Journal articles: 'Poetry of the Tang Dynasty'

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이해원. "Tang Poetry and Wines of Tang Dynasty." Journal of Chinese Cultural Studies ll, no. 15 (December 2009): 507–36. http://dx.doi.org/10.18212/cccs.2009..15.028.

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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 examines youxian poems by Qing (1644-1911) women, specifically those poems entitled Nü youxian (roaming as a female transcendent). With the increasing consciousness of "self," the rise of groups of women writers, and the popularity of women's culture in late imperial China, youxian poems provided a unique literary space for women's poetic and autobiographical voices, certainly deserving more scholarly attention. I argue that by presenting female transcendents or women pursuing transcendence at the center of a poem and re-inscribing the traditional literary images, the poets created a stronger female subjectivity that reflected women's desires in their intellectual and spiritual lives. I also propose that nü youxian was a new subgenre of youxian poetry, emerging only in the context of the efflorescence of women's poetry.

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Ying, Wang. "A National Flower’s Symbolic Value During the Tang and Song Dynasties in China." Space and Culture 21, no. 1 (January 4, 2018): 46–59. http://dx.doi.org/10.1177/1206331217749765.

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The concept of a national flower was an important part of the culture and poetry of the imperial courts of the Tang and Song dynasties. Li Bai and other poets in the Tang period used the tree peony as an icon of the imperial concubine Yang Yuhuan’s beauty. Later Tang poetry, however, also includes undertones of disquiet, using this flower-image as a sign of unhappiness at the state of the country. With the advent of the Song dynasty, the poetic focus exalts the plum blossom, a very different kind of flower than the tree peony. I argue that this reflects the Song dynasty’s different mentality. Writers of this age emphasized refinement, rationality, and introspection. For example, Lin Bu felt wedded to his plum tree. Su Shi developed a theory of the plum blossom’s character. The shift in government from North to South may have also contributed to the shift. The tree peony suited the northern climate; the plum tree thrived in the South.

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Chen, Jue. "The Tang Poet in Song Poetics, Song Poetics in the Tang Poet: The Construction of Du Fu’s Image as Verbal Master." T’oung Pao 104, no. 5-6 (December 10, 2018): 537–71. http://dx.doi.org/10.1163/15685322-10456p04.

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AbstractThe image of Du Fu as a poet who excels at using the most appropriate words in his poetry was, to a large extent, constructed by the poets and critics of the Song dynasty. When reading, transcribing, editing, and commenting on Du Fu’s poetic texts, the Song literati prioritized textual variants in Du Fu’s poetry that could in their opinion better demonstrate Du Fu’s poetic craftsmanship; by doing so, they defined Du Fu as a verbal master who was able to use the finest words in poetic composition. The Song literati’s interest in word usage in Du Fu’s poetry was essentially a projection of their own desire to pursue expressional effect in poetic composition, which drove them to learn from Du Fu.

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Kim, Junghee. "An Analyses on Tea Poetry in Tang Dynasty." Journal of Chinese Studies 81 (August 31, 2017): 221–43. http://dx.doi.org/10.35982/jcs.81.10.

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Zhaopeng, Wang, and Qiao Junjun. "Geographic Distribution and Change in Tang Poetry: Data Analysis from the “Chronological Map of Tang-Song Literature”." Journal of Chinese Literature and Culture 5, no. 2 (November 1, 2018): 360–74. http://dx.doi.org/10.1215/23290048-7257028.

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Abstract This article uses data to analyze the geographic distribution and transformation of the poetic world in the Tang dynasty (618–907 CE). There are two ways we can examine spatial distribution and movement in Tang poetry. The first is a static examination of poets' hometowns (jiguan 籍貫). This method looks at the distribution of poets during a specific period to understand where greater or lesser numbers of poets were born, which places could be considered the center of Tang poetry, and what kinds of geographical changes occurred over time in the Tang literary world. The second is a dynamic examination of poets' activities. When we compare various Tang poets, what differences and changes can we find in the places they lived and traveled? Are the poets' spatial distribution patterns even, or do they favor certain regions? Where were the centers of poetic activity in this period? Were they the same as the political center (the two capitals), or were they located farther out in the provinces? Were they in culturally or politically developed areas or in more remote, less developed ones? In which areas was poetic activity most frequent and intense? This article attempts to answer these questions with data.

