Academic literature on the topic 'Tibetan Poem'

Thus sings Sangdhor in a metrical poem in praise of Tibetan versification, countering an anti-verse sentiment that is prevalent on the contemporary Tibetan literary scene. Since the flourishing of free verse form in the 1980s, thanks to the pioneering works of Dhondup Gyal, many Tibetan writers have attacked metrical composition for its perceived inflexible, archaic and inadaptable form and uniformity of content. Sangdhor, one of the most iconoclastic and forward-thinking intellectuals writing in Tibetan today, vehemently refutes such a stance on the grounds that the bulk of great Tibetan works, literary or otherwise, are set in verse. To underscore his point he writes the cited poem in a “leaping and flying” style of themgur(‘poem-songs’) genre. In fact, most of his many innovative poems are written in an eclectic style drawing on Tibet's rich literary tradition, Buddhist texts, oral sources and contemporary writings. Their content is equally diverse yet most of all current. It is infused with social and religious criticism, themes of romance and eroticism, critical literary commentary and current Tibetan affairs. His poems, like those of many other writers, show that metered poetry is very much a part of modern Tibetan literature. As he draws on classical literature and indigenous oral traditions for his own literary innovation, to borrow a concept from Northrop Frye, in Sangdhor's work we can “see an enormous number of converging patterns of significance” that is a complication of Tibetan literary formulas stretching to the narratives of the distant past.2Therefore, it must be borne in mind that modern Tibetan literature transcends a theory of rupture which many scholars overstress to the point of overlooking its deep, outspread roots. Some parts of these roots predate both the 1980s, which saw a flourishing of new Tibetan writing, and the Chinese takeover of Tibet in the 1950s that has had a profound impact on Tibetan cultural production.

Folk songs and dances originated from people’s sacrificial activities in the struggle against nature in the primitive society. Their origins are related to the ideology and living environment of the people at that period of time. These activities were expressed in the form of primitive songs and dances, and gradually evolved into folk songs and dances. The gar pa song and dance from Diebu, in Gannan region, is a unique song and dance of a Tibetan region on the eastern edge of Qinghai-Tibet Plateau. Its content and form are unique. It still retains the original trinity feature which includes poem, music, and dance. The production of songs and dances contains rich cultural connotations and unique local characteristics. This article elaborates the characteristics of Diebu’s gar pa song and dance in terms of its music and performance form.

<p><em>Almost all people experience trauma in their life. Surviving in the era that has witnessed a lot of trauma, a millennium composed of two world wars and cold wars, has made every human being experience chains of trauma. Traumatic problems affect a person mentally and physically. There is a long history of human associating himself through a way or therapy to find himself out of the Post Traumatic Stress Disorders (PTSD). This paper projects the importance of writing that serves as a therapy, with the backdrop of the Tibetan writer Tensin Tsundue. Tibet at present undergoes the tough situations due to the Chinese invasion and Tibetans are mostly away from their homeland and staying as refugees in other countries. Tensin Tsundue is a Tibetan activist and writer, and his works bring out the reality of the Tibetan struggle, where his poems stand as a placard for the readers to identify the lost identity of Tibetans. This paper brings out the importance of writing as a therapy to overcome the traumatic stress, and it analyses how an individual writing brings the impact of collective healing into action.</em></p>

Generally speaking, the message of a poem is conveyed on three levels: the semantic, the syntactic, and the phonological. How translatable each of these levels is to the translator depends on how much cognation there is between source and target language: the more cognation there is, the more translatable each of these levels. Thus, in respect of all three levels, translation between languages of the same family, such as English and French, both of which belong to the Indo-European family, is easier than translation between languages of different families, such as English and Chinese, which belong respectively to the Indo-European and the Sino-Tibetan family. If a further distinction is to be made, one may say that, in translation between Chinese and European languages, the semantic level is less challenging than both the syntactic and the phonological level, since syntactic and phonological features are language-bound, and do not lend themselves readily to translation, whereas language pairs generally have corresponding words and phrases on the semantic level to express similar ideas or to describe similar objects, events, perceptions, and feelings. As an image owes its existence largely to its semantic content, the imagery of a poem is easier to translate than its phonological features. Be that as it may, there is yet another difference: the difference between the imagery of non-dramatic poetry and the imagery of poetic drama when it comes to translation. With reference to Hamlet and its versions in Chinese and in European languages, this paper discusses this difference and the challenges which the translator has to face when translating the imagery of poetic drama from one language into another; it also shows how translating Shakespeare’s imagery from English into Chinese is more formidable than translating it from English into other European languages.

Symbolic reconstruction of “purple ruins”—the abandoned ruins of traditional Tibetan buildings, monasteries, temples, and old manors of the aristocracy—has become one of the main topics of Tibetan Sinophone dissident writer Tsering Woeser. Her effort to preserve them not so much as testimonies of the glorious Tibetan past, but rather of the dark chapters of modern Tibetan history and as an indictment of Chinese rule in Tibet, has intensified during the last decade with the surge of commercialization and increase in mass tourism—trends that are rapidly changing the face of Tibet and the urban landscape of Lhasa. In her book Purple Ruins (Jianghong se de feixu), published in January 2017 in Taiwan, Tsering Woeser has combined a subjective perspective (poems, personal memories, interviews, etc.) with “folk tales” (minjian gushi) including legends, oral histories, and gossip, and with historical material. While reconstructing the image of both the “old” and the “new” Tibet in her book, she contests the official Chinese representations and narratives of Tibet, Tibetan history, and Tibetan culture, appropriating postcolonial theories to reinterpret Chinese imperial/colonial endeavors in Tibet from past to present. The aim of this paper is to examine how Tsering Woeser engages with the complexities of official Chinese representations of Tibet in an attempt to (re) construct the missing parts of modern Tibetan history that have been concealed or even intentionally erased by the Chinese official discourse and to (re)construct modern Tibetan identity against the background of the dominant Chinese culture and ideology.

