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Journal articles on the topic 'Chinese Poet'
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1
Klein, Lucas. "What Does Tang Poetry Mean to Contemporary Chinese Writers?" Prism 18, no. 1 (2021): 138–69. http://dx.doi.org/10.1215/25783491-8922225.
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Abstract Examining how contemporary poets raised in China are looking at classical Chinese poetry from the Tang—in particular, the poetry and the figure of Li Bai 李白 (701–762)—this article questions the epistemological divide, common to scholarship, between premodern and modern Chinese poetry. The texts come from Shenqing shi 深情史 (Histories of Affection) by Liu Liduo 劉麗朵 (1979–); The Banished Immortal, Chinese-American poet and novelist Ha Jin's 哈金 (1956–) biography of Li Bai; the book-length poem-sequence Tang 唐, by Yi Sha 伊沙 (1966–); and poet Xi Chuan's 西川 (1963–) scholarly book Tang shi de dufa 唐詩的讀法 (Reading Tang Poetry). The author contends not only that these writers' dealings with Tang poetry make it part of a still-living tradition but also that such engagement offers a way to understand the dynamic, rather than static, canonicity of Tang poetry.
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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’ group, popular Chinese poet Bei Dao is taken as a vivid example of revolutionary youth of the 20 century. The Article shows his political, social and literary activity as an example of the whole Misty group idea. The main aspects provided in the Article are based on the great love and respect of the Misty poets towards China, Chinese language, Chinese nature and culture. The Article shows how difficult it was for the poets to be far away from their Motherland and to have no chance to come back, how dif- ficult it was to write Chinese poetry being forbidden in native country. The Article also reveals the “Secret code of culture and nation” which is based on the symbols and words of native language. The “Secret code of culture and nation” is understood only by the native speakers, loving their Motherland. The Article uses original poetry of Bei Dao and is also based on the original historical and political facts, taking into account interviews with the poet, which show his real way of thinking in the terms of Misty poetry. The inner world of Bei Dao is described in the examples of his poetry: “Local Dialect” (“乡音”), “Hello, Bai Hua Shan” (“你好，百花山”), “Let’s go” (“走吧”). Nearly all of his poetry tells about true love for China and a great dream of using native language without fear and persecution. We provide a description of the hidden way of Bei Dao’s thinking, while analyzing his great poem “Local Dialect” (“乡音”). Each word should be examined taking into account the unique symbols of China. Bei Dao believes that only people, loving Chinese culture and loving Chinese language can under- stand the deep meaning of Misty poetry.
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Raskin, Jonah. "Mao Zedong: Chinese, Communist, Poet." Monthly Review 61, no. 1 (2009): 46. http://dx.doi.org/10.14452/mr-061-01-2009-05_5.
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Tsai, Wei-Ding. "An Intercultural Interpretation on Heidegger’s Poet." Yearbook for Eastern and Western Philosophy 2018, no. 3 (2019): 193–205. http://dx.doi.org/10.1515/yewph-2018-0014.
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AbstractFor the later Heidegger, the poet is the messenger of Being, insofar as he speaks after the Saying (Sage) of Being. But only when the poet takes the risk of being mad, can he hear the message of Being and bring it out. As such, the poet does not need any human art of poetry. Heidegger calls this kind of bringing-out “techne” in its original sense – but not in the ordinary sense of human technique. This paper tries to discover how the poet in the state of madness without using any human art can still convey the message of Being. I try to answer this question at first with the help of two dialogues from Plato, i.e. Ion and Phaedrus. I then take two Chinese classical poets, Li Bai (李白) and Du Fu (杜甫), as examples to illustrate such interpretation of Heidegger’s concept of the poet.
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Bogdanova, Olga V. "Intertextual plan of the poem by Valery Pereleshin “Red leaves under the frost”." Philological Sciences. Scientific Essays of Higher Education, no. 2 (March 2021): 59–63. http://dx.doi.org/10.20339/phs.2-21.059.
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The purpose of this study is to examine the poetic text is the bright representative of the “Eastern branch” of Russian emigration (1920s–1940s) Valery Pereleshin, in his work associated with the perception of the image system “second Motherland”, China, and in the course of analysis to identify the uniqueness of the incarnation of the motives of the ancient Chinese pretext (in particular Du Mu) in a poem by Russian immigrant. The scientific novelty of the work consists in referring to the little-known texts of poets of the “Harbin-Shanghai” region, in an attempt to find ways to introduce Russian poets to the foreign cultural tradition. The results showed that the Russian poet-emigrant Pereleshin quite freely handles the Chinese pretext and departs from the imagery of a concise compressed narrative, characteristic of the Tang classic Du Mu. However, Russian literature brings rich imagery, additional poetic vividness, and an inner meaning close to the Russian mentality to Pereleshin’s original text.
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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’s poem “The Great Nothing”. 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 critical research and contrast of two cultures. Analysis of the poem is conducted from the semantic perspective with search for textual parallels. The study reveals the poet's reference to the traditions and philosophy of China ("Sunyata”, concept of symmetry, treatise “Zhuang Zhou”, concept of Chinese painting), use of mythopoetic images (Dragon, Unicorn, Phoenix); interprets the image of dragon and its variation in cultural tradition of Russia and China; defines the words used by the poet for describing linguistic realias of Chinese culture (the expression "Go West"). The novelty of this research consists in the analysis of K. Balmont’s reception, and identification of the source that motivated the poet to create a poem. Examination of the semantic  saturation of the image of China in the poetry of K. Balmont gives a new perspective upon understanding the culture of the Silver Age.
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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 parallels. Study of the receptive aesthetics of the image of China in the poetry of K. Balmont allows us to come closer to the world outlook of the culture of the Silver Age from another side.
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Wang, Yanning. "Fashioning Voices of Their Own: Three Ming-Qing Women Writers’ Uses of Qu Yuan’s Persona and Poetry." Nan Nü 16, no. 1 (2014): 59–90. http://dx.doi.org/10.1163/15685268-00161p03.
