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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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Yun, Hye‑ji. "A Study on the Mourning Poetry of Chinese Woman Poets in the Ming Dynasty." Journal of Chinese Studies 91 (February 28, 2020): 163–205. http://dx.doi.org/10.36493/jcs.91.6.
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Li, Xiaorong. "Woman Writing about Women: Li Shuyi's (1817-?) Project on One Hundred Beauties in Chinese History." NAN NÜ 13, no. 1 (2011): 52–110. http://dx.doi.org/10.1163/156852611x559349.
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AbstractThis article examines the woman poet Li Shuyi's (1817-?) poetry collection Shuyinglou mingshu baiyong (One hundred poems on famous women from Shying Tower). Through a reconstruction of Li Shuyi's life, a reading of her self-preface, and an analysis of her poems, this study aims to demonstrate how a woman author's perception of her own ill fate leads to her becoming a conscious writing subject, and how this self-realization motivates her to produce a gendered writing project. It argues that Li Shuyi articulates in her project her intervention into representations of women's images from her individual perspective on women's history, and her aims for immortality through writing.
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Musayeva, E. "Issues of Physical Perfection and Physical Education of Women in the Poetry by Nizami Ganjevi." Bulletin of Science and Practice 7, no. 9 (September 15, 2021): 650–54. http://dx.doi.org/10.33619/2414-2948/70/67.
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After gaining independence, the Republic of Azerbaijan, one might say, has always honored all our writers and poets from our classical heritage. Our President Ilham Aliyev has declared this year the Year of the classic poet Nizami Ganjavi. The main goal is the desire to lead our nation forward, to protect it, to preserve the legacy left to us by our great leader, world politician Heydar Alirza oglu Aliyev. He also pointed out the importance of preserving our classical poets such as Nizami Ganjavi and passing on their works to the younger generation. Female images play a key role in the works of Nizami Ganjavi. In his works, he highlighted the place of a woman, depicting a woman as a mother, an ornament of life. In Sultan Sanjar and the Old Woman Beit from Treasury of Secrets, the first poem in the five-verse Hamsa, Nizami Ganjavi describes a woman as the leading force of society, defending her rights. In the second poem — Khosrov and Shirin, Nizami Ganjavi always wanted to see women free and made it clear that a society without women would become an orphan. In his third poem, Layli and Majnun, he described in detail the image of Layli as a selfless oriental woman, attached to her family and devoted to her love. In fact, Nizami Ganjavi foresaw the role of women in society thousands of years ago. The fourth poem Seven Beauties shows the customs and traditions of Chinese, Russian, Persian, Indian, Arab and Turkish women. The poem describes in detail the maternal care of a woman, regardless of her nationality. In his works, Nizami Ganjavi called for an end to all forms of violence against women and wanted to see women free.
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Wang, Yanning. "Fashioning Voices of Their Own: Three Ming-Qing Women Writers’ Uses of Qu Yuan’s Persona and Poetry." Nan Nü 16, no. 1 (September 10, 2014): 59–90. http://dx.doi.org/10.1163/15685268-00161p03.
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This article explores how, during the Ming-Qing era, women writers used the persona and poetry of the great Chinese poet Qu Yuan (340?-278 bce). In order to establish the authority of their own voices, marginalized female writers often identified themselves with the mainstream male tradition. The legacy of Qu Yuan became one of their favorite examples to follow. Qu Yuan’s sao-style poems, especially the long poem “Encountering Sorrow,” are classics in the Chinese literary canon. Qu Yuan’s high moral standard and his eventual suicide for a just cause earned him a reputation as a patriotic poet-statesman much respected by later generations. Ming-Qing women writers made use of Qu Yuan’s literary and moral authority to create their own personal, political, and intellectual voices. By doing so, they demonstrated their efforts to upgrade their status in literary and social arenas.
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Gong, Heng Xing. "Li Qingzhao and A. P. Bunina: difficult fates of women’s poetry." Litera, no. 8 (August 2021): 81–96. http://dx.doi.org/10.25136/2409-8698.2021.8.36313.
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Despite the fact that Li Qingzhao and Anna Petrovna Bunina were bound by neither geographical affiliation or time, their contemporaries called them the Chinese and Russian Sappho. This is substantiated by the consonance of their poems with the lyrics of the Ancient Greek poetess, sensuality of their poems, as well as their independent position atypical for the women of their eras. This article draws parallels between the biographies of the two prominent poetesses, each of whom is considered the founder of women's poetry in their homeland. Although both poetesses are widely known and considered the pioneers of women's literature, their works are compared virtually for the first time. Besides the high social status and good education, the poetesses are interrelated by the fact that their fates transgressed the traditional canon of women's behavior: instead of patriarchal family life, they have chosen creative self-realization. The uniqueness of their position, which placed them in the focus of public attention, and in a way made them pariahs, on the other hand gave them the freedom in choosing problematic and literary language. This allowed them to become the founders of women's poetry and develop their own literary style. Namely this circumstance typologically apposes the works of the two poetesses, which are eight centuries apart from each other. The theme of their poetry is remarkably similar; however, the imagery differs significantly, since it is justified by the literary tradition of their country.
