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Journal articles on the topic 'Chinese poetry Literature and history'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

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

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Seng, Anabela Fong Keng. "THREE MILLENNIA OF CHINESE POETRY." Revista Brasileira de Literatura Comparada 22, no. 41 (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

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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

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Zhao, Guangxu, and Luise von Flotow. "Translating iconicities of classical Chinese poetry." Semiotica 2018, no. 224 (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

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Hul, Ołeksandra. "Chinese avant-garde poetry in times of mind, mayhem and money through the interpretation of Maghiel van Crevel." Bibliotekarz Podlaski. Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 45, no. 4 (2019): 409–22. http://dx.doi.org/10.36770/bp.236.

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The article is written in the form of a book review. It tells about the Chinese avant-garde poetry as a tendency in the literature of the turn of the 20th and the 21st centuries. We are acquainted with the contemporary poetry through the eyes of Maghiel van Crevel, who, being a famous professor-sinologist, describes the lyrical vanguard with all its peculiarities. In his book he shows the real background of the exile poetry. The reader can not only see the positive sides of the modern poetry, but can also understand the controversial nature of the “Misty poetry” in its entirety. The article gi

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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 (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 t

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Yu, Pauline. "“Your Alabaster in This Porcelain”: Judith Gautier's Le livre de jade." PMLA/Publications of the Modern Language Association of America 122, no. 2 (2007): 464–82. http://dx.doi.org/10.1632/pmla.2007.122.2.464.

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This article discusses the history of Judith Gautier's Le livre de jade (1867), one of the earliest volumes of translations of Chinese poetry published in any European language. It explores the connection between her interest in this project, which Gautier undertook as an amateur student of Chinese, and both the sinological context and the influence of her father, Théophile. Although her command of Chinese was imperfect, Gautier knew more than many have insinuated; her renditions convey important themes of the Chinese poetic tradition and maintain at times an impressive fidelity to the origina

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

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

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Yogi, Stan, Him Mark Lai, Genny Lim, and Judy Yung. "Island: Poetry and History of Chinese Immigrants on Angel Island. 1910-1940." MELUS 17, no. 2 (1991): 77. http://dx.doi.org/10.2307/467002.

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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,

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Milburn, Olivia. "Representations of History in the Poetry of Zheng Jing." Ming Qing Yanjiu 21, no. 1 (2017): 58–92. http://dx.doi.org/10.1163/24684791-12340014.

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Abstract Zheng Jing 鄭經 (1642–1681), the first classically trained Chinese-language poet to write about Taiwan’s landscape, also addressed a number of other themes. This paper will consider his small group of historical poems dealing with the achievements of the founders of earlier imperial dynasties; his poems about contemporary events, in particular the ongoing conflict between the Qing government and the remnants of the Southern Ming dynasty (which he supported) on Taiwan; his poems about his experiences as a military commander; and his poems criticizing the Manchu imperial house for their a

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

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

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Hu, Jingwen, and Chuanmao Tian. "Translation and Dissemination of Chu Ci in the West." IRA International Journal of Education and Multidisciplinary Studies (ISSN 2455-2526) 8, no. 1 (2017): 11. http://dx.doi.org/10.21013/jems.v8.n1.p2.

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As a new style of verse mainly created by Qu Yuan, Chu Ci is the first anthology of romantic poetry in China. With deeper communication between China and other countries, Chu Ci, as an invaluable treasure in the history of Chinese literature, has been gradually translated, introduced and disseminated around the globe. This paper briefly examines the history and present situation of translation and dissemination of Chu Ci in English-speaking countries, aiming to strengthen the globalization of Chinese culture.

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

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

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Hartman, Charles. "SONG HISTORY NARRATIVES AS GRAND ALLEGORY." Journal of Chinese History 3, no. 1 (2018): 35–57. http://dx.doi.org/10.1017/jch.2017.46.