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Vedal, Nathan. "NEVER TAKING A SHORTCUT: EXAMINATION POETRY OF THE TANG DYNASTY." Tang Studies 33, no. 1 (November 24, 2015): 38–61. http://dx.doi.org/10.1179/0737503415z.00000000014.

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Mo, Lifeng. "The abridgement of famous Tang Dynasty poetry by later generations." Frontiers of Literary Studies in China 3, no. 3 (August 5, 2009): 455–78. http://dx.doi.org/10.1007/s11702-009-0018-5.

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Zhang, Bowei. "On the standardization of poetry writing in the Tang dynasty." Frontiers of Literary Studies in China 4, no. 1 (February 12, 2010): 55–92. http://dx.doi.org/10.1007/s11702-010-0004-3.

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Liuyue, Zhang, and Ma Yan. "Multi-modal Dissemination of Jingzhou Poetry in the Tang Dynasty." International Journal of English Literature and Social Sciences 6, no. 4 (2021): 294–99. http://dx.doi.org/10.22161/ijels.64.46.

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Milburn, Olivia. "Zhao Luanluan and Her Tale." Ming Qing Yanjiu 23, no. 2 (December 10, 2019): 112–34. http://dx.doi.org/10.1163/24684791-12340036.

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Abstract Zhao Luanluan 趙鸞鸞 is the main protagonist of an early Ming dynasty work of fiction, the “Luanluan zhuan” 鸞鸞傳 or “The Tale of Luanluan” by Li Changqi 李昌祺 (1376–1452), which is found in his collection of twenty-two short stories: Jiandeng yuhua 剪燈餘話 (More Stories Written While Trimming the Lamp). Zhao Luanluan is here described as a woman poet who is caught up in the fall of the Yuan dynasty, but subsequently she was further fictionalized as a Tang dynasty courtesan, and her poetic works reattributed to this imaginary person. Furthermore other related fictional female poets of the Ming dynasty have also been treated as genuine historical individuals, and their writings are included in many major anthologies of women’s poetry. This paper argues that the boundaries between genuine female poets and fictional female poets created by male writers have been consistently ignored.

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Jia, Jinhua. "The Yaochi ji and three Daoist Priestess-Poets in Tang China." NAN NÜ 13, no. 2 (2011): 205–43. http://dx.doi.org/10.1163/156852611x602629.

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AbstractThis article examines the only extant compilation of Tang dynasty women's poetry, the Yaochi xinyong ji (Collection of new songs from Turquoise Pond), fragments of which have been rediscovered among the Dunhuang manuscripts in Russian library holdings. The study first discusses the compilation, contents, and poets of this collection, and then focuses on the works of three Daoist priestess-poets, Li Jilan, Yuan Chun, and Cui Zhongrong whose writings form the major part of this anthology. It investigates their poetry and reviews relevant sources to conduct a comprehensive examination of the lives and poems of the three poets, and concludes that they represented a new stage in the development of Chinese women's poetry.

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남종진. "On the Zhezhi dance described in the poetry of Tang dynasty." Journal of Foreign Studies ll, no. 28 (June 2014): 399–426. http://dx.doi.org/10.15755/jfs.2014..28.399.

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Lin, Xuc. "A Study of Imperial Maids’ Life Through Tang’s Poetry." Humaniora 3, no. 2 (October 31, 2012): 387. http://dx.doi.org/10.21512/humaniora.v3i2.3334.

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Article observed the life of Tang’s imperial maids through the poetry of Tang Dynasty. . Imperial maids were started from Sui Dynasty, especially Emperor Sui Yangdi’s period, and Tang’s imperial maids were many. Emperor with various kind of reasons, in most every year would choose some girls and took them into his palace and they worked as imperial maids. They were girls from ordinary people, respectable, and noble families. Those girls who once entered imperial palace, theyb would be very hard to come out. They had to obey the regulation in the palace. Through some poetry it could be portrayed the imperial maids’ lifetime in serving the emperor，imperial concubines and got rest after midnight. Except for working, they weren’t able to come out from palace, they couldn’t go home to visit their family, even got married, their lives were full of loneliness. If they were sick, or old, the emperor wouldn’t like them anymore, they would be sent away anytime. Even if they left imperial palace, and got their freedom, but most of them lived tragically.