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Hwang, Dong-won. "Phonology Study of Chinese Poetry in ‘Ikkyukantobanashi’ : Focus on poems about Love, Sexual Organs of men and women, Fleas and New Year’s Morning." Journal of Japanology 46 (May 31, 2018): 277–94. http://dx.doi.org/10.21442/djs.2018.46.13.
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Setia Sari, Winda. "Stepping Out of The Cultural Identity: A Critical Analysis of Cathy Song’s Memory Poetry." International Journal of Culture and Art Studies 2, no. 1 (April 30, 2019): 54–59. http://dx.doi.org/10.32734/ijcas.v2i1.948.
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Cathy Song, a Chinese-Korean ancestry woman poet, grew up in Hawaii, America. In “What Belongs to You”, a poem taken from her second poetry publication, she chronicles the memory of a child who is trapped between her dream and devotion. The theme of the poem is portrayed in a strong poetic devices. The poems lean in vivid visual imageries to evoke to the poet’s life memory. The speaker of What Belongs to You dreams of having the freedom and attempts to escape from her parental tie. Ironically, she finds herself devote to her family and tradition. The poems use past materials ranging from domestic domain and landscape which define the speaker’s personal memory. Comparing than Cathy’s Song first poetry publication, arguably, the cultural materials in the poem cannot be traced through Song’s poetic devices as an ethnic woman poet. In fact, song locates the dream and devotion in visual imageries and nostalgic tones in a general way. This is true; Song has denied herself as a cultural visionary. Song merely mines the memory from the point of view and identity of a woman, leaving her cultural traits behind.
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Litvinova, Olga N. "Chinese Gretchen in Russian Literature: on the Genesis and Attribution of M. Shkapskaya’s Poetry Book Tsa-Tsa-Tsa." RUDN Journal of Studies in Literature and Journalism 26, no. 2 (December 15, 2021): 177–87. http://dx.doi.org/10.22363/2312-9220-2021-26-2-177-187.
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This article examines in detail Maria Shkapskayas poetry book Tsa-Tsa- Tsa (1923) and its handwritten genesis. It explains the role and significance of ancient Chinese poetry for this literary piece of work. The problem is to attribute the texts that make up the book and find out their translated or stylized basis. The general thesis is that all the poetic texts of the book are translations: the names of Tao-Yuan-Ming, Du Fu, and Bo-Juyi indicated by Shkapskaya in the manuscripts are reported. One of the texts in the book is attributed as the Sixth Poem from the Shi ju gu shi ( Nineteen Ancient Poems ). The removal of the names of Chinese authors (not only in the book published in 1923 but also in the manuscript of 1921) and the alignment of the thematic word series silk, crane, thousand, spring that organize the book into a single text indicate a tendency to blur the border of the own-alien text (even though the book was treated by the author as translation from the Chinese, in autobiographies and correspondence). This trend leads to the appearance of a central artistic image of the book (it is a feature of M. Shkapskayas poetic books). It is the image of a lonely, longing woman. The mention of the spinning wheel connects this image with the popular (especially in Western European literature) image of Gretchen. This way the poetry book Tsa-Tsa-Tsa goes beyond the narrowly translated work and reveals some features of chronologically later literary trends (such as postmodernism and metapoesis).
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Wang, Yong, and Olga V. Vinogradova. "Contemporary Chinese poetry and Russian modernist and postmodernist poetry: influence and analogy." RUDN Journal of Studies in Literature and Journalism 24, no. 4 (December 15, 2019): 704–12. http://dx.doi.org/10.22363/2312-9220-2019-24-4-704-712.
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For the last thirty years, Chinese poetry mostly has been well-known for three schools, namely: “Misty Poetry”, “Intellectual Writing”, and “Folk Writing”. Russian poets of diff erent periods were among those who had a notable impact on the works of Chinese poets. Russian lyric poets praising freedom, love, and relationships with nature became the main source of inspiration for “misty” poets. “Intellectual” poets felt their being close to the Russian Silver Age poets: A. Akhmatova, A. Blok, B. Pasternak, M. Tsvetaeva. Their poems include examples of direct addressing to them. “Folk” poets created an enormous and diverse area of postmodernist poetic texts, which is in sync with Russian poets of postmodernism. In the fi rst part of the article, the authors review the contemporary Russian poetry, in particular the “second avant-garde” poetry, in relation with the contemporary Chinese poetry that was “moved in time” for some decades, but came across the same processes of rising and the dialogue with society (sometimes provocative), with the world poetry, processes of introspection and experimental search. The second part of the article deals with the aspects of infl uence, made by Russian poets of different periods upon Chinese poetry, and with the issues of further development of contemporary Chinese poetry.
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M., D., and David Mc Craw. "Women and Old Chinese Poetry." Chinese Literature: Essays, Articles, Reviews (CLEAR) 19 (December 1997): 182. http://dx.doi.org/10.2307/495106.
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Li, Yang. "Flute archetypes of sounds in Chinese Tang era poetry." Музикознавча думка Дніпропетровщини, no. 18 (November 13, 2020): 93–104. http://dx.doi.org/10.33287/222020.