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My interest in Song history emerged well after my initial training in pre-modern Chinese literature. When I first began to read Song historical texts, I knew nothing about historiographical theory, so I blithely used the same techniques for close reading that I had used to decipher Tang-Song poetry. Using these strategies for reading literature—nothing much beyond old school European philology—I was able to document the different chronological layers in the Song History (Songshi 宋史) biography of Qin Gui 秦檜 (1090–1155). When this article appeared in 1998, several colleagues more attuned to theo

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

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The paper presents an attempt to explore the problem of mediality in Chinese poetry of the last thirty years. New Chinese poetry is particularly susceptible to the influence of the latest concepts of modern art and now more than ever needs a clear contextualization in relation to other forms of culture and avant-garde practice. This can be achieved through applying an analysis paradigm for performative word art developed by Dr. Tomáš Glanc in the context of Czech and Russian neo-avant-garde. It perceives experimental poetry as a form that fulfills a shift of the word thus making it labile. Exa

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Fuehrer, Bernhard. "The Columbia History of Chinese Literature. Edited by Victor Mair. [New York: Columbia University Press, 2001. 1,342+xxiv pp. $75.00; £52.50. ISBN 0-231-10984-9.]." China Quarterly 178 (June 2004): 535–36. http://dx.doi.org/10.1017/s0305741004390296.

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Following his Columbia Anthology of Traditional Chinese Literature (1994) and the Shorter Columbia Anthology of Traditional Chinese Literature (2000), the Columbia History of Chinese Literature intends to complement these two widely used readers. Edited by Victor H. Mair, the 55 chapters of this single-volume history of Chinese literature are chronologically arranged with thematic chapters interspersed. Indeed, a closer look at the chapters reveals that the book at hand follows the traditional dictum of wen shi zhe bu fenjia, i.e. that literature, history and philosophy should not be separated

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Woo-lak Jeong. "A Study on the Chinese Poetry of Mangheon Lee Ju and Its Status in the History of Literature." Dongyang studies in Korean Classics 42, no. 42 (2015): 57–91. http://dx.doi.org/10.35374/dyha.42.42.201510.003.

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20

Bruno, Cosima. "Thinking Other People's Thoughts: Brian Holton's Translations from Classical Chinese into Lowland Scots." Translation and Literature 27, no. 3 (2018): 306–18. http://dx.doi.org/10.3366/tal.2018.0353.

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Brian Holton (b. 1949), the only currently working translator of classical Chinese poetry into Scots, is here approached biographically, through his personal history and his career in translating and publishing. Holton's collection of his own translation materials, including drafts, proofs, scores, translations, notes, lectures, correspondence, and journalistic writings, has been made available to the author. As a voice of history, Holton's life and work constitute a subjective narrative that enters into debate, discussion, and interpretation with larger narratives, spheres of diffusion, and p

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Чжицян, Лю, and На Сай. "“Poems in Prose” by I. S. Turgenev and Aesthetic Features of Traditional Chinese Poetry." Иностранные языки в высшей школе, no. 2(53) (September 17, 2020): 17–24. http://dx.doi.org/10.37724/rsu.2020.53.2.021.

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В статье рассматривается один из аспектов в истории восприятия русской литературы в Китае — соотношение стихотворений в прозе И. С. Тургенева (1818–1883) и китайской традиционной литературы. Изучаются причины особой популярности стихотворений в прозе И. С. Тургенева среди китайской читательской аудитории. Новизна исследования заключается в том, что в работе впервые представлен обзор о связях между «Стихотворениями в прозе» И. С. Тургенева и традиционной китайской поэзией. Материалом для исследования послужили как тексты традиционной китайской прозы Фу, так и стихотворения для пения Цы и древни

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Arzamastseva, Irina N., and Yang Liping. "The art of ceramics in the works of E.Ya. Danko: “Vase of Chinese Khan”, “Ceramic Cup” and “Chinese Secret”." RUDN Journal of Studies in Literature and Journalism 25, no. 1 (2020): 91–100. http://dx.doi.org/10.22363/2312-9220-2020-25-1-91-100.

