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Journal articles on the topic 'Chinese poetry Decadence in literature'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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1

Diedrick, James. "“THE HECTIC BEAUTY OF DECAY”: POSITIVIST DECADENCE IN MATHILDE BLIND'S LATE POETRY." Victorian Literature and Culture 34, no. 2 (August 25, 2006): 631–48. http://dx.doi.org/10.1017/s1060150306051357.

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Wan mists enwrap the still-born day;The harebell withers on the heath,And all the moorland seems to breatheThe hectic beauty of decay.—Mathilde Blind, “The Evening of the Year,”Songs and SonnetsTo again invoke the organic metaphor at the root of decadence, what is crucial about the notion of decay is not so much the change from a greater to a lesser state, but the changing itself.—David Weir,Decadence and the Making of Modernism[T]he aim of decadence, whether in science or art, is to challenge the limits that mark some forms of knowledge as permissible and others as forbidden, regardless of the results.—Christine Ferguson, “Decadence as Scientific Fulfillment”

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2

Nosenok, B. E. "DECADENCE-LITERATURE: THE IMAGERY SPECIFICITY." UKRAINIAN CULTURAL STUDIES, no. 1 (2017): 34–39. http://dx.doi.org/10.17721/ucs.2017.1.08.

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This article is devoted to the imagery problem of the decadence-literature (as a general phenomenon that periodically repeats itself) and of the literature of the decadency (as an oeuvre of crisis developments in art of the late 19th and early 20th century). The decadence-literatureis a manifestation of the irreducibility. It is proposed to analyze the imagery based on the context of the modernist interpretation of the image / icon. Before the image was considered together with its mimetic foundation – as an imitation of the external world. But here the image is freed from its mimetism, and it turns into a kind of "immediate ontology" (it is the Gaston Bachelard’s term). The classical structure of the image (plot, storyline, composition) ceases to play a leading role, and gives way to a writing. The decadence-literature image lets visual elements into literature. Therefore,there is a displacement from the ontology of the image to the image as an ontology in the research of imagery. It is also important to use the methodology proposed by Georges Didi-Huberman and Paul Virilio: the combination of the hermeneutic approach in the philosophy of image with elements of psychoanalysis, and the method of dromology, which is the connection of special aspects of the physics, mathematics and philosophy. The methodology of the School of Sociology of Imagination is also appropriate. The image of the decadence-literature is marked by symbolism, imaginism (it isalso known the same direction in literature – with the same name). There is also the "genres-werewolves" when a work is called, for example, poetry in prose. A personality of the writer-author plays a great role here: the decadence-literature is saturated with a psychology and a biography that is turned insideout. It is the expression of the world of unforgiven, restless personalities, which is explained by the principle of creation from an absence, emptiness, depressive and melancholic states (nostalgia, fatigue, sweet melancholy). It's interesting that decadent moods contribute to creation here. Distinctive features of the authors of decadence-literature: soreness, tenderness, hypersensitivity, a difficult life path and an unstable world. The imagery that is generated by creativity of these individuals is marked by a special attitude to time and space, it is also directed to the past in an attempt to find a lost paradise - that existed before the crash.

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3

Cai, Zong-qi, and Fusheng Wu. "The Poetics of Decadence: Chinese Poetry of the Southern and Late Tang Periods." Chinese Literature: Essays, Articles, Reviews (CLEAR) 21 (December 1999): 169. http://dx.doi.org/10.2307/495251.

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4

Linnie, Conor. "Beginning at the end: decadence, modernism and postcolonial poetry." Irish Studies Review 27, no. 2 (February 18, 2019): 294–96. http://dx.doi.org/10.1080/09670882.2019.1582923.

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5

Zhongshu, Q., and Z. Liya. "Chinese Poetry and Chinese Painting." Genre 43, no. 3-4 (January 1, 2010): 239–77. http://dx.doi.org/10.1215/00166928-43-3-4-239.

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6

Shields, Anna M., and Fusheng Wu. "The Poetics of Decadence: Chinese Poetry of the Southern Dynasties and Late Tang Periods." Journal of the American Oriental Society 120, no. 3 (July 2000): 469. http://dx.doi.org/10.2307/606027.