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Tang epoch trains (618–907) – an important source of judgments about expressive possibilities and sound archetypes of the Chinese flute, preserved in the music of the Celestial Empire composers of the XX – XXI centuries. The purpose of this investigation is to establish sound archetypes of the flute in the Chinese poetry of the Tang epoch. The methods of investigation are historical, semantic, genre and comparative approaches. The scientific novelty of the study is to introduce the concept of «flute poetry» of the Tang era into the musicology context, to establish its characteristic properties (spiritualization of the desolate time space with a magic melody, the reflection of the state of the soul of a lonely hero, the presence of the image of the listener-poet, connection with the elements of the wind, the nocturonal semantics of the natural landscape, signs of the palace style, the embodiment in the sounds of the flute - the mediator between the earthly and celestial worlds – philosophical ideas), the formation of the thesaurus of flute affects (moaning, sadness, sadness, state of waiting, experiencing loneliness). The samples of «flute poetry» by Li Bo, Du Fu, Wang Wei, Zhao Gu are considered. The image of the jade flute from Li Bo's poem symbolizes the priceless in human life. In Li Bo's poem about the Qiang Maiden, the flute music takes on the meaning of a leitmotif that accompanies the drama of love and separation. In Du Fu's work, the limits of earthly time and space contrast with the boundless celestial chronotope associated with the flute's sound image. In Wang Wei's poetry, the flute's crying accompanies the suffering of an abandoned woman and finds a response in the soul of a lonely traveler. Zhao Gu's poem includes the names of mythical flute artists Huan Tzu and Ma Rong, contributing to the sacralization of time and space in the work. Conclusions. In «flute poetry» of the Tang era, there are typical features of a common creative method inherent to the masters of the word «golden age»: the sound image of the flute is inscribed in a common artistic continuum based on the reflection of the poet's surrounding nature in a lyrical-philosophical landscape.
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Lihong, Zhu, and Wang Feng. "The Zen Relationship between Chinese Poetry and American Poetry." International Journal of Multicultural and Multireligious Understanding 6, no. 4 (August 13, 2019): 92. http://dx.doi.org/10.18415/ijmmu.v6i4.952.
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Zen has become especially popular after 1950 and the Zen craze of East Asia not only has become a kind of belief but also a way of life in America. Many American writers introduce, advocate, and concentrate on their Zen, and even go to the East to learn Zen. They applied the ideology, content and allusions of Chinese Zen to their works, so they have a close relationship with Chinese Zen. This article aims to analyze the poems of Kenneth Rexroth, Anthony Piccione, Gary Snyder and James P. Lenfesty to explore the mysterious relationship between Chinese and American poetry. These poets imitate the quiet beauty, wild freedom or orthodox of Zen poetry. Furthermore, each of them forms their own writing characteristics, thus creating a new realm of American poetry.
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Schwartz, Leonard. "Contemporary Chinese Poetry and the Experience of the Sacred: Three Chinese Poets." Journal of Chinese Religions 23, no. 1 (January 1995): 95–104. http://dx.doi.org/10.1179/073776995805307220.
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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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Fang, Alex C., Wan-yin Li, and Jing Cao. "In search of poetic discourse of classical Chinese poetry." Chinese Language and Discourse 2, no. 2 (December 21, 2011): 232–49. http://dx.doi.org/10.1075/cld.2.2.04fan.
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We address the issue of poetic discourse in classical Chinese poetry and propose the use of imageries as characteristic anchors that stylistically differentiate poetic schools as well as individual poets. We describe an experiment that is aimed at the use of ontological knowledge to identify patterns of imagery use as stylistic features of classical Chinese poetry for authorship attribution of classical Chinese poems. This work is motivated by the understanding that the creative language use by different poets can be characterised through their creative use of imageries which can be captured through ontological annotation. A corpus of lyric songs written by Liu Yong and Su Shi in the Song Dynasty is used, which is word segmented and ontologically annotated. State-of-the-art techniques in automatic text classification are adopted and machine learning methods applied to evaluate the performance of the imagery-based features. Empirical results show that word tokens alone can be used to achieve an accuracy of 87% in the task of authorship attribution between Liu Yong and Su Shi. More interestingly, ontological knowledge is shown to produce significant performance gains when combined with word tokens. This observation is reinforced by the fact that most of the feature sets with ontological annotation outperform the use of bare word tokens as features. Our empirical evidence strongly suggests that the use of imageries is a powerful indicator of poetic discourse that is characteristic of the two poets concerned in the study.
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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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Boldyreva, Elena M., and Elena V. Asaf’yevа. "“HOUSE LIKE A SHADOW”, “BUTTERFLY OF REVENGE” AND A “DEAD PORTRAIT”: MOTIF CONCORDANCE IN RUSSIAN GULAG POETRY AND CHINESE “FOG POETRY”." Vestnik of Kostroma State University, no. 3 (2020): 177–86. http://dx.doi.org/10.34216/1998-0817-2020-26-3-177-186.
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The article considers the system of creative concordances of Russian gulag poets and representatives of Chinese «fog poetry». The creative work of poets is analysed in the context of typologically similar trends in the Russian and Chinese literary process – the Russian literature of the gulag and the Chinese literature «wounds and scars», «the fate of poets are considered as an example of the complex opposition of the personality to the totalitarian system. When comparing the works of the «fog poets» and the poets of the gulag, a lot of motifs and figurative calls significant for the artistic world of poets are revealed: images of a butterfly of revenge, shadow, a portrait leading to horror, a motif for identifying historical memory, a motif for the absence of guilty, a destroyed youth, the inseparability of the fate of man from the fate of the homeland, a motif for suffering for the good and faith in the future, a representation of poetry as a way of survival and overcoming evil, a motif for resistance to nature, a steady and decisive movement forward, a motif for bodily destruction, voices from under stone, patience. After studying a number of common ideas and motifs, the authors of the article conclude that the creative work of «fog poets» and gulag poets is not only a way to survive in harsh conditions of imprisonment and exile, but also a historically significant phenomenon, because it reflects the nature of the era in which poets were forced to write and exist. This body of texts is considered as a material for studying the status of the poetry word as an aesthetic means capable of giving historical and artistic evidence of the Soviet and Chinese reality of the 20th century.