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This article explores how, during the Ming-Qing era, women writers used the persona and poetry of the great Chinese poet Qu Yuan (340?-278 bce). In order to establish the authority of their own voices, marginalized female writers often identified themselves with the mainstream male tradition. The legacy of Qu Yuan became one of their favorite examples to follow. Qu Yuan’s sao-style poems, especially the long poem “Encountering Sorrow,” are classics in the Chinese literary canon. Qu Yuan’s high moral standard and his eventual suicide for a just cause earned him a reputation as a patriotic poet-statesman much respected by later generations. Ming-Qing women writers made use of Qu Yuan’s literary and moral authority to create their own personal, political, and intellectual voices. By doing so, they demonstrated their efforts to upgrade their status in literary and social arenas.
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Yujie, Li, and Wang Feng. "On the English Translation of Li Qingzhao’s Ci-poems--A Contrastive Study on the Translations of the Ci-Poem “To the Tune of Tipsy in Flower Shade”." English Literature and Language Review, no. 55 (May 15, 2019): 64–70. http://dx.doi.org/10.32861/ellr.55.64.70.
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Li Qingzhao (1084-ca. 1155?) is widely lauded as the most celebrated and talented woman poet in the history of classical Chinese literature. This study, with the theoretical guidance of Dr. Wang Feng’s “Harmony-Guided Three-Level Poetry Translation Criteria”, focuses on a comparative analysis of the collected renditions of the ci-poem “to the tune of Tipsy in Flower Shade” at the macro, middle and micro levels, to further promote the translation and communication of classical Chinese literature. This study aims to exert far-reaching influences on the process of Chinese literature going global, which has unprecedented contemporary significance.
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Worthington, Marianne. "The Chinese Poet Awakens by Jeff Daniel Marion." Appalachian Heritage 27, no. 3 (1999): 59–64. http://dx.doi.org/10.1353/aph.1999.0008.
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Синьтун, В. "Hai-Zi’s Poetic Cycle “Esenin, the Poet” as an Important Step in Literary Analysis of Esenin’s Poetic Heritage in China." Иностранные языки в высшей школе, no. 1(56) (April 13, 2021): 24–34. http://dx.doi.org/10.37724/rsu.2021.56.1.003.
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Высшей формой литературного анализа творчества русского поэта Сергея Есенина в Китае стало использование конкретных есенинских символов и образов китайскими писателями в своих произведениях. Первым, кто широко использовал есенинскую образность и проблематику, стал поэт Хай-цзы, который создал широко известный поэтический цикл «Поэт Есенин», тем самым положив начало литературного анализа творчества Есенина в Китае. В статье на материале поэтического цикла Хай-цзы о Есенине выявляется общность поэтического осмысления мира двумя поэтами. The poetic heritage of Sergei Esenin found its highest manifestation in the usage of the great Russian poet’s symbols and imagery in Chinese literary works. The first to resort to Esenin’s imagery and symbolism was the Chinese poet, Hai-zi, who wrote a well-known poetic cyclus “Esenin, the Poet” and thereby laid the corner-stone of Esenin studies in China. The paper examines Hai-zi’s poetic cyclus dedicated to Esenin with the purpose of revealing the kinship of the two poets’ philosophic perception and interpretation of the world. The poems of Hai-zi have been translated by the author of the paper.
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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 essay traces Xiao Bing’s literary and media career, which includes both notable literary failures and notable commercial success, exploring her complex connections to technologies of power/knowledge as well as cultural phenomena that range from traditional Chinese poetry and poetry education to postmodern camp aesthetics. From within the renegotiation of the nature of poetry at the threshold of the posthuman era, I propose the critical notion of reading-as-playing to help poetry take advantage of its various entanglements and strictures in order to survive and co-shape the brave new world.
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Skerratt, Brian. "Born Orphans of the Earth: Pastoral Utopia in Contemporary Taiwanese Poetry." International Journal of Taiwan Studies 4, no. 1 (2021): 101–20. http://dx.doi.org/10.1163/24688800-20201152.
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Abstract In 2011, amid a string of controversies in the Taiwanese countryside surrounding industrial pollution, urban expansion, the unsustainable exploitation of natural resources, and the destruction of the natural and rural environments, poet and editor Hong Hong announced ‘the last pastoral poem’, suggesting that the representation of the countryside as bucolic landscape was an out-of-date and politically impotent trope. This paper argues, contrary to Hong Hong’s polemic, that depictions of pastoral utopia remain a vital and powerful alternative to the forces of urbanisation and industrialisation in Taiwan and the larger Sinophone world. The paper analyses poetry by contemporary poet Ling Yu against the background of the tradition of utopian pastoral writing represented by the book of Genesis, Virgil, Laozi, Tao Yuanming, and Gary Snyder. The paper argues for a poetics that symbolically mediates between nature and culture, and building and dwelling, by means of slow ‘cultivation’, in both the agricultural and aesthetic senses. The paper further draws on transnational Hong Kong poet Liu Wai Tong’s concept of ‘you-topia’ to suggest a means of reconciling Chinese tradition and contemporary ecocritical discourse.
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Zhang, Lijia. "Mad Dog: The Legend of Chinese Poet Guo Lusheng." Manoa 14, no. 1 (2002): 105–13. http://dx.doi.org/10.1353/man.2002.0034.
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Boldyreva, Elena M. "Motive echoes in the poetry of B. Pasternak and Wang Jiaxin." Verhnevolzhski Philological Bulletin 1, no. 24 (2021): 34–44. http://dx.doi.org/10.20323/2499-9679-2021-1-24-34-44.