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7

Schmidt, J. D., and Fusheng Wu. "The Poetics of Decadence: Chinese Poetry of the Southern Dynasties and Late Tang Periods." Pacific Affairs 72, no. 3 (1999): 423. http://dx.doi.org/10.2307/2672239.

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8

Mather, Richard B. "The Poetics of Decadence: Chinese Poetry of the Southern Dynasties and Late Tang Periods (review)." China Review International 7, no. 1 (2000): 243–47. http://dx.doi.org/10.1353/cri.2000.0038.

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9

Yeh, Michelle. "Contemporary Chinese Poetry Scenes." Chicago Review 39, no. 3/4 (1993): 279. http://dx.doi.org/10.2307/25305771.

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10

John Taylor. "Poetry Today: The Intricacies of the New Chinese Poetry." Antioch Review 71, no. 2 (2013): 382. http://dx.doi.org/10.7723/antiochreview.71.2.0382.

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11

McLeod, Russell, and Julia C. Lin. "Essays on Contemporary Chinese Poetry." World Literature Today 61, no. 1 (1987): 155. http://dx.doi.org/10.2307/40142686.

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12

Patton, Simon, and Michelle Yeh. "Anthology of Modern Chinese Poetry." World Literature Today 67, no. 4 (1993): 888. http://dx.doi.org/10.2307/40149798.

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13

Uba, George, L. Ling-Chi Wang, and Henry Yiheng Zhao. "Chinese American Poetry: An Anthology." MELUS 18, no. 3 (1993): 103. http://dx.doi.org/10.2307/468070.

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14

Yeh, Michelle. "Modern Chinese poetry: Translation and translatability." Frontiers of Literary Studies in China 5, no. 4 (November 17, 2011): 600–609. http://dx.doi.org/10.1007/s11702-011-0143-9.

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15

Escudero, Xavier. "La décadence à la fin du XIXe siècle espagnol: une esthétique de la provocation." Nordlit 15, no. 2 (March 26, 2012): 107. http://dx.doi.org/10.7557/13.2047.

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Talking about Decadence in fin-de-siècle Hispanic literature involves delving into the great movement of modernism, and notably one of its expressions, literary bohemianism. In what way(s) do these concepts both make use of and take part in an aesthetic of transgression, or a provocative pose? What does Spanish decadentism really mean, and what are its expressions?In order to answer these questions, we shall first look at the concept of decadentism as applied to the sociocultural phenomenon of Spanish literary bohemianism, which gathers writers and artists defined by constant failure, loose morals and the "cursed" poses they adopt. Then we shall highlight the literary expressions of decadence through the writings of Manuel Machado, Rubén Darío and Ramón María del Valle-Inclán, three prominent authors of the fin-de-siècle letters. Finally we shall take a closer look at the decadent motifs of marginality and lust in the little-known field of modernist bohemian poetry.

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16

Sorensen, Simon, and Maghiel van Crevel. "Language Shattered: Contemporary Chinese Poetry and Duoduo." World Literature Today 71, no. 2 (1997): 453. http://dx.doi.org/10.2307/40153246.

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17

Xie, Mian. "One hundred years of new Chinese poetry." Frontiers of Literary Studies in China 2, no. 4 (October 22, 2008): 617–46. http://dx.doi.org/10.1007/s11702-008-0025-y.

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18

Seng, Anabela Fong Keng. "THREE MILLENNIA OF CHINESE POETRY." Revista Brasileira de Literatura Comparada 22, no. 41 (December 2020): 103–9. http://dx.doi.org/10.1590/2596-304x20202241afk.