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Klein, Lucas. "What Does Tang Poetry Mean to Contemporary Chinese Writers?" Prism 18, no. 1 (March 1, 2021): 138–69. http://dx.doi.org/10.1215/25783491-8922225.
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Abstract Examining how contemporary poets raised in China are looking at classical Chinese poetry from the Tang—in particular, the poetry and the figure of Li Bai 李白 (701–762)—this article questions the epistemological divide, common to scholarship, between premodern and modern Chinese poetry. The texts come from Shenqing shi 深情史 (Histories of Affection) by Liu Liduo 劉麗朵 (1979–); The Banished Immortal, Chinese-American poet and novelist Ha Jin's 哈金 (1956–) biography of Li Bai; the book-length poem-sequence Tang 唐, by Yi Sha 伊沙 (1966–); and poet Xi Chuan's 西川 (1963–) scholarly book Tang shi de dufa 唐詩的讀法 (Reading Tang Poetry). The author contends not only that these writers' dealings with Tang poetry make it part of a still-living tradition but also that such engagement offers a way to understand the dynamic, rather than static, canonicity of Tang poetry.
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Yujie, Li, and Wang Feng. "On the English Translation of Li Qingzhao’s Ci-poems--A Contrastive Study on the Translations of the Ci-Poem “To the Tune of Tipsy in Flower Shade”." English Literature and Language Review, no. 55 (May 15, 2019): 64–70. http://dx.doi.org/10.32861/ellr.55.64.70.
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Li Qingzhao (1084-ca. 1155?) is widely lauded as the most celebrated and talented woman poet in the history of classical Chinese literature. This study, with the theoretical guidance of Dr. Wang Feng’s “Harmony-Guided Three-Level Poetry Translation Criteria”, focuses on a comparative analysis of the collected renditions of the ci-poem “to the tune of Tipsy in Flower Shade” at the macro, middle and micro levels, to further promote the translation and communication of classical Chinese literature. This study aims to exert far-reaching influences on the process of Chinese literature going global, which has unprecedented contemporary significance.
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Hul, Oleksandra. "DISSIDENCE AND IMMIGRATION THROUGH THE WORLDVIEW OF “MISTY POET” BEI DAO." Polish Studies of Kyiv, no. 35 (2019): 444–51. http://dx.doi.org/10.17721/psk.2019.35.444-451.
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The key focus of the Article is based on the new trend in Chinese poetry named “Misty poetry”, which appeared in China in the 20 century as a rebellion and notice of appeal in the literary circles of young generation. Under the political and social pressure of the totalitarian regime in China, and in the conditions of total control over the literary process, there appeared a new style of expressing own thoughts and believes among youth, called “Misty poetry” or revolutionary poetry. This Article is revealing the aim, preconditions and key tasks of Misty poets. Being a leader of the Misty poets’ group, popular Chinese poet Bei Dao is taken as a vivid example of revolutionary youth of the 20 century. The Article shows his political, social and literary activity as an example of the whole Misty group idea. The main aspects provided in the Article are based on the great love and respect of the Misty poets towards China, Chinese language, Chinese nature and culture. The Article shows how difficult it was for the poets to be far away from their Motherland and to have no chance to come back, how dif- ficult it was to write Chinese poetry being forbidden in native country. The Article also reveals the “Secret code of culture and nation” which is based on the symbols and words of native language. The “Secret code of culture and nation” is understood only by the native speakers, loving their Motherland. The Article uses original poetry of Bei Dao and is also based on the original historical and political facts, taking into account interviews with the poet, which show his real way of thinking in the terms of Misty poetry. The inner world of Bei Dao is described in the examples of his poetry: “Local Dialect” (“乡音”), “Hello, Bai Hua Shan” (“你好，百花山”), “Let’s go” (“走吧”). Nearly all of his poetry tells about true love for China and a great dream of using native language without fear and persecution. We provide a description of the hidden way of Bei Dao’s thinking, while analyzing his great poem “Local Dialect” (“乡音”). Each word should be examined taking into account the unique symbols of China. Bei Dao believes that only people, loving Chinese culture and loving Chinese language can under- stand the deep meaning of Misty poetry.
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Weng, Jiatong. "The word pearl in Russian poetry and its Chinese roots." Neophilology, no. 27 (2021): 536–44. http://dx.doi.org/10.20310/2587-6953-2021-7-27-536-544.