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This article is the first try to research the connection between the art of ceramics and word in the work of children's writer and artist E.Ya. Danko. The relevance of the study is due to the need to expand the idea of the image of China in Soviet children's literature of the 1920s. Compared to the history of Russian poetry, the poems “Ceramic Cup”, “Chinese Secret” and the novel “Vase of Chinese Khan” are considered diachronically, and synchronously - in the context of the indestructible myth of Ancient China and the Chinese proletarian revolution. Special attention is paid to the genesis of

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Dreyzis, Yulia A. "The Revival of Poetry Declamation in Contemporary China: The Case of Fenchunguan Poetry Group (Guangzhou)." Oriental Studies 20, no. 4 (2021): 145–57. http://dx.doi.org/10.25205/1818-7919-2021-20-4-145-157.

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The paper presents a description of the contemporary practice of poetry declamation in one of the literary communities of Guangzhou, among the poets who associate themselves with the tradition of the informal Fenchunguan group. The members of the group are authors and performers of classical poetry. They take an active part in the movement for the revival of traditional declamatory practices which were widely popular until the first decades of the 20th century. Their example allows us to trace some features of the declamation (oral presentation) used to promote poetry in classical formats (wri

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Jin, Ying. "The Education Method of Korean Classical Literature History by Comparing “Moon” Imagery in Classical Poetry - For Chinese Advanced Learners -." Journal of the International Network for Korean Language and Culture 16, no. 2 (2019): 65–92. http://dx.doi.org/10.15652/ink.2019.16.2.065.

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Kinkley, Jeffrey C. "The Monster That Is History: History, Violence, and Fictional Writing in Twentieth-Century China. By David Der-Wei Wang. [Berkeley, Los Angeles and London: University of California Press, 2004. 402 pp. ISBN 0-520-23140-6.]." China Quarterly 182 (June 2005): 439–41. http://dx.doi.org/10.1017/s0305741005270261.

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This celebration of modern Chinese literature is a tour de force, David Wang's third major summation in English. He is even more prolific in Chinese. Wang's command of the creative and critical literatures is unrivalled.Monster's subject is “the multivalence of Chinese violence across the past century”: not 1960s “structural violence” or postcolonial “epistemic violence,” but hunger, suicide, anomie, betrayal (though not assassination or incarceration), and “the violence of representation”: misery that reflects or creates monstrosity in history. Monster thus comments on “history and memory,” l

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Xavier, Subha. "The global afterlife: Sino-French literature and the politics of translation." French Cultural Studies 30, no. 2 (2019): 153–65. http://dx.doi.org/10.1177/0957155819842980.

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Following the critical acclaim of Sino-French literature in recent years, an increasing number of Chinese presses have solicited translations of prize-winning novels written in French by authors of Chinese descent. Yet as the work of authors like François Cheng, Shan Sa, Ya Ding and Dai Sijie travels from French into Chinese, it also undergoes a transformation via the politics of translation and publication in China. This essay exposes the inner workings of translation between French and Chinese, as well as the politics that colour its publication and reception between France and China. The ac

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Sinn, Elizabeth. "Xin Xi Guxiang: A Study of Regional Associations as a Bonding Mechanism in the Chinese Diaspora. The Hong Kong Experience." Modern Asian Studies 31, no. 2 (1997): 375–97. http://dx.doi.org/10.1017/s0026749x00014347.

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The Chinese migrant's strong sense of attachment to theguxiang(native place) is well recognized, and literature on overseas Chinese generally proceeds on this assumption. There is, however, little discussion on the mechanisms which have bonded the migrant to the native place, either by helping him express his longing and concern for it, or by reminding him of his obligations as a native son. Family ties, ownership of land and business connections as well as pure sentimental attachment, so poignant in centuries of Chinese poetry, naturally make migrants feel concerned for its well-being and eag

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Jianghua, Han. "Conceptual Blending Analysis of Diangu (典故 Classic Allusions) As Metaphor in A Dream of Red Mansions". MANUSYA 21, № 2 (2018): 52–71. http://dx.doi.org/10.1163/26659077-02102003.