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Abstract Poetry has a history of thousands of years in China and can be said to be the shining jewel in the crown of Chinese literature, occupying a major proportion in her history. Having originated from folk songs, the Chinese poetry has produced a large number of brilliant examples from the Western Zhou Dynasty (1046-771 BC) to the Chunqiu (Spring and Autumn) Period (770-476 BC). China has, since ancient times, maintained a tradition of education in poetry, which is used to educate the people and arouse their intelligence. Through the reading, studying and writing of poetry, it is possible to instruct and cultivate the character of young pupils, as well as to promote children’s creative thinking, logical dialectics and humanistic consciousness. In addition, reciting, learning and writing poetry has the ability to cultivate one’s temperament, allowing people of all social strata, professional occupation and age to cleanse and purify their minds. The realm of poetry has the same effect of calming the soul as religious belief. This article shows the highlights of three millennia of Chinese poetry to the readers or scholars whose native language is not Chinese.

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19

Yin, Yunzhen, and Zhengshi Li. "The Influence of Chinese Literature on the Aesthetics of Choi Gwangyou’s Chinese Poetry." Studies of Korean & Chinese Humanities 61 (December 31, 2018): 103–23. http://dx.doi.org/10.26528/kochih.2018.61.103.

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20

Ómarsson, Kjartan Már. "Dansað á óplægðum akrinum. Tólf lík, níu staðir og í lokin eru allir glaðir." Kynbundið ofbeldi II 19, no. 1 (June 14, 2019): 79–97. http://dx.doi.org/10.33112/ritid.19.1.4.

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Literature has a long history of chastising women who defy ,traditional‘ gender roles. By turning a critical eye on the poem danse grotesque by the Icelandic poet Sjón, its staging and visual presentations, as well as fundamental interpretive keys such as trolls and dance, one senses a resistance to the prevailing manifestations of women in the Western media. The article shows how the poem reassesses the relationship between femininity and death in Western culture.Keywords: Concrete poetry, avant-garde, decadence, gender roles, death, dance, trollsKjartan Már ÓmarssonDoktorsnemi í almennri bókmenntafræði Hugvísindasviði Háskóla ÍslandsSæmundargötu 2 IS-101 Reykjavík, Íslandko@hi.is

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21

Zhao, Guangxu, and Luise von Flotow. "Translating iconicities of classical Chinese poetry." Semiotica 2018, no. 224 (September 25, 2018): 19–44. http://dx.doi.org/10.1515/sem-2016-0206.

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Abstract In the history of translating classical Chinese poetry, there are two kinds of translators. The first kind translate classical Chinese poetry “by way of intellectual, directional devices” (Yip, Wai-lim. 1969. Ezra Pound’s Cathay. Princeton, NJ: Princeton University Press: 16). What these translators are concerned with most is the coherence of their translations. They give little attention to the ideogrammic nature of Chinese characters. I call them traditional translators. These translators include those in the history of translating classical Chinese poetry from its beginning to the first decade of the twentieth century, although there are still some who translate classical Chinese poetry in this way later. The second kind of translator is highly interested in the images created by ideogrammic Chinese characters and tries to convey them in target language. We call them modernist translators. These translators are represented by some American modernist poets such as Ezra Pound, Amy Lowell, Florence Ayscough, etc. From the point of view of iconicity, modernist translators’ contribution lies in their concern with the iconic characteristics of Chinese characters. But they did not give enough attention to syntactical iconicity and textual iconicity in classical Chinese poetry.

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22

Gang, Xu. "Symbolism in Chinese Poetry on History." Monumenta Serica 48, no. 1 (January 2000): 1–18. http://dx.doi.org/10.1080/02549948.2000.11731340.

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23

Twitchell-Waas, Jeffrey, Michelle Yeh, and N. G. D. Malmqvist. "Frontier Taiwan: An Anthology of Modern Chinese Poetry." World Literature Today 76, no. 2 (2002): 136. http://dx.doi.org/10.2307/40157310.

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24

McLeod, Russell, and Michelle Yeh. "Modern Chinese Poetry: Theory and Practice since 1917." World Literature Today 66, no. 3 (1992): 579. http://dx.doi.org/10.2307/40148575.

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25

Allen, Joseph R., and Wailim Yip. "Lyrics from Shelters: Modern Chinese Poetry 1930-1950." World Literature Today 67, no. 4 (1993): 889. http://dx.doi.org/10.2307/40149800.