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The object of the analysis is the word pearl in the Russian language. The subject of the study is to consider the functioning of this lexeme in Russian poetry. The analysis uses descriptive, comparative, and stylistic methods. The word pearl was borrowed by the Russian language from Chinese through the Turkic mediation in the 12th century. The Chinese word 珍珠 [zhēnzhū] con-sists of two syllable morphemes 珍 ‘rare, expensive, valuable’ and 珠 ‘glob, bead’. We examine the appearance history of this lexeme in the Russian language, reveal the original and figurative meanings of the word and its word-forming and combinative activity. Lexeme pearl is entered the active vocabulary of the Russian language, became widely used in the speech of Russian people, acquired a large number of derivatives and stable phrases with them. We analyze the functioning of the word pearl, the lexemes formed from it, and the stable phrases containing these units in Russian poetry. Pearls have become a favorite means of expressing ideas about beauty, value, love, and emotions among Russian poets. The word pearl, its derivatives and phrases with it are found in the works of most Russian poets, they are noted in the poems of A.S. Pushkin, M.Y. Lermontov, M.I. Tsvetaeva, V.Y. Bryusov, K.D. Balmont and many others. We found that in the works of poets of the 18–19th centuries, the word pearl is regularly found in the singular with an oxytonic accent, and in the twentieth century, the accentuation becomes penultimative, transferred one syllable forward. The perspective of this research is to study the use of the pearl token in translations into Russian of works by foreign authors, including Chinese ones.
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Krenz, Joanna. "Ice Cream in the Cathedral: The Literary Failures and Social Success of Chinese Robot Poet Xiao Bing." Asiatische Studien - Études Asiatiques 74, no. 3 (September 1, 2020): 547–81. http://dx.doi.org/10.1515/asia-2019-0024.
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Abstract In May 2017, Xiao Bing, a popular Chinese chatbot built by Microsoft Research Asia, made her debut as a poet with Sunlight Has Lost Its Glass Windows, a collection marketed as the entirely created by artificial intelligence. She learnt the art of poetry by “reading” the works of 519 modern Chinese poets, and her “inspiration” comes from pictures provided first by her programmers and later by netizens, who upload photographs through her website. Xiao Bing’s emergence made a splash in Chinese society and raised grave concerns among the poets, who polemicized with her engineers. This essay traces Xiao Bing’s literary and media career, which includes both notable literary failures and notable commercial success, exploring her complex connections to technologies of power/knowledge as well as cultural phenomena that range from traditional Chinese poetry and poetry education to postmodern camp aesthetics. From within the renegotiation of the nature of poetry at the threshold of the posthuman era, I propose the critical notion of reading-as-playing to help poetry take advantage of its various entanglements and strictures in order to survive and co-shape the brave new world.
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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 strongly influenced by the Western modernist poetry, in which they found alternative fresh ideas.
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Yun, Hye‑ji. "The Research Status of Chinese Women Poetry in Korea." Journal of Chinese Studies 83 (February 28, 2018): 3–29. http://dx.doi.org/10.36493/jcs.83.1.
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Boldyreva, Elena M. "Motive echoes in the poetry of B. Pasternak and Wang Jiaxin." Verhnevolzhski Philological Bulletin 1, no. 24 (2021): 34–44. http://dx.doi.org/10.20323/2499-9679-2021-1-24-34-44.
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The article considers the work of the Chinese poet Wang Jiaxin (based on the works not translated into Russian), called by critics «Chinese Pasternak», as a characteristic example of the spiritual and artistic influence of Pasternak's work on modern Chinese poetry. Comparing the works of Boris Pasternak and Wang Jiaxin we discover a lot of motifs and images that are significant for the poets' artistic world (motifs of burning candle, snow and snowstorm, garden, thunderstorm, sea, rain), but one of the most powerful images Pasternak and Jiaxin share is that of the wind. The article reveals symbolic connotations of this image common for both poets: anthropomorphization of the wind; wind as a mediator between the human body and the world; wind as a universal omnipresent entity, pantheistically dissolved in the universe, a unifying force that facilitates the merging of particularities into a single cosmos; the guardian of cultural memory, creating the link between times and generations; wind as the language of art, the element in search of means of verbalization; wind as a symbol of the transformative power of art, the symbol of historical upheavals; wind as a universal metaphysical force that governs the world, etc. This article examines the intertextual links of Wang Jiaxin's work with the «wind text» of Chinese poetry, using the poetry of the Tang era and the lyrics of the poets of the 20–40s of the XX century as examples. The article concludes that Pasternak's wind is the most important component of his poetic natural cosmos, the embodiment of spontaneous playful, joyful, life-affirming creativity, while Wang Jiaxin's wind is a more severe, mysterious and irresistible element; it is not only a reflection of some values significant for the poet, but also a kind of «literary wind» that accumulates multiple cultural connotations and reflects both «wind songs» of classical Chinese poetry and the «windiness» of Pasternak's poetic universe, and the creative dialogue between Wang Jiaxin and Pasternak not only demonstrates a profound connection of Chinese and Russian poetic traditions, but also allows us to take a new look at Pasternak's poetry, seeing its brilliant reflection in Wang Jiaxin's lyrical mirror.
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ZHANG, JEANNE HONG. "Gender in post-Mao China." European Review 11, no. 2 (May 2003): 209–24. http://dx.doi.org/10.1017/s1062798703000218.
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Post-Mao gender discourse readjusts a politicized vision of gender based on Maoist ethics. While rejecting revolutionary concepts of sex equality, contemporary Chinese women embrace a notion of femininity through the revision of a traditional conception of womanhood as well as the construction of new role models. Women poets participate in this construction process with a fresh, powerful voice to express their gender consciousness. In their efforts to (re-)define womanhood, they present by poetic means radically gendered perspectives.