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Tang, Qiaomei. "From Talented Poet to Jealous Wife: Reimagining Su Hui in Late Tang Literary Culture." NAN Nü 22, no. 1 (June 8, 2020): 1–35. http://dx.doi.org/10.1163/15685268-00221p01.

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Abstract Su Hui was a late fourth century Chinese woman who is famed for her creation of brocade palindromic poems. Due to an account of her life story, attributed to the female emperor Wu Zetian, that highlighted her jealous disposition, Su Hui is remembered today primarily as a talented but jealous wife, which is in contrast with how she was viewed in the period prior to the Wu version. Tracing the genealogy of Su Hui’s narrative in pre-Tang and Tang literary and visual materials, this article demonstrates that the definitive version of Su Hui’s story is misattributed to Wu Zetian and, more importantly, that the image of this well-known figure of early medieval China underwent a transformation that reflects important aspects of Late Tang literary culture. In ‘boudoir lament’ poetry of the Southern Dynasties period, Su Hui is the stock image of a melancholy wife longing for her absent husband. In ‘frontier’ poetry of the Tang dynasty, she is a worrying wife concerned with her military husband fighting on the borderlands. It is in a Late Tang prose account misattributed to Wu Zetian that we finally see her as a jealous woman competing for her husband’s affections. The transformation of Su Hui’s image across three major literary genres over a period of half a millennium offers readers a window into the literary and cultural changes that took place in medieval China.

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Bae Daniel. "A Study on the expression and imagery of flowers in Tang Dynasty Poetry." China Studies 50, no. ll (November 2010): 91–114. http://dx.doi.org/10.18077/chss.2010.50..005.

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Wu, Shuling. "The development of poetry helped by ancient postal service in the tang dynasty." Frontiers of Literary Studies in China 4, no. 4 (December 2010): 553–77. http://dx.doi.org/10.1007/s11702-010-0111-9.

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Konno, Tatsuya. "Civil Service Examination at Local Level and its Poetry in the Tang Dynasty." East Asian Journal of Sinology 15 (March 31, 2021): 75–100. http://dx.doi.org/10.31666/jspklls.2021.3.15.75.

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Kang, Pilyim. "Diachronic Changes in Poetry Parties during the Tang Dynasty: Focused on Sangsiri(上巳日) Poetry Party." Journal of Chinese Studies 81 (August 31, 2017): 201–20. http://dx.doi.org/10.35982/jcs.81.9.

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Lim, Gyu Wan. "The Study of Tang Dynasty Poetry during the Late Joseon Kingdom through 《TANG SHI SUN》 Written by the Unknown." Journal of Society for Humanities Studies in East Asia 52 (September 30, 2020): 67–93. http://dx.doi.org/10.52639/jeah.2020.09.52.67.

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최우석. "The Study of Hermitic Feature of Poetry in the Flourishing Age of Tang Dynasty." JOURNAL OF CHINESE STUDIES ll, no. 34 (November 2011): 93–115. http://dx.doi.org/10.26585/chlab.2011..34.005.

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Bae Daniel. "A Study on the Expression and Imagery of Gardening Villas in Tang Dynasty Poetry." China Studies 51, no. ll (March 2011): 47–66. http://dx.doi.org/10.18077/chss.2011.51..003.

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王, 志清. "Shengjun Liu’s Research Characteristics of “Temperament Is Expensive” on the Poetry of Tang Dynasty." World Literature Studies 03, no. 04 (2015): 135–41. http://dx.doi.org/10.12677/wls.2015.34021.

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Woo Jae Ho. "A Study on The Four Friends of the Study in Poetry of Tang Dynasty." Journal of Study on Language and Culture of Korea and China ll, no. 37 (February 2015): 149–74. http://dx.doi.org/10.16874/jslckc.2015..37.007.