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26

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

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

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27

Eoyang, Eugene, and Dore J. Levy. "Chinese Narrative Poetry: The Late Han through T'Ang Dynasties." Comparative Literature 44, no. 1 (1992): 81. http://dx.doi.org/10.2307/1771175.

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28

Serrano, Richard. "Fans, Silks, and Ptyx: Mallarme and Classical Chinese Poetry." Comparative Literature 50, no. 3 (1998): 220. http://dx.doi.org/10.2307/1771398.

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29

Yeh, Michelle, and Stephen Owen. "Traditional Chinese Poetry and Poetics: Omen of the World." World Literature Today 60, no. 2 (1986): 361. http://dx.doi.org/10.2307/40141902.

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30

Duke, Michael S., Edward Morin, Fang Dai, Dennis Ding, and Edward Morin. "The Red Azalea: Chinese Poetry since the Cultural Revolution." World Literature Today 65, no. 4 (1991): 766. http://dx.doi.org/10.2307/40147816.

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31

Allen, Joseph R., and Tony Barnstone. "Out of the Howling Storm: The New Chinese Poetry." World Literature Today 68, no. 4 (1994): 881. http://dx.doi.org/10.2307/40150809.

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32

hockx, michel. "virtual chinese literature: a comparative case study of online poetry communities." China Quarterly 183 (September 2005): 670–91. http://dx.doi.org/10.1017/s030574100500041x.

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this article looks at the practices of communities that employ internet technologies in order to produce, distribute, consume and value chinese poetry. the article is in three parts. the first part provides a brief general overview of the current state of research about the chinese internet. i take issue with the dominant tendency of english-language research to focus almost exclusively on questions of censorship. the second part looks at the development of “web literature” (wangluo wenxue) in china, briefly outlining the meaning of the term and the content of a protracted debate about web literature that took place in 2001. the debate illustrates the limited extent to which web literature is able to distinguish itself from conventionally published literature. paradoxically, this has led to “web literature” becoming a recognized genre within print culture. in the final part, i compare a prc online poetry community with a similar community based in the usa. i conclude by arguing that previous scholarship's biased focus on the transformative aspects of cyber culture has made it difficult to gain a clear insight into the many positive and culture-specific features of chinese web literature.

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33

Leung, K. C., and Michael S. Duke. "Contemporary Chinese Literature: An Anthology of Post-Mao Fiction and Poetry." World Literature Today 60, no. 3 (1986): 519. http://dx.doi.org/10.2307/40142417.

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34

Chiu, Kuei-fen. "“From Postcolonial Literature to World Literature”." Journal of World Literature 4, no. 4 (December 6, 2019): 467–87. http://dx.doi.org/10.1163/24056480-00404002.

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Abstract Starting with an analysis of the award-winning literary documentary Le Moulin, this paper argues that the film’s reconstruction of Le Moulin Poetry Society in colonial Taiwan suggests world literature as an alternative framework for studying Taiwan literature within cross-cultural contexts. Taiwan literature has been predominantly studied as “postcolonial literature” vis-à-vis Japanese literature and, more recently, “Sinophone literature” in relation to mainland Chinese literature. Instead of deliberating on the subjugated position of Taiwan literature in relation to dominant literatures, the documentary film celebrates the avant-garde experimentation by Le Moulin Poetry Society and underscores the connection of Taiwan literature to world literature through the mediation of Japanese writers. Its employment of what can be called “performative historiography” to fulfill this task raises significant questions about the reinvention of literature, literary canonization, and literary historiography in a new age.

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35

Landa, Sara. "On the Interplay between Poets’ and Philologists’ Translations of Chinese Poetry into German." Comparative Critical Studies 17, no. 2 (June 2020): 245–62. http://dx.doi.org/10.3366/ccs.2020.0361.