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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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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 (December 20, 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 gives a brief history of contemporary poetry. It covers the period of forbidden underground poetry during the times of cultural revolution, and shows all the transformation stages of the Chinese avant-garde in literature. In the article we can trace the attitude of Maghiel van Crevel towards the Western art influence on the Chinese culture and poetry. He skillfully expresses his thoughts and feelings by using the words of the others and citing the leading Chinese literary critics.
The most interesting thing is that the author of the book focuses his attention on the poets who do not belong to the key representatives of the poetic avant-garde. This helps the reader to understand that a poet is an ordinary person and can write in a simple manner using the colloquial speech just to be closer to other people.
The key aim and goals of the Article is to become a vivid literary guide to the avant-garde poetry environment and to give some clues to the reasons of the poetry in exile.
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Yun, HyeJi. "A Study on the Death Poetry of Ancient Chinese Women." Comparative Study of World Literature 73 (December 30, 2020): 169–98. http://dx.doi.org/10.33078/cowol73.07.
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Chow, Kai-Wing. "Identities and Literary Culture in Qing China: Manchu Emperors as Chinese Poets, Readers, and Publishers." Journal of Chinese Literature and Culture 6, no. 2 (November 1, 2019): 359–82. http://dx.doi.org/10.1215/23290048-8041957.
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Abstract The Qianlong emperor bequeathed the largest number of Chinese poems of any emperor, and perhaps of any poet, in the history of imperial China. But how do we make sense of the fact that Qianlong had been adamant in maintaining and preserving what he considered the essence of Manchu culture: the Manchu language and hunting skills? This articles argues that, despite deliberate staging through various fashions of his image as the ruler of a multiethnic empire, Qianlong failed in sending his message to his diverse subjects because, truly enthralled by Chinese poetry, he could not restrain himself from writing poetry in Chinese. In light of the theory of multiple identities and acculturation of John Berry, it is reasonable to argue that Qianlong, despite his unambiguous identification with the Manchus as the conquering ethnic group, in tortuous ways had come to embrace the identity of a Chinese poet of the host society, in which the technologies of culture to a large degree overdetermine the form of identities and how they can be articulated, internalized, embodied, and staged.
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Yunuo, Sun. "Linguistic and cultural connotations of the lexeme BIRCH in Russian and the lexeme BAMBOO in Chinese." Current Issues in Philology and Pedagogical Linguistics, no. 2(2021) (June 25, 2021): 60–70. http://dx.doi.org/10.29025/2079-6021-2021-2-60-70.
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The paper studies the historical and cultural associative meanings of the lexeme BIRCH in the Russian culture and the lexeme BAMBOO in Chinese by analyzing the results of the perception process of these objects, their concepts and images by native speakers of the Russian and Chinese languages. The relevance of the research is due to the growing attention of modern linguistics to comparative cultural studies, including the number of comparative works on the Russian and Chinese languages, the importance of describing linguistic and cultural differences for the development of international economic and cultural relations between China and Russia. The research material involves phraseological units, proverbs, myths, poems and literary works, as well as historical materials, customs and traditions of the two nations. This paper uses research methods such as descriptive, contextual, comparative, the method of component analysis and cognitive modeling. As a result, it was determined that birch occupies a significant place in the Russian culture with the meanings of “motherland”, “mother”, “woman”, “bride”, “girl”. Bamboo in Chinese has only positive connotations, including “unshakable quality”, “spiritual purity”, “humble character”, “high aspirations.” It is concluded that birch as a symbol of Russia is a lacunar concept in the Chinese culture, while bamboo as the personification of a “perfect gentleman” in Chinese has no cultural connotation in Russian. Despite mismatched meanings in two languages, birch and bamboo must be recognized as equivalents in terms of cultural significance and the high frequency of symbolic use in poetry and other precedent texts.
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YoungMin Park. "Chinese poetry of women writers, the intense sexuality and self-conscious." DONG-BANG KOREAN CHINESE LIEARATURE ll, no. 33 (December 2007): 165–96. http://dx.doi.org/10.17293/dbkcls.2007..33.165.
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LAI, JOHN T. P. "Wellspring of Inspiration: TheMandarin Union Versionand Modern Chinese Poetry in the Early Twentieth Century." Journal of the Royal Asiatic Society 30, no. 1 (December 21, 2018): 163–77. http://dx.doi.org/10.1017/s1356186318000676.