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강창구. "A Study of the Poems which People of Tang Dynasty Present to the Monks of Silla in Cheon Tang Poetry." Journal of Chinese Language and Literature ll, no. 36 (March 2008): 75–92. http://dx.doi.org/10.26586/chls.2008..36.005.

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Chisoo Lee. "A Study On the Discuss on the Tang and Song Dynasty Poets in Zhang Jie’s Sui Han Tang Poetry Talks." Journal of Chinese Language and Literature ll, no. 78 (August 2018): 5–30. http://dx.doi.org/10.15792/clsyn..78.201808.5.

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Bae Daniel. "A Study on the Expression of Tang Dynasty Poetry on view point of MBTI theory." China Studies 48, no. ll (March 2010): 31–49. http://dx.doi.org/10.18077/chss.2010.48..003.

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Lavrač, Maja. "Li Shangyin and the Art of Poetic Ambiguity." Ars & Humanitas 10, no. 2 (December 22, 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.

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Lavrač, Maja. "Li Shangyin and the Art of Poetic Ambiguity." Ars & Humanitas 10, no. 2 (December 22, 2016): 163–77. http://dx.doi.org/10.4312/ars.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.

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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 (November 10, 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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Hutchinson, Ben. "The Echo of ‘After-Poetry’: Hans Bethge and the Chinese Lyric." Comparative Critical Studies 17, no. 2 (June 2020): 303–17. http://dx.doi.org/10.3366/ccs.2020.0364.

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The publication, in 1908, of Hans Bethge's Die chinesische Flöte marked a highpoint in the reception of Chinese poetry in modern Europe. Bethge's ‘Nachdichtungen’ (‘after-poems’) of poems from the Tang dynasty through to the late 1800s were extraordinarily popular, and were almost immediately immortalized by Gustav Mahler's decision to use a selection from them as the text for Das Lied von der Erde (1909). Yet Bethge could not read Chinese, and so based his poems on existing translations by figures including Judith Gautier, whose Livre de Jade had appeared in 1867. This article situates Bethge's reception of Chinese poetry – and in particular, that of Li-Tai-Po (Li Bai) – within the context of European chinoiserie, notably by concentrating on his engagement with a recurring imagery of lyrics and Lieder. Although he was deaf to the music of Chinese, Bethge was extremely sensitive to the ways in which Li-Tai-Po's self-conscious reflections on poetic creation underlay his ‘after-poems’ or Nachdichtungen, deriving his impetus from images of the rebirth of prose – songs, birdsong, lyrics, Lieder – as poetry. The very form of the ‘lyric’ emerges as predicated on its function as echo: the call of the Chinese flute elicits the response of the European willow. That this is necessarily a comparative process – between Asia and Europe, between China, France, and Germany – suggests its resonance as an example of the West-Eastern lyric.

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Hardiningtyas, Puji Retno. "STILISTIKA DAN UNSUR KEALAMAN DALAM CIAM SI: PUISI-PUISI RAMALAN KARYA TAN LIOE IE." JENTERA: Jurnal Kajian Sastra 4, no. 2 (October 2, 2017): 86. http://dx.doi.org/10.26499/jentera.v4i2.470.