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The article considers the work of the Chinese poet Wang Jiaxin (based on the works not translated into Russian), called by critics «Chinese Pasternak», as a characteristic example of the spiritual and artistic influence of Pasternak's work on modern Chinese poetry. Comparing the works of Boris Pasternak and Wang Jiaxin we discover a lot of motifs and images that are significant for the poets' artistic world (motifs of burning candle, snow and snowstorm, garden, thunderstorm, sea, rain), but one of the most powerful images Pasternak and Jiaxin share is that of the wind. The article reveals symbolic connotations of this image common for both poets: anthropomorphization of the wind; wind as a mediator between the human body and the world; wind as a universal omnipresent entity, pantheistically dissolved in the universe, a unifying force that facilitates the merging of particularities into a single cosmos; the guardian of cultural memory, creating the link between times and generations; wind as the language of art, the element in search of means of verbalization; wind as a symbol of the transformative power of art, the symbol of historical upheavals; wind as a universal metaphysical force that governs the world, etc. This article examines the intertextual links of Wang Jiaxin's work with the «wind text» of Chinese poetry, using the poetry of the Tang era and the lyrics of the poets of the 20–40s of the XX century as examples. The article concludes that Pasternak's wind is the most important component of his poetic natural cosmos, the embodiment of spontaneous playful, joyful, life-affirming creativity, while Wang Jiaxin's wind is a more severe, mysterious and irresistible element; it is not only a reflection of some values significant for the poet, but also a kind of «literary wind» that accumulates multiple cultural connotations and reflects both «wind songs» of classical Chinese poetry and the «windiness» of Pasternak's poetic universe, and the creative dialogue between Wang Jiaxin and Pasternak not only demonstrates a profound connection of Chinese and Russian poetic traditions, but also allows us to take a new look at Pasternak's poetry, seeing its brilliant reflection in Wang Jiaxin's lyrical mirror.
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Krenz, Joanna. "Przybrany ojciec. Czesław Miłosz w Chinach." Poznańskie Studia Polonistyczne. Seria Literacka, no. 40 (September 14, 2021): 53–97. http://dx.doi.org/10.14746/pspsl.2021.40.3.
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Czesław Miłosz remains among the most important foreign authors and literary authorities for Chinese poets. Initially received in China with distrust and uncertainty, then portrayed in the official state discourse of romantic-revolutionary literature as the bard of socialism, Miłosz became the spiritual father of the younger generation affected by the Cultural Revolution and Tiananmen Square Massacre, a witness of the age, and a symbol of intellectual independence and resistance against totalitarianism. After a period of reading Miłosz in terms of ethical and political categories, Chinese reviews and literary texts in the 2010s and 2020s increasingly refer to Miłosz as philosophical and metaphysical poet. This article analyses Miłosz’s reception in China, paying attention to the historical, cultural, and linguistic factors that shaped the assimilation of his work and the values he brought to Chinese poetry.
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Setia Sari, Winda. "Stepping Out of The Cultural Identity: A Critical Analysis of Cathy Song’s Memory Poetry." International Journal of Culture and Art Studies 2, no. 1 (2019): 54–59. http://dx.doi.org/10.32734/ijcas.v2i1.948.
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Cathy Song, a Chinese-Korean ancestry woman poet, grew up in Hawaii, America. In “What Belongs to You”, a poem taken from her second poetry publication, she chronicles the memory of a child who is trapped between her dream and devotion. The theme of the poem is portrayed in a strong poetic devices. The poems lean in vivid visual imageries to evoke to the poet’s life memory. The speaker of What Belongs to You dreams of having the freedom and attempts to escape from her parental tie. Ironically, she finds herself devote to her family and tradition. The poems use past materials ranging from domestic domain and landscape which define the speaker’s personal memory. Comparing than Cathy’s Song first poetry publication, arguably, the cultural materials in the poem cannot be traced through Song’s poetic devices as an ethnic woman poet. In fact, song locates the dream and devotion in visual imageries and nostalgic tones in a general way. This is true; Song has denied herself as a cultural visionary. Song merely mines the memory from the point of view and identity of a woman, leaving her cultural traits behind.
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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 researches on the mind, cognition, and of course the investigation of language itself. This paper mainly attempts to applying cognitive linguistic theories to interpreting a very renowned Chinese ancient poem Qing Ming, written by Du.mu, a poet from Tang dynasty, and meanwhile digs it deeper about the above phenomena: various combinations of the same elements should have such different artistic and aesthetic effect.
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Myunghee Song. "Long distance nationalism and desire of unification of Korean Chinese poet - centre around poet, Hong Yong-am." Journal of North-east Asian Cultures 1, no. 40 (2014): 125–42. http://dx.doi.org/10.17949/jneac.1.40.201409.007.
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Leung, K. C., Yang Lian, Mabel Lee, and Yang Lian. "Masks and Crocodile: A Contemporary Chinese Poet and His Poetry." World Literature Today 67, no. 1 (1993): 234. http://dx.doi.org/10.2307/40149035.
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Jie, LU. "Migration of Native American Image by Chinese Yi Poet Akuwuwu." Linguistics and Literature Studies 8, no. 5 (2020): 256–63. http://dx.doi.org/10.13189/lls.2020.080504.
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TAMBURELLO, Giusi. "Baudelaire’s Influence on Duo Duo’s Poetry through Chen Jingrong, a Chinese Woman Poet Translating from French." Asian Studies, no. 2 (September 25, 2012): 21–46. http://dx.doi.org/10.4312/as.2012.-16.2.21-46.
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As a woman poet, Chen Jingrong’s productions encompassed the whole 20th century: of particular interest are her poetry translations from the French language. Thanks to her translation work, valuable understanding of Charles Baudelaire’s poetry was made available in China, which influenced the Chinese contemporary poet, Duo Duo, when he first started writing poetry during his youth. This paper tries to depict the importance of this contribution of Chen Jingrong and its effect on the process of renovation of the contemporary poetic scene in China.
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Chow, Kai-Wing. "Identities and Literary Culture in Qing China: Manchu Emperors as Chinese Poets, Readers, and Publishers." Journal of Chinese Literature and Culture 6, no. 2 (2019): 359–82. http://dx.doi.org/10.1215/23290048-8041957.