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‘[I]t has unfortunately become a fashion that people who obviously cannot claim to have any legitimation or any understanding in the field of sinology […], take hold of the sinological works of others and exploit them merely for business reasons’, complains the sinologist Leopold Woitsch in 1924, referring to Albert Ehrenstein's newest translations of Chinese poetry. The debate on who could authoritatively translate Chinese poetry was fiercely contested in German modernist circles and still rages to this day. Most scholars still contrast ‘poetical’ and ‘scholarly’ translations of Chinese poetry, either claiming that the former in an intuitive way come closer to the original, or criticizing the work of the poets who did not possess the linguistic and cultural background knowledge to dare approach Chinese poetry. However, it is exactly the interaction between the two modes that shaped the German reception of Chinese poetry in the twentieth century. Referring to a number of examples from the early-twentieth-century adaptations of Tang poetry, this article offers a more differentiated perspective on the cooperative and competitive relations between poets’ and scholars’ translations of Chinese poetry. Against the background of controversies surrounding ‘legitimate’ translations which shaped literary modernism in the early twentieth century, I show how the poetic and scholarly approaches were (and remain) closely interconnected, and discuss the thematic and aesthetic implications of this interrelationship.

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36

Cui, Lifang, Gillian Hubbard, and Margaret Gleeson. "Teaching poetry to Chinese English majors: a review of articles from 2000-2013." English Teaching: Practice & Critique 14, no. 3 (December 7, 2015): 270–84. http://dx.doi.org/10.1108/etpc-03-2015-0024.

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Purpose – The purpose of this paper is to survey and consider the implications of the literature justifying the value of teaching poetry. There has been a long tradition of literature education in the English departments of Chinese universities. English Poetry courses are offered within optional literature modules in senior stages of a BA in English language and literature. In 2000, the new national syllabus for tertiary English majors was issued. This syllabus has brought the teaching of English into line with the perceived practical needs of society. As a result, poetry courses have been under threat within the degree. A substantial number of university teachers have responded to this threat with articles arguing the value of teaching of poetry. Design/methodology/approach – The China National Knowledge Infrastructure (CNKI), the largest database of academic journals in China, reveals that from 2000 to 2013, 102 articles about teaching English poetry to Chinese people learning English as a foreign language were published in Chinese academic journals, of which 67 are concerned with English majors. This literature examines these 67 articles. Findings – These articles justify the purpose of teaching English poetry, evaluate the content of poetry courses and share pedagogical strategies. The issues within this discussion fall into three categories: why teach poetry; what to teach in poetry courses; and how to teach poetry. Because the commitment of Chinese teachers to sharing their beliefs about teaching English poetry is positioned in the context of increased advocacy for the creation of inter-disciplinary market-orientated graduates, discomfort, uncertainty and the desire for change emerge in this discussion. On the other hand, teachers looking for change express caution about the costs of changing pedagogical approaches on the development of the skills of close reading and analysis of poetical texts. Originality/value – This investigation of the local Chinese context resonates with and contributes to the wider discussion of the challenges faced by English literature teachers in both second- (L2) and first-language (L1) contexts and warrants examination. It is difficult to say in advance how far such knowledge could contribute to any policy decisions that may be made in the future, but it is important that the voice of teachers contributes to the larger international debate about the value of humanities in tertiary-level education.

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37

Semenist, Ivan. "“Misty Poetry” as a reflection of the nature of Chinese literature of the “New Period” (second half of the 20th century)." Synopsis: Text Context Media 26, no. 4 (2020): 145–50. http://dx.doi.org/10.28925/2311-259x.2020.4.5.