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Coinciding with the May Fourth new cultural and literary movement, the publication of theMandarin Union Version, the vernacular Chinese translation of the Bible, in 1919 had a profound impact on the formation of modern Chinese literature. This paper examines the ways in which theUnion Versionprovided a novel source of imageries, poetic genres and worldviews for the experimentation of modern Chinese poetry during the Republican period, particularly between the 1920s and 1940s. Revering the Bible as the Holy Scripture, young Christian poetess Bing Xin (1900–99) spontaneously expressed her religious sentiments and commitment by composing a series of “sacred poems” as her own poetic response to the striking beauty of biblical images. Zhou Zuoren (1885–1967), a renowned May Fourth Chinese writer and intellectual, regarded the Bible as a treasured anthology of Jewish literature and appreciated the humanistic values embodied in the teachings of Jesus. Placing the biblical references of the wilderness, Jesus's universal love and Moses's legalistic position in the forefront, Zhou Zuoren's poem“Qilu,”or “Crossroads,” captured the perplexity of his contemporary intellectuals, Zhou himself included, in their sabbathless search for cultural rejuvenation and national salvation during the transitional and tumultuous Republican era. An ardent admirer of W. B. Yeats and T. S. Eliot, Chinese modernist poet Mu Dan (1918–77) studied their poetry at the Southwest United University in Kunming during the Second Sino-Japanese War (1937–45). Imbued with biblical allusions, for instance, the fall of humankind and the loss of paradise, Mu Dan's poems, like“She de youhuo,”or “The Temptation of the Serpent,” articulate his penetrating critique of modernity. These works of poetry represent the multiple voices and diverse reactions of the early twentieth-century Chinese poets towards theUnion Versionwhich had not only firmly established its canonical status as the predominant Chinese translation of the Bible used by the Protestant Church, but also emerged as a literary tour-de-force to propel the evolution of modern Chinese poetry.
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Barrett, Tim. "Zen and the “Image” in Tang Poetry." British Journal of Chinese Studies 10 (July 2, 2020): 1–14. http://dx.doi.org/10.51661/bjocs.v10i0.58.
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The purpose of the title of this piece is to suggest that behind the bland exterior of the average medieval Chinese poem (at least in English translation) there may lurk processes of composition entirely unsuspected by the modern reader, aspects of the Tang poem that might repay greater study. This approach, namely meditation as a method of creative inspiration, was far from universal in the poetry of the Tang period, since it seems to have arisen within specific historical circumstances, and though references to it remained and were handed down to later ages in widely read works, it is at present unclear how actively it was practised in later times. However, there is sufficient evidence to suggest that an interest in poetic imagery remained strong in East Asia, raising the possibility that it was this aspect of poetic practice there caught the attention of English language poets in the United Kingdom at the start of the twentieth century as they cast about for new models to replace the poetry of Victorian times. The hope is that drawing attention to this approach to poetic inspiration in this essay may serve as a challenge to the current lack of interest in Chinese poetry translation in the United Kingdom.
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Jiajing, Song. "Affinity and Influence of Federico García Lorca on the Poetry of Dai Wangshu." Sinología hispánica 7, no. 2 (January 14, 2019): 133. http://dx.doi.org/10.18002/sin.v7i2.5734.
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As one of the most representative modern poets in China, Dai Wangshu not only contributs a lot to the development of the modern Chinese poetry, but also plays an important role in introducing western poetics to China. Dai’s translation of western poetry has a profound influence on his poetic creation. Dai, throughout his poetic career, was at first influenced by the French romanticism, then was fascinated by the French symbolism and post-symbolism. The years of Disaster, a collection of poems in his later years, however, demonstrates an inclination to the Spanish modernist poetry, especially to the poems of Federico García Lorca, one of the most representative poets of the Generation of 27. This paper focuses on analyzing the characteristics of the works of these two poets, Dai Wangshu and Lorca, and is intended to make a comparative study of the affinities and similarities in their poetic beliefs and practice and the Lorca’s deep influences on Dai’s poetic creation, thus filling the blank in this field.
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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 (December 15, 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 the ideal image of China in the work of E.Ya. Danko, which traces back to the ideas of F.M.A. Voltaire, M.V. Lomonosov and Russian poets of the XIX - early XX centuries. Works by E.Ya. Danko meets the idea of A.M. Gorky - to create literature on factories, crafts, and technology. In her works about China, upholding the classical understanding of Chinese culture and admiring the talent and hard work of the Chinese people, E.Ya. Danko found a way out of the chaos of the 1920s.
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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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Gvili, Gal. "Pan-Asian Poetics: Tagore and the Interpersonal in May Fourth New Poetry." Journal of Asian Studies 77, no. 1 (January 15, 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. This understanding developed as Chinese poets and literary critics engaged with Tagore's critique of Western materialism and his positioning of Asian religious sensibilities in contrast to Western materialism. Tagore's view promoted literature as a medium connecting religion, the individual, and the universe. In this sense, though Tagore's pan-Asianism failed as a viable political project, it carried powerful resonance in the arena of modern Chinese literature.
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ZHANG, Ziqing. "Does Poetry Make Anything Happen? —A Dialogue between Chinese and American Poets in the 20th Century." Comparative Literature: East & West 11, no. 1 (March 2009): 57–95. http://dx.doi.org/10.1080/25723618.2009.12015359.
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조영호. "Teaching Chinese Poetry through the Analysis of the Poets’ Spiritual Features -Based on the High School Chinese- Character Textbook in the 7th Curriculum." Journal of Korean Classical Chinese Education ll, no. 32 (June 2009): 185–218. http://dx.doi.org/10.17963/ccek.2009..32.185.
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Krenz, Joanna. "Przybrany ojciec. Czesław Miłosz w Chinach." Poznańskie Studia Polonistyczne. Seria Literacka, no. 40 (September 14, 2021): 53–97. http://dx.doi.org/10.14746/pspsl.2021.40.3.