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Abstract The Qianlong emperor bequeathed the largest number of Chinese poems of any emperor, and perhaps of any poet, in the history of imperial China. But how do we make sense of the fact that Qianlong had been adamant in maintaining and preserving what he considered the essence of Manchu culture: the Manchu language and hunting skills? This articles argues that, despite deliberate staging through various fashions of his image as the ruler of a multiethnic empire, Qianlong failed in sending his message to his diverse subjects because, truly enthralled by Chinese poetry, he could not restrain himself from writing poetry in Chinese. In light of the theory of multiple identities and acculturation of John Berry, it is reasonable to argue that Qianlong, despite his unambiguous identification with the Manchus as the conquering ethnic group, in tortuous ways had come to embrace the identity of a Chinese poet of the host society, in which the technologies of culture to a large degree overdetermine the form of identities and how they can be articulated, internalized, embodied, and staged.
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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 religious sentiments and commitment by composing a series of “sacred poems” as her own poetic response to the striking beauty of biblical images. Zhou Zuoren (1885–1967), a renowned May Fourth Chinese writer and intellectual, regarded the Bible as a treasured anthology of Jewish literature and appreciated the humanistic values embodied in the teachings of Jesus. Placing the biblical references of the wilderness, Jesus's universal love and Moses's legalistic position in the forefront, Zhou Zuoren's poem“Qilu,”or “Crossroads,” captured the perplexity of his contemporary intellectuals, Zhou himself included, in their sabbathless search for cultural rejuvenation and national salvation during the transitional and tumultuous Republican era. An ardent admirer of W. B. Yeats and T. S. Eliot, Chinese modernist poet Mu Dan (1918–77) studied their poetry at the Southwest United University in Kunming during the Second Sino-Japanese War (1937–45). Imbued with biblical allusions, for instance, the fall of humankind and the loss of paradise, Mu Dan's poems, like“She de youhuo,”or “The Temptation of the Serpent,” articulate his penetrating critique of modernity. These works of poetry represent the multiple voices and diverse reactions of the early twentieth-century Chinese poets towards theUnion Versionwhich had not only firmly established its canonical status as the predominant Chinese translation of the Bible used by the Protestant Church, but also emerged as a literary tour-de-force to propel the evolution of modern Chinese poetry.
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Dai, Mengjie. "“Oriental” specificity of in the works of A. A. Fet: comparative analysis of the verbless poems of A. A. Fet and ancient Chinese poets." Litera, no. 8 (August 2021): 9–19. http://dx.doi.org/10.25136/2409-8698.2021.8.36090.
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The subject of this research is the works of A. A. Fet, namely verbless poems, which are used as manifestation of his interest in the Orient and ancient Chinese poets. Analysis of A. A. Fet’s works from the perspective of projection on the compositions of Chinese poets and reflection of oriental specificity in his poems is a widespread topic in cross-cultural studies on the peculiarities of the establishment of literature. Multiple Chinese scholars keep seeking similar motifs as the factors mutual interest in depiction landscapes and surrounding reality. The acquired results allow interpreting the works of the poets belonging to different cultures. The scientific novelty of this research lies in combining different opinions on studying the oriental specificity in the poems of A. A. Fet, placing emphasis on the analysis of one his verbless poems. The article presents a compilation of various approaches towards examination of the works of A. A. Fet. The materials can be valuable for those interested in the creative path of the Russian poet. In future structuring the route of interaction and enrichment of knowledge in the field of cross-cultural communication, the obtained result of the works of authors of foreign cultures contributes to the understanding of culture, strengthens relations between the cultures, as well as improves the quality of translation, which is also important in the dialogue of cultures.
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Suraeva, Natalia. "PUSHKIN AND CHINA." Scientific and analytical journal Burganov House. The space of culture 17, no. 1 (2021): 145–60. http://dx.doi.org/10.36340/2071-6818-2021-17-1-145-160.
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The literary heritage of Alexander Pushkin is well known to a wide range of readers. A line in a letter to Count A. Benckendorff, written in January 1830 and in which Pushkin asks permission to let him go to China, attracts attention. The purpose of the article is to try to find out what reasons prompted Pushkin to make such a request. It is essential to understand the age during which the poet lived. The fascination with Chinese culture came to Russia from France, which significantly impacted Russia’s life in the 18th–19th centuries. Chinese goods, the so-called Chinese rarities, began to appear in Russia even during Peter I’s reign, who often gave orders to buy them for the St. Petersburg Kunstkamera. Exotic things from China were delivered to St. Petersburg by caravans from Beijing through Siberia and the Urals or by sea on ships of the East India Company through Western Europe. Empress Catherine II set the fashion for interiors in the Chinese style: the Chinese Palace (1762–1768) appeared in Oranienbaum; Chinese buildings, the largest complex of buildings in the Chinese style, appeared in Tsarskoe Selo. There, in Tsarskoe Selo, in 1811, Emperor Alexander I established the Imperial Lyceum, in which Alexander Pushkin studied, and where, undoubtedly, the poet’s first encounter with the Middle Kingdom occurred. At this time, Russian periodicals also paid much attention to China. In them, articles about the trade of Europeans in China, about porcelain and silk factories, as well as about the wisdom of Chinese rulers and moral instructions for posterity began to be published. Pushkin read a lot and could not have been unaware of these publications. The acquaintance of Pushkin with monk Father Iakinf (N. Bichurin), an outstanding Russian sinologist, had a significant influence on the poet. Father Iakinf was appointed the Head of the ecclesiastic mission in Beijing in 1807 and lived there until 1821. As the examination of Pushkin’s library shows, the poet had Bichurin’s books about China. Also, he read Jean-Baptiste Du Halde’s book The General History of China in the Russian translation known at that time. As the study shows, Pushkin was interested in China and was going to visit it; however, fate had its own plans.
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Musayeva, E. "Issues of Physical Perfection and Physical Education of Women in the Poetry by Nizami Ganjevi." Bulletin of Science and Practice 7, no. 9 (2021): 650–54. http://dx.doi.org/10.33619/2414-2948/70/67.