AbstractFew Tibetan figures have left an impression on the Himalayan landscape, both literary and geographic, as indelibly as Mi la ras pa (ca. 1028–1111), whose career as meditator and poet was punctuated by travel across the borderlands of southern Tibet. This essay will begin to address the defining role of place in Tibetan biographical literature by examining the intersections of text and terrain in the recording of an individual's life. In particular, this study examines sites of transformation in Mi la ras pa's biographical narratives, arguing for what might be called a geographic biography by examining the dialogical relationship between a life story recorded on paper and a life imprinted on the ground. It first considers the broad paradigms for landscaping the environment witnessed in Tibetan literature. It then examines ways in which the yogin's early biographical tradition treated the category of sacred place, creating increasingly detailed maps of the yogin's life, and how those maps were understood and reinterpreted. The paper concludes by addressing two specific modes of transformation in the life story — contested place and re-imagined place — exploring new geographies of consecration, dominion, and praxis.

This article is about the Tibetan Buddhist poet-saint Shabkar Tsokdruk Rangdrol’s (1781–1851) nine “emanated scriptures” (Tibetan,sprul pa’i glegs bam). Described by Shabkar as being “unprecedented,” the “emanated scripture” is the single largest genre represented in hisCollected Works. In this article, I examine the significance of the emanated scripture using a literary perspective that remains cognizant of the texts’ original religio-cultural background. After considering the Buddhist philosophical context in which Shabkar understood his nine emanated scriptures, I demonstrate how an analysis of simile, intertextuality, textual structure, and style: (1) illuminates facets of the texts that may have otherwise remained unnoticed in traditional Buddhist contexts, (2) modifies the prevalent notion in Buddhist and Tibetan studies that traditional Tibetan society did not value newness, and (3) represents an important step towards understanding Shabkar’s written legacy and the relationship between religion and literature in comparative religious contexts.

A viagemConto de origem tibetana Dois monges estão viajando. Há três dias, eles encontraram apenas uma velha mulher sobre o degrau da porta de sua cabana. Ela lhes ofereceu um pouco de cevada torrada servida com chá e manteiga rançosa. Esta magra tsampa[1], que data da véspera, já é feita de restos de outra. Eles têm fome. Eles têm frio. De repente, a chuva começa a cair. O mais jovem dos monges se protege o melhor possível com uma aba de seu vestido. O mais velho caminha, adiante, em silêncio. A noite cai, no horizonte nenhum abrigo, nem templo, nem eremitério, nem a mais modesta cabana. O caminho que eles seguem se perde ao longo da montanha. O jovem noviço não pode mais. Ele ignora o objetivo dessa interminável viagem. “O templo zen não deve estar distante”, pensa, “me parece que nos aproximamos de Kamakura, mas essa é mesmo nossa direção?” Rompendo as instruções rigorosas do silêncio, ele ousa interrogar seu superior que caminha com passo igual:- Mestre, aonde vamos?- Nós estamos aqui, responde o mestre.- Você quer dizer que a parada está próxima? Insiste o jovem monge.- Aqui, agora. Nós estamos aqui.O noviço inquieto olha o caminho pedregoso que penetrava no nevoeiro. Ao longe, os cimos temíveis já se perdiam na noite. Ele tem medo. Ele tem frio. Ele tem fome. E rapidamente, como um raio, ele entende. Lembra-se das palavras que com frequência repetiam no monastério: “O Zen é um caminho que vai...” Em cada passo sobre esse caminho, a eternidade está cercada. No presente esconde-se a vida, o oásis, o infinito. Experimento o presente, o passado foge, o futuro é um sonho; o presente simplesmente é. “Quando você acorda para a verdade, diz um velho poema, seu espírito se torna brilhante e luminoso, como um raio de lua”.O noviço ia em paz murmurando essas coisas. BRUNEL, Henri. Contos Zen.[1] A tsampa é o nome tibetano da farinha de cevada assada. É o alimento de base no Tibete, assim como o arroz é na China e o trigo é na Europa.

Aju Mukhopadhyay is one of the brightest stars in the firmament of contemporary Indian English Literature. He is a magnificent literary artist, in fact a versatile genius. As a visionary poet he has enraptured the hearts and minds of millions of poetry lovers, both in India and abroad. He is a profound critic, and his insightful critical studies are highly valued in the literary world. His essays on various subjects have made a mark in every field. He is a great storyteller too, both in English and Bangla, and the range of his short stories has baffled the fiction lovers. Like his previous volumes of short stories, the present collection too offers a large variety of subjects and feeds the craving of every set of readers. Aju’s world is so vast that you cross the national boundaries many times to peep into a new world. You open the window to a new story and step into a different world altogether. “In the Company of William, Samuel and Dorothy”, Aju takes us to the Lake District of England to enjoy the company of the great Romantic poets, William Wordsworth, S. T. Coleridge and Dorothy Wordsworth. His description is so vivid that you really feel you are watching everything happening before your ‘fleshy eyes’. In the next story “They Came Down from the Roof of the World”, the writer takes you indeed to the roof of the world, Tibet and the Tibetan Cause. Tibet and New York come alive before you and you partake in the stormy scenes, the rebellion, the persecution, the great Dalai Lama escape and the aftermath.