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This study aims to analyze (1) the stylistic of Ciamsi:Puisi-Puisi Ramalan; (2) The faulty elements of Chinese culture in Ciam Si: Puisi-Puisi Ramalan. Data collection of this research use literature review and observation method by technical note. This study is analyzed by using hermeneuticmethods and content analysis techniques, etnography approach with stylistic theory and ecocritic. The analysis showed that Ciam Si poetry is a forecasts poetry generally used in the Chinese community in temple rituals. The Stylistic element in Ciam Si is Tang Dynasty poetry, consist of four rows, the first row as an opener and the fourth line as the closing, each row is generally seven syllables. Meanwhile, the faulty element of Ciam Si is a Chinese tradition that is believed to the three concepts of nature: the celestial world, the natural world, and afterlife. Therefore, Ciam Si: Puisi-Puisi Ramalan illustrates the strong tradition of the spirituality of nature combined with the traditions and rituals of Chinesesociety as a form of environmental preservation. AbstrakPenelitian ini bertujuan menganalisis (1) stilistika Ciam Si:Puisi-Puisi Ramalan; (2) unsur kealaman budaya Tionghoa dalam Ciam Si: Puisi-Puisi Ramalan. Pengumpulan data penelitian menggunakan metode pustaka dan simak dengan teknik catat. Penelitian ini dianalisis dengan menggunakan metode hermeneutik dan teknik analsisis kontens, pendekatan etnografi dengan teori stilistika dan ekokritik. Hasil analisis menunjukkan bahwa puisi Ciam Si merupakan puisi ramalan yangumumnya digunakan masyarakat Tionghoa dalam ritual di Klenteng. Unsur stilistika pada puisi Ciam Si berbentuk syair Dinasti Tang, terdiri atas 4 baris, baris pertama sebagai pembuka dan baris keempat sebagai penutup, tiap barisnya umumnya tujuh suku kata. Sementara itu, unsurkealaman pada Ciam Si merupakan tradisi Tionghoa yang mempercayai tiga konsep alam: alam langit, alam bumi, dan alam baka. Oleh karena itu, Ciam Si: Puisi-Puisi Ramalan menggambarkan tradisi yang kuat tentang spiritualitas alam berpadu dengan tradisi dan ritual masyarakat Tionghoa sebagai bentuk pelestarian lingkungan.

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張景昆. "The style of the Tang poetry of Samdang(三唐) poets in Joseon dynasty and the poetics of the Yuan and Ming poetry." Yeol-sang Journal of Classical Studies ll, no. 46 (August 2015): 133–51. http://dx.doi.org/10.15859/yscs..46.201508.133.

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Mazanec, Thomas J. "The Medieval Chinese Gāthā and Its Relationship to Poetry." T’oung Pao 103, no. 1-3 (August 28, 2017): 94–154. http://dx.doi.org/10.1163/15685322-10313p03.

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This paper investigates the shifting definitions of the term gāthā (Ch. ji) over an 800-year period, from the earliest sūtra translations into Chinese until the mid-tenth century. Although the term originally referred to the verse sections of scriptures, gāthās soon began to circulate separately, used in ritual, contemplative, and pedagogical practices. By the late sixth century, it began to mean something like “Buddhist verse.” Over the course of the Tang, gāthās came to take on the formal features of poetry, eventually becoming all but indistinguishable from elite verse. However, the word gāthā was always seen as something inferior to real poetry, and, by the late Tang, we find poet-monks belittling other monks’ didactic verses so as to distinguish their own work and avoid the taint of the word gāthā. Cet article explore l’évolution du sens du terme gāthā (ch. ji) sur une période s’étendant sur plus de huit cent ans, depuis les premières traductions des sūtra en chinois jusqu’au milieu du dixième siècle. Bien que ce terme désignât à l’origine les parties rimées des textes sacrés bouddhiques, les gāthās très tôt commencèrent à circuler indépendamment et à être employées dans les pratiques rituelles, contemplatives et pédagogiques. Vers la fin du sixième siècle, il devint synonyme de « poésie bouddhique ». Au cours de la dynastie des Tang, les gāthās adoptèrent les règles formelles de la poésie, si bien qu’ils devinrent quasiment identiques aux autres formes d’expression poétique des élites. Le mot gāthā cependant continua à évoquer un style inférieur à celui de la « vraie » poésie, et à la fin des Tang des moines-poètes moquèrent les vers didactiques composés par d’autres moines dans le but de distinguer leur propres compositions et de se démarquer des connotations peu flatteuses du terme gāthā.

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Lee, Gi-beom. "A Consideration on Critical Aspect Shown in Nonseosi(論書詩:discussible poetry) of Tang Dynasty(唐代)." Korean Society of Calligraphy 28 (March 30, 2016): 150–73. http://dx.doi.org/10.19077/tsoc.2016.28.6.

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Chen, Feifei. "A Study on Image Translation in Wang Wei’s Landscape Poems Based on Three-dimensional Transformation in Eco-translatology." World Journal of Social Science 8, no. 1 (January 10, 2021): 12. http://dx.doi.org/10.5430/wjss.v8n1p12.