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After gaining independence, the Republic of Azerbaijan, one might say, has always honored all our writers and poets from our classical heritage. Our President Ilham Aliyev has declared this year the Year of the classic poet Nizami Ganjavi. The main goal is the desire to lead our nation forward, to protect it, to preserve the legacy left to us by our great leader, world politician Heydar Alirza oglu Aliyev. He also pointed out the importance of preserving our classical poets such as Nizami Ganjavi and passing on their works to the younger generation. Female images play a key role in the works of Nizami Ganjavi. In his works, he highlighted the place of a woman, depicting a woman as a mother, an ornament of life. In Sultan Sanjar and the Old Woman Beit from Treasury of Secrets, the first poem in the five-verse Hamsa, Nizami Ganjavi describes a woman as the leading force of society, defending her rights. In the second poem — Khosrov and Shirin, Nizami Ganjavi always wanted to see women free and made it clear that a society without women would become an orphan. In his third poem, Layli and Majnun, he described in detail the image of Layli as a selfless oriental woman, attached to her family and devoted to her love. In fact, Nizami Ganjavi foresaw the role of women in society thousands of years ago. The fourth poem Seven Beauties shows the customs and traditions of Chinese, Russian, Persian, Indian, Arab and Turkish women. The poem describes in detail the maternal care of a woman, regardless of her nationality. In his works, Nizami Ganjavi called for an end to all forms of violence against women and wanted to see women free.
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Steininger, Brian R. "Li Jiao’s Songs: Commentary-Based Reading and the Reception of Tang Poetry in Heian Japan." East Asian Publishing and Society 6, no. 2 (2016): 103–29. http://dx.doi.org/10.1163/22106286-12341291.
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The poet Li Jiao (ca. 646-715), now largely forgotten, enjoyed unusual success in Heian and Kamakura Japan. In the twentieth century, a lost commentary to Li’s poetry was rediscovered in several different manuscript lineages. This paper argues that the commentary spread to Japan early in the Heian period, and was instrumental in Li Jiao’s popularity there. Analysis of the role of imported commentaries helps to explain the shape of the Chinese canon in Japan, including the tremendous popularity of Bai Juyi. Literacy practices institutionalized in the Daigakuryō (State Academy) led to the success of certain poets over others, directing the local canon as well as local composition in literary Sinitic genres.
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Li, Ying, and Hui Fang Li. "Su Shi’s “Transforming into Bamboos” and John Keats’ “Negative Capability”: A Comparative Study." International Journal of Culture and History 8, no. 1 (2021): 128. http://dx.doi.org/10.5296/ijch.v8i1.18507.
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The seemingly identical artistic terms put forward respectively by the Chinese poet Su Shi and English poet John Keats, “Transforming into Bamboos” and “Negative Capability” contain significant differences due to their distinct cultural context and the poets’ personal experience. Firstly, their subjective mentalities are different. Rather than the total repression of human faculties and the Taoist world-weary attitude, Su Shi advocates an initiative subject, a fully charged mind with a deep humanistic concern; while for Keats, a state of passiveness and receptiveness overwhelms the exercise of intelligence and reason. Secondly, their ways of approaching “Truth” are different. Su Shi values both talent and hard practice, together with a dialectical attitude towards language and media while Keats emphasizes a dispossessed ego, an imaginative soul，a chameleon quality, and a full trust on language and symbols. Thirdly, the claimed “Truth” they are pursuing are different. For Su Shi, the goal of “Transforming into Bamboos” is to catch Li(理) , a Confucian variant or derivation of Tao while what Keats looks for through “Negative Capability” is an aesthetic utopia where he finds justice for his art and himself under an age of industrialization.
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Lang-Tan, Goat Koei. "The Poet Zheng Zhen (1806-1864) and the Rise of Chinese Modernity." Monumenta Serica 63, no. 2 (2015): 457–61. http://dx.doi.org/10.1080/02549948.2015.1106830.
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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 that Masters, a prescient poet, not only displays sophisticated understanding of the composite and complex nature of Chinese religion, but also uses that understanding to construct a positive poetic image of the Chinese. In doing so he actively promotes cultural diversity in a time of racial hysteria and adumbrates the emergence of countercultural voices that transmit spirituality to a Western culture mired in materialism.
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Varatharajan, Prithvi. "A Political Radio Poetics: Ouyang Yu’s Poetry and its Adaptation on ABC Radio National’s Poetica." Cultural Studies Review 23, no. 2 (2017): 18–34. http://dx.doi.org/10.5130/csr.v23i2.5050.
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‘Ouyang Yu’ was an episode that aired on ABC Radio National’s 'Poetica', a weekly program broadcast across Australia from 1997 to 2014. The episode featured readings of poetry by the contemporary Chinese-Australian poet Ouyang Yu, read by the poet and by the actor Brant Eustace. These readings were embedded in rich soundscapes, and framed by interviews with the poet on the thematic contexts for the poems. In this article I treat ‘Ouyang Yu’ as an adaptation of Ouyang’s work, in Linda Hutcheon’s sense of the term. I examine how Ouyang’s poetry has been adapted for a national audience, and pay particular attention to how contemporary political discourses of nationhood have influenced the episode’s adaptations. For Poetica existed within an institution—the ABC—whose culture had a bearing on its programming, and the ABC was in turn influenced by, and sought to influence, the wider social and political culture in Australia.
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손현 and 김지영. "A Comparative Reading of Oriental and Western Romantic Poetry - Focusing on the Chinese Poet LiBai and the English Poet William Wordsworth." Journal of Foreign Studies ll, no. 43 (2018): 297–320. http://dx.doi.org/10.15755/jfs.2018..43.297.
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Du, Chunyang. "Periphrases as a form of thinking." Neophilology, no. 26 (2021): 213–19. http://dx.doi.org/10.20310/2587-6953-2021-7-26-213-219.
