dogs&rdquo; by Ba Jin, who was dubbed &ldquo;China&rsquo;s Turgenev&rdquo;. Attention is focused on the analysis of literary techniques adopted by Ba Jin from Turgenev, such as: narrative methods, motifs of the dreams, latent psychologism and profound psychologism of the landscape, symbolism, and fundamental musicality of the text. The research material contains the lyrical cycles o

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Rubets, Maria. "Polysemy as a Way to Create Nonlinear Text in the Chinese Language Culture." Ideas and Ideals 12, no. 4-1 (2020): 11–24. http://dx.doi.org/10.17212/2075-0862-2020-12.4.1-11-24.

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The article is devoted to the problem of polysemy in the Chinese language as one of the ways to expand the meanings of the written text. Polysemy as an integral part of any language is also widespread in Chinese. Characters become ambiguous under the influence of cultural, social, historical factors, due to metaphorical and metonymic transfer, etc. The situation with ambiguity in the Chinese language is further aggravated by the fact that the meaning of a syllable (written by a certain character) can be expanded not only due to the acquisition of new vocabulary meanings, but also new grammatic

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Rui, Ma. "Intertextuality in Translating Romantic Folksong Hua’er Across Time and Space with English Love Poems." International Journal of Comparative Literature and Translation Studies 9, no. 3 (2021): 32. http://dx.doi.org/10.7575/aiac.ijclts.v.9n.3p.32.

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Hua’er, a peculiar type of folk song in Northwest China, can be translated by referring to English love poems to recreate analogous but fundamentally different intertextual relations in English. The intertextuality perspective of translation enables the translator to see the rendition not as a product but as one of the numerous interpretive possibilities. Seen in this light, translating romantic Hua’er is able to open up one of many dialogues with English language and culture. By analyzing pieces of romantic Hua’er which the author translated, this paper aims to explore ways of representing th

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Mangalagiri, Adhira. "Ellipses of Cultural Diplomacy." Journal of World Literature 4, no. 4 (2019): 508–29. http://dx.doi.org/10.1163/24056480-00404004.

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Abstract This article studies China-India cultural diplomacy in the context of the socialist Chinese literary sphere. Decentering “dialogue” as an easy metaphor for transnationalism, I propose ellipses – the mark of silences, tensions, the unsaid – as a conceptual frame that makes visible those literary ties that frustrate the logic and aims of cultural diplomacy. I offer as a case study the Hindi poet Dinkar’s travelogue recording his visit to China in 1957. The travelogue brings together two concurrent Cold War phenomena that have so far been studied as separate: the Chinese political campai

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Wong, Kin Yuen. "The Melodic Landscape: Chinese Mountains in Painting-Poetry and Deleuze/Guattari's Refrains." Deleuze Studies 7, no. 3 (2013): 360–76. http://dx.doi.org/10.3366/dls.2013.0117.

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By melodic landscape, this paper points to natural milieus such as mountains whose motifs are caught up in contrapuntal relations. With Merleau-Ponty, the structure of the world is a symphony, and the production of life which implicates both organism and environment as unfurling of Umwelt is ‘a melody that sings itself’. For the Chinese culture, mountains have been deemed virtuous in Confucianism, immortal by Daoists, and spiritual for a Buddhist to reach a substrate level of pure stream of a-subjective consciousness. A Chinese painter-poet within the ‘mountain-water’ genre would consider moun

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