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Ancient Chinese poetry has long been a hot topic in academic world. Recognized worldwide as a versatile literator in Tang Dynasty in China, Wang Wei composed a large quantity of excellent landscape poems containing rich images that can enrich the cultural connotation and create more artistic effect. Undoubtedly, the English translation of Wang Wei’s landscape poems plays a pivotal role in letting Chinese culture goes global. In view of the large discrepancy of cultural traits between China and western countries, translators who are not familiar with the two cultures will be prone to run into setbacks and difficulties during the whole translating process. Accordingly, if translators misinterpret the images in poetry translation, readers may feel confused and thus fail to appreciate the authentic beauty. Therefore, the image translation in Wang Wei’s landscape poetry is also of great significance. However, up to now, the academic world hasn’t attached great importance to the theoretical value of images in translating ancient Chinese poetry and translating strategies targeting at ancient Chinese poems are still mainly hovering on the controversy between foreignization and domestication, neglecting other significant perspectives. Guided by the translation principle-the three-dimensional transformation in the theory of Eco-translatology, this study is expected to explore the feasibility of this translation method in the study of Wang Wei’s poetry translation and to evaluate the quality of different versions of image translation from the linguistic, cultural, and communicative dimensions, aiming to offer both a guideline and a criterion for Wang Wei’s poetry translation, to broaden the research ideas of literary translation as well as to help promote the lasting charm of the oriental culture to the world.

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Chae, Mee-Hyun. "On Poet's Awareness of Self-identity and Dynasty in Zhong-Tang Period." Journal of Chinese Language and Literature 100 (October 31, 2016): 299. http://dx.doi.org/10.25021/jcll.2016.10.100.299.

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Zorkina, Mariana. "Describing Objects in Tang Dynasty Poetic Language: A Study Based on Word Embeddings." Journal of Chinese Literature and Culture 5, no. 2 (November 1, 2018): 250–75. http://dx.doi.org/10.1215/23290048-7256989.

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潘, 美玲. "On English Translation of Chinese Classical Poetry from the Perspective of Eco-Translatology—A Case Study of Frontier Poems of Tang Dynasty." Modern Linguistics 08, no. 04 (2020): 482–88. http://dx.doi.org/10.12677/ml.2020.84067.

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양은선. "The verse in response to Tang dynasty poetry by Park Taesoon in The Late Joseon dynasty ― focused on a verse in response to Dufu(杜甫) and Lishangyin(李商隱)." JOURNAL OF CHINESE STUDIES ll, no. 34 (November 2011): 117–47. http://dx.doi.org/10.26585/chlab.2011..34.006.

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Shin, Eui-Sun. "A Study on the Self-realization of Wangwei and Choe Chi Won in their Zen poetry from the Tang and Shila Dynasty Respectively." Chinese Studies 55 (June 30, 2016): 77–95. http://dx.doi.org/10.14378/kacs.2016.55.55.5.

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Liu, Yachen, Xiuqi Fang, Junhu Dai, Huanjiong Wang, and Zexing Tao. "Could phenological records from Chinese poems of the Tang and Song dynasties (618–1279 CE) be reliable evidence of past climate changes?" Climate of the Past 17, no. 2 (April 28, 2021): 929–50. http://dx.doi.org/10.5194/cp-17-929-2021.

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Abstract. Phenological records in historical documents have been proven to be of unique value for reconstructing past climate changes. As a literary genre, poetry reached its peak in the Tang and Song dynasties (618–1279 CE) in China. Sources from this period could provide abundant phenological records in the absence of phenological observations. However, the reliability of phenological records from poems, as well as their processing methods, remains to be comprehensively summarized and discussed. In this paper, after introducing the certainties and uncertainties of phenological information in poems, the key processing steps and methods for deriving phenological records from poems and using them in past climate change studies are discussed: (1) two principles, namely the principle of conservatism and the principle of personal experience, should be followed to reduce uncertainties; (2) the phenological records in poems need to be filtered according to the types of poems, background information, rhetorical devices, spatial representations, and human influence; (3) animals and plants are identified at the species level according to their modern distributions and the sequences of different phenophases; (4) phenophases in poems are identified on the basis of modern observation criteria; (5) the dates and sites for the phenophases in poems are confirmed from background information and related studies. As a case study, 86 phenological records from poems of the Tang Dynasty in the Guanzhong region in China were extracted to reconstruct annual temperature anomalies in specific years in the period between 600 and 900 CE. Following this, the reconstruction from poems was compared with relevant reconstructions in published studies to demonstrate the validity and reliability of phenological records from poems in studies of past climate changes. This paper reveals that the phenological records from poems could be useful evidence of past climate changes after being scientifically processed. This could provide an important reference for future studies in this domain, in both principle and methodology, pursuant of extracting and applying phenological records from poems for larger areas and different periods in Chinese history.