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This paper studies the use of Diangu (典故) in Chinese poetry. Diangu (典故) refers to ancient events or stories quoted in poems and words with literary origins (Modern Chinese Dictionary 2012: 290). However, the Western allusion refers to an implicit reference, perhaps to another work of literature or art or to a person or an event; it is often a kind of appeal for a reader to share some experience with the writer; an allusion may enrich the work by association (q.v.) and give it depth (Cuddon 2013: 25). Thus, the concepts of "Diangu (典故)" and "allusion" do not correspond exactly, because the sem

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

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

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Forsdick, C. "Review: Neither a Borrower: Forging Traditions in French, Chinese and Arabic Poetry." French Studies 58, no. 4 (2004): 570–71. http://dx.doi.org/10.1093/fs/58.4.570.

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

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

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김윤희. "Examining the Alba Literary Style in Korean Classical Poetry Based on a Comparative Analysis with Chinese Literature." Korea Journal 54, no. 2 (2014): 87–104. http://dx.doi.org/10.25024/kj.2014.54.2.87.

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Keyworth, George A. "‘Study Effortless-Action’." Journal of Religion in Japan 6, no. 2 (2017): 75–106. http://dx.doi.org/10.1163/22118349-00602003.

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Today there is a distinction in Japanese Zen Buddhist monasticism between prayer temples and training centers. Zen training is typically thought to encompass either meditation training or public-case introspection, or both. Yet first-hand accounts exist from the Edo period (1603–1868) which suggest that the study of Buddhist (e.g., public case records, discourse records, sūtra literature, prayer manuals) and Chinese (poetry, philosophy, history) literature may have been equally if not more important topics for rigorous study. How much more so the case with the cultivation of the literary arts

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Li, Yun, and Rong Rong. "A Middle-Class Misidentification." positions: asia critique 27, no. 4 (2019): 773–98. http://dx.doi.org/10.1215/10679847-7726981.

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Through the autobiographical poetry of contemporary Chinese female peasant workers, this article studies how Chinese migrant workers are dis-identified by the identifying hukou system and thus become bodies of non-identity drifting in cities. Driven by the urban desire intrigued by national discourses on modernization, peasants deidentify themselves by abandoning their officially recognized rural identity only to see that they are disidentified by the authority that rejects their urban citizenship. The double dispossession leaves them no way to identify themselves. To deradicalize the nonident

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Mustafaeva, Samida Toshmukhammedovna. "Conditions For The Formation Of Ming Romans." American Journal of Social Science and Education Innovations 02, no. 10 (2020): 440–44. http://dx.doi.org/10.37547/tajssei/volume02issue10-71.

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The Ming period is recognized as a period that introduced a new genre to Chinese literature, especially Chinese prose. During this period, novels from the masterpieces of Chinese literature saw the light of day. They are a valuable source for the study of Chinese literary language, as well as providing valuable information on the plot, historical facts, and the Darwin. In particular, the novel "Three Kingdoms", created in the Ming period, has a large volume and a plot rich in sharp turns, the events of the novel are based on the collapse of the Eastern Khanate, in general, various contradictio

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Guo, Yanli. "“Creation Through Translation” in Early Twentieth-Century Women’s Fiction: On a Literary Trend in the Initial Stages of Cultural Exchange Between China and the West." Journal of Chinese Humanities 2, no. 1 (2016): 1–17. http://dx.doi.org/10.1163/23521341-12340023.

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In the 1910s, the trend of “creating through translation” emerged in fiction by female Chinese writers. This concept, similar to that of “covert translation,” introduced by the contemporary Western translation theorist Juliane House, sprang up from the early stages of new literary forms that developed in the context of changes in early modern Chinese literature. The works of female Chinese authors were influenced by the plot, characters, and narrative techniques in Western literary works from which they consciously or subconsciously took inspiration, passing from the imitation of foreign novel

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Kirkova, Zornica. "Sacred Mountains, Abandoned Women, and Upright Officials: Facets of the Incense Burner in Early Medieval Chinese Poetry." Early Medieval China 2018, no. 24 (2018): 53–81. http://dx.doi.org/10.1080/15299104.2018.1493827.