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We attempt to consider the reproduction of the meaning of the word HOME in the periphrastic constructions used in the Russian translations of the poem by the Chinese poet Li Bai. Based on analysis of six translations of the poem “Quiet Night Thought” we prove that periphrastic unit is not only used instead of the name of the object, but with the name of the object. We establish that in the translations of the poem by the Chinese author, the periphrastic names representing the concept of HOME reflect the form of thinking due to the semantics read at the nonverbal level. The periphrastic unit HOME is an analogue of the microcosm and macrocosm, transmitting neutral interpretations, which allows the periphrase to convey a relatively complete descriptive meaning, since by its semantics it strives to form a single semantic concept of the concept of “home”. We substantiate that cultural information is not included in the semantic minimum of the sign and may be irrelevant in practice, but the periphrase, as a secondary sign, always has connotations that are especially important in the reflective flow of speech, when the factor of un-derstanding a written translated text is not only decoding of the written text, but also the interpretation of the communicative settings of information of the original text creator.
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Yang, Yiying. "On Translation of Cultural Images in Chang Hen Ge from the Perspective of Reception Theory." Chinese Journal of Applied Linguistics 42, no. 4 (2019): 527–41. http://dx.doi.org/10.1515/cjal-2019-0031.
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Abstract Based on concepts of horizon of expectation and indeterminacy in reception theory, this paper reports a comparative analysis of Chang Hen Ge, a narrative poem written by Chinese poet Bai Juyi in the Tang Dynasty, and its English translations by William John Bainbrigge Fletcher, Herbert Allen Giles, Xu Yuanchong as well as Yang Hsien-yi and Gladys Yang. Results are as follows: 1) Xu’s translation is the best in that he adds annotations and combines literal and free translations so as to explicate cultural connotations and underlying implications of images while meeting and broadening target readers’ horizon of expectation. In addition, he tries to replicate figurative characteristics and transform rhetorical techniques of original cultural images to retain the source text’s indeterminacy and aesthetic value and to provide target readers with intense aesthetic experience. 2) There are inappropriate and inaccurate translations of cultural images in all the four English translations, and they are caused by differences in ethnic history, religious belief, mode of thinking, features of English and Chinese as well as the subjectivity of translators.
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Yang, Xiaoli. "Towards a Chinese Theology of Displacement: The Poetic Journey of a Chinese Migrant." Mission Studies 37, no. 2 (2020): 193–217. http://dx.doi.org/10.1163/15733831-12341715.
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Abstract While poetry was used as a rich vehicle to express one’s identity, freedom and communal belonging in the “poetry fever” (shige re, 诗歌热) of the 1980s in Mainland China, its connection with Christian theology has been long neglected despite the rapid increase in Chinese conversion to Christianity amongst the post-1989 generation. Using both autoethnographic and phenomenological methodology, this paper explores the relationship between the two using the author’s own poetry writings as a case study. From the vantage point of a Chinese Christian, poet and migrant to Australia, this paper is an inter-disciplinary study that journeys with the poetic voice from the themes of lament to search and then return, followed by some theological reflections. It argues that the dualistic thinking of poetry and theology can move into non-dualist responses so that the two can meet and become fused on the epistemological path towards God. This path parallels with that of the Israelites in exile, and ultimately Jesus’ journey in the gospel. It aims to provide a trajectory to develop further a poetic Chinese theology of displacement.
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Zhang, Songjian. "One poet, four faces: The invention of Tu Fu in modern Chinese poetry." Frontiers of Literary Studies in China 5, no. 2 (2011): 179–203. http://dx.doi.org/10.1007/s11702-011-0124-z.
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Li, Yang. "Flute archetypes of sounds in Chinese Tang era poetry." Музикознавча думка Дніпропетровщини, no. 18 (November 13, 2020): 93–104. http://dx.doi.org/10.33287/222020.
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Tang epoch trains (618–907) – an important source of judgments about expressive possibilities and sound archetypes of the Chinese flute, preserved in the music of the Celestial Empire composers of the XX – XXI centuries. The purpose of this investigation is to establish sound archetypes of the flute in the Chinese poetry of the Tang epoch. The methods of investigation are historical, semantic, genre and comparative approaches. The scientific novelty of the study is to introduce the concept of «flute poetry» of the Tang era into the musicology context, to establish its characteristic properties (spiritualization of the desolate time space with a magic melody, the reflection of the state of the soul of a lonely hero, the presence of the image of the listener-poet, connection with the elements of the wind, the nocturonal semantics of the natural landscape, signs of the palace style, the embodiment in the sounds of the flute - the mediator between the earthly and celestial worlds – philosophical ideas), the formation of the thesaurus of flute affects (moaning, sadness, sadness, state of waiting, experiencing loneliness). The samples of «flute poetry» by Li Bo, Du Fu, Wang Wei, Zhao Gu are considered. The image of the jade flute from Li Bo's poem symbolizes the priceless in human life. In Li Bo's poem about the Qiang Maiden, the flute music takes on the meaning of a leitmotif that accompanies the drama of love and separation. In Du Fu's work, the limits of earthly time and space contrast with the boundless celestial chronotope associated with the flute's sound image. In Wang Wei's poetry, the flute's crying accompanies the suffering of an abandoned woman and finds a response in the soul of a lonely traveler. Zhao Gu's poem includes the names of mythical flute artists Huan Tzu and Ma Rong, contributing to the sacralization of time and space in the work. Conclusions. In «flute poetry» of the Tang era, there are typical features of a common creative method inherent to the masters of the word «golden age»: the sound image of the flute is inscribed in a common artistic continuum based on the reflection of the poet's surrounding nature in a lyrical-philosophical landscape.
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Tao, Shilong. "Recreating the Image of a “Chaste Wife”: Transitivity in Two Translations of Chinese Ancient Poem Jie Fu Yin." Theory and Practice in Language Studies 9, no. 11 (2019): 1433. http://dx.doi.org/10.17507/tpls.0911.09.