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The subject of the study is the formation of “Misty Poetry” trend in Chinese literature of the late 20th century. The study aims at the disclosure of the dynamics of “Misty Poetry” within modernist paradigm against the backdrop of Chinese literature of the “New Period”. The method is grounded in identification of key modernist poetics categories, perceived and transformed in the versification practice of Misty Poetry. Sociocultural contextualization method is employed to locate Misty Poetry in the post Cultural Revolution aesthetic and ideological context of China. The study results cover the lyrical attempt at a modernistic search for identity in Chinese literature of the “New Period”. The pursuit of self and vaster category of identity is considered and comprehensively analyzed through the array of representative poetic texts (Zhang Ming, Meng Lang, Bei Dao, Duo Duo). “Misty Poetry” marked the beginning of the “New Period” in the history of modern Chinese literature. The trend demonstrated qualitative changes in the ideological foundations and artistic practice of the new poetry of China in the 20th century. “Misty Poetry” became a kind of aesthetic protest against the ideological and artistic clichés of the preceding cultural-historical era. The concept of “self” within the paradigm of Misty Poetry is corroborated to be perceived as an independent consciousness, not dictated by any ideology or doctrine, disclosed through the means of a poet’s internal thoughts depictions, both conscious and subconscious. The paper results demonstrate the transformative potential of the Misty Poetry trend poetics on prosodic level, level of stylistic imagery and genre specificity. The paper interpretative results explore the significance of the “Misty Poetry” in the way that it revived and gave a new impetus to the further development to the humanistic orientation of Chinese poetry. The novelty is connected with the aesthetic means of territorializing the marginal space that provides the poet and the poetic protagonist with a critical distance from the dominant discourse of the political-cultural establishment of post Cultural Revolution China are disclosed. The paper concludes the Misty Poetry trend drew attention to the subjective beginning in art and opened the discourse for an active search for a new artistic reality in which the legacy of classical poetry of China, the best humanistic traditions of the new poetry of the early 20th century and the modernist features of Western poetry were combined.

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38

Hul, Ołeksandra. "Transformational peculiarities within Chinese lyrical genres." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 48, no. 3 (November 1, 2020): 283–97. http://dx.doi.org/10.36770/bp.531.

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The article reveals the historical transformations of Chinese poetry, namely the changes in lyrical genres from the Archaic period of “Fu” (“赋”) invariants and early authors’ poetry to the genre varieties of contemporary (modern) poetry “新诗” of the 20th–21st centuries. In the review we briefly name the key oriental researchers who made a great contribution to the studies of oriental literature based on authentic texts. The article tells how the key archaic genres, such as “Fu” (“赋”), “Shi” (“诗”), “Qi” (“词”) and “Qu” (“曲”) were the grass roots of the differentiation of lyrical genres. In this context we name the pristine origins of the early lyrical genres, returning the reader back to 《诗经》. We give the names of the founding fathers and representatives of each genre, providing examples of the most brilliant poetry, written within the early and classical literary periods. In the article we try to systematize the knowledge available on the topic, comparing the Eastern and the Western tradition of lyrical writing. We aim to show how archaic Chinese poetry came out of prose, transformed in time over more than 2000 years, and lost its primeval classical and traditional Chinese style, but preserved the unique code of the nation and almost returned to prose in the 20th–21st centuries.

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39

Tay, Eddie. "Multiculturalisms, Mistranslations and Bilingual Poetry: On Writing as a Chinese." New Writing 6, no. 1 (March 2009): 5–14. http://dx.doi.org/10.1080/14790720902898699.

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40

Leung, K. C., and Dominic Cheung. "The Isle Full of Noises: Modern Chinese Poetry from Taiwan." World Literature Today 61, no. 4 (1987): 675. http://dx.doi.org/10.2307/40143968.

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41

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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42

Zhang, Qinghua. "Regional variations in aesthetics and ideology in contemporary Chinese poetry." Frontiers of Literary Studies in China 5, no. 2 (May 19, 2011): 219–33. http://dx.doi.org/10.1007/s11702-011-0126-x.

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43

Xu, Jianzhong, and Chengxia Chang. "Poetic dialogue analysis of Chinese–English poetry translation." Language and Dialogue 2, no. 2 (August 13, 2012): 262–82. http://dx.doi.org/10.1075/ld.2.2.05xu.

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The translation of ancient Chinese Poetry into English is considered to be one of the most challenging tasks not only because of the different features between the two languages, especially as they belong to different linguistic families, but also the unique features of the ancient Chinese poetry itself.. This paper, by applying poetry dialogue analysis based on dialogism, explores the operation of its elements such as context, subject, sense, image, the reader and text form, and tries to seek out the mechanism for understanding the source text and reproducing what the source contains in the target language, thus shedding light on poetry translation studies.

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Kyounghwa Lim. "Patriots and Writers, Politics and Literature : Modern Japanese Intelligentsia and Chinese Poetry." DAEDONG MUNHWA YEON'GU ll, no. 65 (March 2009): 351–78. http://dx.doi.org/10.18219/ddmh..65.200903.351.