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Shin, Eui-sun. "A Study on the Interpretation of Variant Chinese characters in Poetry Anthology : focusing on the annotations of the poems of Wang Wei in the Tang Dynasty." JOURNAL OF CHINESE HUMANITIES 62 (April 30, 2016): 67–80. http://dx.doi.org/10.35955/jch.2016.04.62.67.

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Sun, Jing, and Guming Hu. "ANALYSIS OF RUSSIAN TRANSLATION OF THE TANG DYNASTY POETRY FROM THE PERSPECTIVE OF GEORGE STEINER’S HERMENEUTIC MOTION THEORY (A CASE STUDY OF QUATRAIN BY BAI JUYI." Bulletin of the Moscow State Regional University (Linguistics), no. 3 (2021): 99–108. http://dx.doi.org/10.18384/2310-712x-2021-3-99-108.

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Rouzer, Paul. "Manifest in Words, Written on Paper: Producing and Circulating Poetry in Tang Dynasty China. Christopher M. B. Nugent. Cambridge, Harvard University Asia Center, 2010. ISBN 9780674056039. $39.95." East Asian Publishing and Society 2, no. 2 (2012): 309–13. http://dx.doi.org/10.1163/22106286-12341238.

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서용준. "A Study on the Succession and Transformation in the Variety of traditional yue-fu poetrys “Wuyeti” and “Wuxiqu” from Tang dynasty." Journal of Chinese Language and Literature ll, no. 74 (April 2017): 21–59. http://dx.doi.org/10.15792/clsyn..74.201704.21.

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Woo Jae Ho. "The Correlation Between the Cursive Style of Writing(草書) and The Narrative Folk Song Style's Cursive Song Poetry(歌行體草書歌) During the Tang(唐) Dynasty." Journal of Chinese Language and Literature ll, no. 79 (December 2018): 163–89. http://dx.doi.org/10.15792/clsyn..79.201812.163.

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Zhang, C. E. "CHRISTOPHER M. B. NUGENTManifest in Words, Written on Paper: Producing and Circulating Poetry in Tang Dynasty China. (Harvard-Yenching Institute Monograph Series, number 70.) Cambridge, Mass.: Harvard University Asia Center. 2010. Pp. x, 341. $39.95." American Historical Review 116, no. 5 (December 1, 2011): 1456–57. http://dx.doi.org/10.1086/ahr.116.5.1456-a.

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Fuller, Michael A. "Manifest in Words, Written on Paper: Producing and Circulating Poetry in Tang Dynasty China. By Christopher M. B. Nugent. Harvard-Yenching Monograph Series 70. Cambridge, MA: Harvard University Asia Center, 2011. x, 341 pp. $39.95 (cloth)." Journal of Asian Studies 71, no. 1 (February 2012): 227–28. http://dx.doi.org/10.1017/s002191181100252x.

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Zhang, Cong Ellen. "Christopher M. B. Nugent . Manifest in Words, Written on Paper: Producing and Circulating Poetry in Tang Dynasty China . (Harvard‐Yenching Institute Monograph Series, number 70.) Cambridge, Mass.: Harvard University Asia Center. 2010. Pp. x, 341. $39.95." American Historical Review 116, no. 5 (December 2011): 1456–57. http://dx.doi.org/10.1086/ahr.116.5.1456a.

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Journal articles on the topic 'Poetry of the Tang Dynasty'

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