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This article is a comparison on the recreating of the image of a “chaste wife” in two English translations of Chinese ancient poem Jie Fu Yin from the perspective of systemic functional linguistics (SFL). The linguistic choices of the poet and translators are measured from transitivity under experiential meaning of ideational metafunction. It has found that Hart tends to follow a creative and imaginative translation, thus creating a more enthusiastic even passionate image of a young “chaste wife” in a direct and explicit way, while Fletcher presents a clam and tender image of a mature “chaste wife” in a relatively implicit way. Besides, both translations reproduce the theme about love, but losing the political theme. It is argued that in translation, the lexico-grammatical choices will lead to variation in meanings and recreate different images of a same character, and the seemingly unconscious choices can be better understood based on the context of translation.
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Milanović, Vesna. "Le sujet poétique dans l’œuvre de Lǐ Hè et dans celle de Rimbaud." Vienna Journal of East Asian Studies 1, no. 1 (2011): 33–61. http://dx.doi.org/10.2478/vjeas-2011-0002.
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Abstract As an attempt to compare Lǐ Hè, a Chinese poet from the Táng Dynasty, and the French 19th century poet Arthur Rimbaud (in spite of a total lack of any traceable historical, cultural and inter-textual connections), this paper focuses on linguistic and stylistic phenomena serving as a proof for a striking resemblance between the two authors. Thus the first part of the article deals with effects of focalization, a specific conception of the metaphor as well as the status of the lyrical subject, establishing a theoretical basis for the concrete comparison presented in the second part. The conclusion is concerned with the question if the poems of Lǐ Hè can be translated into French by ‛adopting‟ Rimbaud‟s poetic language.
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Tao, Shilong, and Xi Chen. "Recreating the Image of a “Chaste Wife”: A Multi-functional Analysis of Two Translations of Li Po’s Changgan Xing." International Journal of Comparative Literature and Translation Studies 7, no. 4 (2019): 1. http://dx.doi.org/10.7575/aiac.ijclts.v.7n.4p.1.
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This article investigates the image of a “chaste wife” recreated in two English translations of ancient Chinese poet Li Po’s Changgan Xing from the perspective of systemic functional linguistics (SFL). Based on three metafunctions of SFL, respectively ideational, interpersonal and textual, the linguistic choices of the poet and translators are measured from the transitivity and text complexity on what the wife does and how she organizes her thoughts; from the mood and modality on how she interacts with her husband, and the theme and rheme on how she unfolds and foregrounds her concerns. Since translating is a process of making choices, the analysis shows that both translations reproduce the first and second level of poetic themes about love in the original poem but lose the third political theme. Besides, Pound tends to follow an imaginative and creative translation, thus recreating a bashful and innocent image of a young “chaste wife” in a direct and explicit way, while Waley aims at literal translation and presents a more courageous and considerate image of a mature “chaste wife” in a relatively complex and implicit way. It is argued that the context of translation, including the translator’s knowledge of the source language, translation strategies and intended readers, plays an important role in the translator’s seemingly unconscious choices of interpreting and presenting poetic themes, thus recreating different images of a same character.
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Zeng, Yu. "La naturaleza y Zen en la traducción de los poemas de Han Shan // Nature and Zen in the Translation of Han Shan's Poems." Ecozon@: European Journal of Literature, Culture and Environment 5, no. 1 (2014): 54–64. http://dx.doi.org/10.37536/ecozona.2014.5.1.586.
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El Zen es una de las diez escuelas principales del budismo chino que fue fundada por Bodhidharma, y Han Shan es uno de los poetas chinos más conocidos de la escuela Zen. Aunque no se conoce mucho de su vida, a través de sus versos hemos llegado a saber que dejó atrás el mundo laico, yéndose a la Montaña Tiantai, donde llevó una vida de ermitaño y escribió unos trescientos poemas. La mayor parte de estos poemas es sobre su comprensión de las enseñanzas del Zen. A través de la descripción del medio ambiente y del uso de las imágenes naturales que casi siempre son metáforas del camino espiritual, sus poemas logran producir una concepción artística del Zen. Es por ello que a Han Shan también se le conoce como el poeta del Zen. Ya sabemos que con frecuencia es imposible reproducir un poema de un idioma a otro, incluyendo la rima, la forma, y la concepción artística. De esta manera, nuestro objetivo es a través de nuestro trabajo, mejorar la comprensión de los lectores meta del Zen en la poesía de Han Shan y ofrecer nuestras sugerencias sobre cómo trasladar este Zen. Además nos complacería que los resultados de nuestro análisis puedan emplearse en el entendimiento y la traducción de las obras de otros poetas de la Escuela Zen, tales como Wang Wei, Bai Juyi, etc. Abstract Zen is one of the ten principal schools of Chinese Buddhism which was founded by Bodhidharma, and Han Shan is one of the most well-known Chinese poets of the Zen school. Although we do not know very well about his life, through his verses we know today that he left the lay world and went away to the Mountain Tiantai, where he lived as a hermit and wrote approximately three hundred poems. Most of his poems are about his understanding of the Zen education. Through the description of the environment and the use of natural images which are nearly always metaphors of the spiritual way, these poems manage to produce an artistic conception of Zen. This is why Han Shan was also known as a poet of Zen. Most of the time, it is impossible to reproduce a poem from one language to another, including the rhyme, the structure and the artistic conception of the original poem. So the aim of our work is to improve the target reader’s comprehension about the Zen in Han Shan’s poetry and offer our suggestions about how to translate it. Besides, we also expect that the results of our analysis could be used in the understanding and translation of other poets of Zen, such as Wang Wei, Bai Juyi, and so on.
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Duong, Dung Ngoc. "The discourse of traditional Chinese poetics from the hermeneutic perspective." Science & Technology Development Journal - Social Sciences & Humanities 1, no. X2 (2017): 30–49. http://dx.doi.org/10.32508/stdjssh.v1ix2.440.
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This article re-examines the system of discourses in traditional Chinese poetics from the German hermeneutical perspective extending from Chladenius to Heidegger. The author also conducts a comparative research on the Vietnamese counterpart with a view to illuminating several hidden assumptions that shaped the way scholars in China and Vietnam made a critical reading of literary works. If the objective of most modern poetics has been found in the attempt to clarify the intrinsic structure of a specific piece of literature, Chinese and, to a lesser extent, Vietnamese traditional poetics tended to underline the constant relationship between a poet, who was called upon to serve Tao and Tao or Seyn, using a Heideggerian term.