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박남용. "A study on the cultural identity of Chinese poetry literature in Singapore." Journal of Study on Language and Culture of Korea and China ll, no. 21 (October 2009): 489–508. http://dx.doi.org/10.16874/jslckc.2009..21.023.

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Kovalenko, Andriy, and Svetlana Yukhymets. "Reproduction of Genre Peculiarities of the Chinese Belles-Lettres into English and Ukrainian." Naukovy Visnyk of South Ukrainian National Pedagogical University named after K. D. Ushynsky: Linguistic Sciences 26, no. 27 (February 2019): 127–33. http://dx.doi.org/10.24195/2616-5317-2018-27-15.

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The article deals with the problem of rendering the Chinese poetry ’shi’ in English and Ukrainian translation. Special attention is paid to the peculiarities of translating realia. The translation operations employed to render the semantics and pragmatics of the Chinese belles-lettres literature by means of typologically distant languages have also been analyzed. Key words: Chinese poetry ’shi’, realia, translation operations

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Nguyen Thị Mai, Chanh. "The trend of “the misty poetry” in the Chinese literature in the second half of the 20th century." Journal of Science Social Science 65, no. 8 (August 2020): 3–9. http://dx.doi.org/10.18173/2354-1067.2020-0043.

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After 10 years of the chaotic Great Cultural Revolution, Chinese literature transited to a “new age”, which was characterized by tremendous efforts into seeking an artistic breakthrough. The Misty Poetry is not randomly regarded as “the trumpet blast” of the new-age literature. The Misty Poetry did not only disrupt conservative literary principles and express novel perspectives on the social history through individual compositions but also offered a comprehensive reflection of contemporary people’ spirits. However, evaluations on “the Misty Poetry” have varied for years. This paper will help to re-evaluate undeniable values of this unique poetry trend and contribute a new perspective on the mentioned ongoing argument.

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Yongguo, C. "Becoming-Obscure: A Constant in the Development of Modern Chinese Poetry." Modern Language Quarterly 69, no. 1 (January 1, 2008): 81–96. http://dx.doi.org/10.1215/00267929-2007-026.

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Zhang and Lin. "Between Modern and Postmodern: Contemporary Chinese Poetry from the Outside in." Journal of Modern Literature 44, no. 2 (2021): 34. http://dx.doi.org/10.2979/jmodelite.44.2.04.

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Feng, MAO, LIU Ying, ZHANG Jiandong, YI Miaomiao, and Wu Biyu. "A Study of Du Fu’s Poetry in the West in Modern Times." International Journal of Linguistics, Literature and Translation 4, no. 6 (June 30, 2021): 134–40. http://dx.doi.org/10.32996/ijllt.2021.4.6.15.

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Chinese classical literature has attracted much attention in the Western world. As an important part of Chinese classical literature, Du Fu’s poetry, also as an important carrier, plays a great role in the international communication of cultural confidence. In recent years, some domestic research institutions and scholars have also written literature reviews on the research progress of Du Fu, but few works of literature comprehensively review related western research results. With the combination of big data and visualization tools, this study uses the title keyword “Du Fu Poetry” to search the English literature of Google scholar. VOSviewer is used to make visual analysis and draw a knowledge map from the aspects of literature quantity, authors, research institutions, co-citation, keyword clustering, etc., to analyze the research situation and hotspots of the Western study of Du’s poetry. The following conclusions are drawn: 1) In recent decades, western translation of Du Fu’s poetry have emerged constantly, attracting more and more famous international publishing houses to cooperate; 2) The study of Du’s poetry abroad mainly focuses on the English translation of Du’s poetry as well as the interpretation and evaluation of poets' thoughts; 3) The study of Du’s poetry abroad ignores the dynamic study of Du's poetry development, and there are some obvious cultural errors or omissions in translation. In a word, this study objectively reflects the development, theme and hotspots of modern western Du Fu poetry research, which has certain significance for fully understanding the general situation of Du Fu research field in Western countries and help to deepen Du Fu’s research.

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