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Kravtsova, Marina E., and Anton E. Terekhov. "An Analysis of the “Reading the Verses of Chu” Article by Hu Shi." Oriental Studies 19, no. 10 (2020): 74–87. http://dx.doi.org/10.25205/1818-7919-2020-19-10-74-87.

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The paper presents an attempt to analyze Hu Shi's “Reading the Verses of Chu” which is considered one of the basic theoretic works for the “discussion on rejecting the historicity of Qu Yuan”. It spread in the first decades following the formation of the Republic of China (1911–1945) and gave birth to the to the estimation that the famous chuci (verses of Chu) poetic tradition, was firmly considered in the course of the previous centuries to be originated by the creative activities of Qu Yuan (4th – 3rd century BC), a stateman of the ancient Chinese Chu Kingdom (11th – 3rd century BC), derived

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Dreyzis, Yulia A. "Written at the Service of Oral: Topolect Literature Movement in Hong Kong." Vestnik of Saint Petersburg University. Asian and African Studies 12, no. 3 (2020): 415–25. http://dx.doi.org/10.21638/spbu13.2020.307.

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The article describes the history of the Topolect Literature Movement (TLM), which developed in Hong Kong in the 1940s, and analyzes its typological features. TLM was one of the most radical projects implemented to replace writing in the national standard language based on northern dialects with writing in the local language variety (Cantonese / Yue). This variety was a non-northern idiom that performed the function of the L-language in diglossia. TLM authors did not try to break the connection between the written language and its oral form: many, primarily poetic, texts were somehow intended

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Banh, Jenny. "“I Have an Accent in Every Language I Speak!”: Shadow History of One Chinese Family’s Multigenerational Transnational Migrations." Genealogy 3, no. 3 (2019): 36. http://dx.doi.org/10.3390/genealogy3030036.

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According to scholar and Professor Wang Gungwu, there are three categories of Chinese overseas documents: formal (archive), practical (print media), and expressive (migrant writings such as poetry). This non-fiction creative essay documents what Edna Bonacich describes as an “middleman minority” family and how we have migrated to four different nation-city states in four generations. Our double minority status in one country where we were discriminated against helped us psychologically survive in another country. My family history ultimately exemplifies the unique position “middleman minority”

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

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

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Berezkin, Rostislav. "Istoriia kitaiskoi klassicheskoi literatury s drevnosti i do XIII veka: Poeziia, Proza. (History of Chinese Classical Literature from Antiquity to the 13th Century: Poetry, Prose), written by By Marina E. Kravtsova and Igor A. Alimov." T’oung Pao 103, no. 1-3 (2017): 284–90. http://dx.doi.org/10.1163/15685322-10313p09.

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Osminina, E. A. "Solovyov’s China and its influence on his contemporaries." Solov’evskie issledovaniya, no. 2 (June 30, 2020): 23–42. http://dx.doi.org/10.17588/2076-9210.2020.2.023-042.

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The article examines the influence of V.S. Solovyov on the writers and poets of the Silver age. On the material of the works of Solovyov, related to the «сhinese theme»: the articles «Russia and Europe», «China and Europe», «Japan», «The enemy from the East»; the review of the first volume of works by E.E. Ukhtomsky; the poems «Panmongolizm» and «Dragon»;the tractate «The three conversations about war, progress and the end of world history»; the letter «About the recent events», – is evaluated his influence on D.S. Merezhkovsky's articles: «Yellow-faced positivists», «The coming ham», V.I. Iva

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Sernelj, Téa. "Different Approaches to Chinese Aesthetics." Asian Studies 8, no. 3 (2020): 161–82. http://dx.doi.org/10.4312/as.2020.8.3.161-182.