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Yue, Zhang. "RUSSIAN FOLK SONG "OVER THE SILVER RIVER" AND ITS FATE IN CHINA." Arts education and science 1, no. 2 (2021): 160–67. http://dx.doi.org/10.36871/hon.202102020.
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The article deals with the history of the Russian poet F. N. Glinka's poem "Veiled Traces", which was the basis for the famous folk song "Over the Silver River". The article reveals the content of the text and shows different variants of its "plot". This refers to several Russian collections containing the song "Over the Silver River", including "Ural Folk Songs" by L. Christiansen and "Folk Songs of Krasnoyarsk Region" by K. Skobtsov. Folklore collectors considered this song as an example of Russian lyrical song genre. The author analyzes the arrangement of this song included in A. Chernyavsky's piano book and notes the expressive features of the performance of the song by the famous singer I. M. Skobtsov. The original and adapted versions are compared in terms of style and expressive techniques in the context of Chinese traditions, in order to identify specific and common properties within two different cultures. The roles of the folklore collector Wang Lobin, who recorded the song "Over the Silver River" using elements of Chinese music, and the composer Li Yinghar, who arranged Russian melody adopted in Chinese culture, are highlighted. Musical samples are also presented. Russian music in China is a special "cross-border" phenomenon, and the interest in Russian culture and Russian musical folklore in China is very high. Russian folk songs are loved in China and are very popular.
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Brady, Anne-Marie. "Who Friend, Who Enemy? Rewi Alley and the Friends of China." China Quarterly 151 (September 1997): 614–32. http://dx.doi.org/10.1017/s0305741000046853.
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“Who friend, who enemy?” So asks Rewi Alley, poet-laureate of Sino- Foreign Friendship, echoing Mao. This article considers Friendship2 in the Chinese Communist sense; its principal focus is on the work of Alley and his role as an official Friend of China.3 Friendship is a key theme in China'ss foreign policy repertoire, and the Friend of China is a living embodiment of that Friendship. In the days when the People'ss Republic was isolated in the international community, any foreigner who was involved in China in some way had the potential to be labelled a Friend. Friendship implied obedience to the Chinese government'ss version of events. Declared ideological commitment to the ideals of the Chinese Communist Party was preferred, but not essential.
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金俊淵. "The Status of Jia Zhi as a High T'ang Poet in Chinese Literary History." Journal of Chinese Language and Literature ll, no. 38 (2008): 139–63. http://dx.doi.org/10.26586/chls.2008..38.007.
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Jin, Jingying, and Huxiong Jin. "The Experimental Spirit of Poet Seak Hwa and the Visualization of Korean-Chinese Community." Studies of Korean & Chinese Humanities 55 (June 30, 2017): 203–27. http://dx.doi.org/10.26528/kochih.55.203.
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Jin, Jingying, and Huxiong Jin. "The Experimental Spirit of Poet Seak Hwa and the Visualization of Korean-Chinese Community." Studies of Korean & Chinese Humanities 55 (June 30, 2017): 203–27. http://dx.doi.org/10.26528/kochih.2017.55.203.
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Chương, Nguyễn Cảnh. "TÂM CỦA NGUYỄN DU TỪ THƠ CHỮ HÁN ĐẾN VĂN CHIÊU HỒN". Dalat University Journal of Science 11, № 2 (2021): 27. http://dx.doi.org/10.37569/dalatuniversity.11.2.809(2021).
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From Chinese poetry, “The Tale of Kieu” to “Van chieu hon” shows a movement in Nguyen Du’s thought. The mind of Nguyen Du moved from the heart of a Confucian, in which Chinese poetry expressed life’s pains and sorrows, to the immense compassionate heart of Buddhism for sentient beings in “Van chieu hon” This article highlights that movement. At the same time, it is clear that, whether from the mind of the scholar Nguyen Du, or the mind of the Buddhist disciple Nguyen Du, the movement in Nguyen Du’s thought is also derived from a kind heart: a "thinking heart for a thousand years" of the great Vietnamese national poet.
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Lavrač, Maja. "Li Shangyin and the Art of Poetic Ambiguity." Ars & Humanitas 10, no. 2 (2016): 163–77. http://dx.doi.org/10.4312/ah.10.2.163-177.
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Li Shangyin (813–858), one of the most respected, mysterious, ambiguous and provocative of Chinese poets, lived during the late Tang period, when the glorious Tang dynasty was beginning to decline. It was a time of social riots, political division and painful general insecurity. Li Shangyin is famous as a highly original and committed poet who developed a unique style full of vague allusions and unusual images derived from the literary past (the traditional canon, myths and legends) as well as from nature and personal experience. The second important feature of his poetry is a mysteriousness which finally leads to ambiguity. Ambiguity plays an essential role in most of his renowned poems, and he uses it to superbly connect present and past, reality and fantasy, and history and mythology. Thus, ambiguity and obscurity, respectively, often engender different interpretations among Chinese critics. These interpretations reflect the poems’ imaginative qualities, hypotheses and contradictions. Since each interpretive direction emphasizes but a single aspect of the poet’s character, it is more fitting to understand his ambiguous poems in symbolic terms. Such understanding entails that the meaning of the poem is not limited to one interpretation; rather, the poem’s poetic landscape opens itself up to various interpretations.Li Shangyin is actually most popular for his melancholic love poetry that reveals his ambiguous attitude to love. In this poetry, love is shrouded in a secret message. On the one hand, we can sense his moral disapproval of a secret but hopeless love; on the other, we can sense his passion. This leads to a paradox: the pleasing temptations of an illicit romance also exact a high price. In these love poems Li investigates various aspects of the worlds of passion which stoke in him feelings of rapture, satisfaction, joy and hope as well as feelings of doubt, frustration, despair and even thoughts of death.