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The article introduces Fang Dongmei’s and Xu Fuguan’s ideas about aesthetics and examines their different methodological approaches. Fang Dongmei and Xu Fuguan are both representatives of the second generation of Modern Taiwanese Confucianism. The fundamental goal of this significant movement is to re-evaluate and re-examine the profound contents of Chinese thought in contemporary socio-political conditions through a dialogue with Western philosophy. The representatives of Modern Confucianism of the 20th century hoped that the encounter with the Western intellectual tradition would serve as a

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Wang, Tzi-Cheng. "Stone Lake: the poetry of Fan Chengda (1126–1193). By J. D. Schmidt. (Cambridge Studies in Chinese History, Literature and Institutions.) pp. xiii, 199. Cambridge etc., Cambridge University Press, 1992. £30.00." Journal of the Royal Asiatic Society 5, no. 2 (1995): 327–28. http://dx.doi.org/10.1017/s1356186300015807.

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Wang, Tzi-cheng. "Within the human realm: the poetry of Huang Zunxian 1848–1905. By J. D. Schmidt. (Cambridge Studies in Chinese History, Literature and Institutions.) pp. xi, 355. Cambridge, etc., Cambridge University Press, 1994. £30.00." Journal of the Royal Asiatic Society 6, no. 3 (1996): 461–62. http://dx.doi.org/10.1017/s1356186300008178.

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Schwarcz, Vera. "Wang Bing, Classical Chinese Poetry in Singapore: Witnesses to Social and Cultural Transformations in the Chinese Community. Lanham, Maryland et al.: Lexington Books, 2018. xi, 189 pp. Tables, Bibliography, Index. US$ 90 (HB). ISBN 978-1-4985-3515-1; US$ 85.50 (eBook). ISBN 978-1-4985-3516-8." Monumenta Serica 67, no. 1 (2019): 281–84. http://dx.doi.org/10.1080/02549948.2019.1603478.

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Zheng, Yiren. "Sounding the Ineffable: Third-Century Chinese Whistling as an Alternative Voice." positions: asia critique 29, no. 2 (2021): 267–90. http://dx.doi.org/10.1215/10679847-8852176.

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AbstractThis article examines the role of whistling as an elusive voice in the literary world from around the third century onward. It argues that as an alternative to normalized forms of vocal, musical, and poetic expression, whistling destabilized, blurred, and reconfigured notions of voice, language, writing, and music within the larger context of Six Dynasties thought and aesthetics. Despite the wide range of vocalizations (e.g., wailing, the tiger's roar) associated with whistling in premodern China, the whistling examined in this article refers to a particular vocal art commonly practice

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Pollard, D. E. "Stephen C. Soong and John Minford (ed.): Tress on the mountain: an anthology of new Chinese Writing. (Renditions Book Series.) 396 pp. Hong Kong: Chinese University Press, 1984. - Michael S. Duke(ed.): Contemporary Chinese literature: an anthology of post-Mao Fiction and poetry. (An expanded version of the Bulletin of Concerned Asian Scholars, Col. 16, No. 3,1984.) 137 pp. New York: M.E.Sharpe, Inc., 1985. - Zhao Zhenkai: Waves. Transl. by Bonnie S. McDougall and Susette Ternet Cooke. 216 pp. Hong Kong: Chinese University Press, 1985." Bulletin of the School of Oriental and African Studies 50, no. 3 (1987): 587. http://dx.doi.org/10.1017/s0041977x00040039.

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Idema, Wilt L. "J.D. SCHMIDT, Within the Human Realm. The Poetry of Huang Zunxian, 1848- 1905. Cambridge Studies in Chinese History, Literature and Institutions. Cambridge: Cambridge University Press 1994. xi + 355 pp. with notes, bibliograp hy, index. ISBN: 0-521-46271-1." China Information 9, no. 4 (1995): 114–16. http://dx.doi.org/10.1177/0920203x9500900414.

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