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Czesław Miłosz remains among the most important foreign authors and literary authorities for Chinese poets. Initially received in China with distrust and uncertainty, then portrayed in the official state discourse of romantic-revolutionary literature as the bard of socialism, Miłosz became the spiritual father of the younger generation affected by the Cultural Revolution and Tiananmen Square Massacre, a witness of the age, and a symbol of intellectual independence and resistance against totalitarianism. After a period of reading Miłosz in terms of ethical and political categories, Chinese reviews and literary texts in the 2010s and 2020s increasingly refer to Miłosz as philosophical and metaphysical poet. This article analyses Miłosz’s reception in China, paying attention to the historical, cultural, and linguistic factors that shaped the assimilation of his work and the values he brought to Chinese poetry.
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Simas, Monica. "Macau: A Plural Literature?" Asian Diasporic Visual Cultures and the Americas 2, no. 1-2 (March 2, 2016): 51–67. http://dx.doi.org/10.1163/23523085-00202011.
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The return of Macau to the People’s Republic of China was nearly fifteen years ago but only recently have researchers been interested in studying the impact of the handover. This article reflects on the literature of Macao, focusing on texts exploring the displacement of poets from Portugal, Australia, and China to Macau. Poetry has been a crucial form of production that has showcased the social changes of this multicultural place. Although it is difficult to characterize a specific Macao way of life, during the transition period between 1987 and 1999, many poets sought to show the conflicts that occurred in the development of this special administrative region. This article attempts to analyze and characterize literary representations of recent Macao poetry published in Chinese, English, and Portuguese languages in order to define differences as well as a common sensibility.
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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 древние малые саньвэни. Особое внимание уделяется анализу внутренних причин — связи традиционной китайской литературы с жанровыми и эстетическими особенностями тургеневских стихотворений в прозе. Выявляется «созвучие» ритма, сюжетов, тематики, композиционных и стилистических приемов при описании природы в стихотворениях в прозе И. С. Тургенева и китайской классической поэзии. Авторы останавливаются на том, как И. С. Тургенев с помощью описания природы выражает собственные чувства. Подчеркивается, что такой лирический прием соответствует как стетическим и художественным особенностям поэтов Древнего Китая, так и классической китайской философии. Проведенный анализ позволяет убедиться в том, что причиной популярности стихотворений в прозе И. С. Тургенева в Китае является соответствие эстетическим характеристикам классической китайской литературы. The article examines one of the aspects in the history of perception of Russian literature in China — the interrelationship of a prose poem by I. S. Turgenev (1818–1883) and Chinese traditional literature. The authors study the popularity of poems in prose by I. S. Turgenev among the Chinese readership. The novelty of the research lies in the fact that this work presents, for the first time, an overview of the links between “poems in prose” by I. S. Turgenev and traditional Chinese poetry. The material for the study was both texts of traditional Chinese prose Fu, as well as poems for singing Tsu and ancient small sanwen. Special attention is paid to the analysis of internal reasons — the connection of traditional Chinese literature with the genre and aesthetic features of Turgenev's poems in prose. The authors discuss the similarity and consonance of form, rhythm, plots, themes and similar techniques in describing nature in prose poems by I. S. Turgenev and Chinese classical poetry. The authors specifically focus on how I. S. Turgenev uses the description of nature to express his own feelings. It is emphasized that this lyrical technique not only corresponds to the aesthetic and artistic features of the poets of Ancient China, but also corresponds to classical Chinese philosophy. The analysis allows us to make sure that the reason for the popularity of poems in prose by I. S. Turgenev in China is the compliance with the aesthetic characteristics of classical Chinese literature.
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Yang, Gladys. "Women Writers." China Quarterly 103 (September 1985): 510–17. http://dx.doi.org/10.1017/s0305741000030733.
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The number of Chinese women writers has increased considerably in the past few years. Some write poetry, essays, children's stories, reportage and television scripts. But since the majority write fiction, and they are the most influential, I will talk today about some middle-aged and younger women who have introduced new themes or written controversial work in recent years.
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Tang, Xiaobing. "The Ocular Turn, Misty Poetry, and a Postrevolutionary Imagination." Prism 16, no. 1 (March 1, 2019): 62–84. http://dx.doi.org/10.1215/25783491-7480333.
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Abstract “The Answer,” a poem by Bei Dao first published in 1978, marks the emergence of a defiant voice in contemporary Chinese poetry and asserts skepticism as the political stance of a young generation in post–Cultural Revolution China. It also heralds a historic transition from an era of sonic agitation to an aesthetics based on visual perception and contemplation. This rereading of Bei Dao's canonical poem and other related texts goes back to the late 1970s, when the political implications of the human senses were firmly grasped and heatedly debated. The author shows that an ocular turn occurs in “The Answer” and drives the aesthetic as well as political pursuits of a new generation of poets. He further argues that, in a moment still enthralled with a revolutionary sonic culture, Misty poetry disavowed aural excitement and was part of the reconditioning of the human senses in preparation for a postrevolutionary order and sensibility.
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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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Yi, Xiaoyuan, Ruoyu Li, Cheng Yang, Wenhao Li, and Maosong Sun. "MixPoet: Diverse Poetry Generation via Learning Controllable Mixed Latent Space." Proceedings of the AAAI Conference on Artificial Intelligence 34, no. 05 (April 3, 2020): 9450–57. http://dx.doi.org/10.1609/aaai.v34i05.6488.
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As an essential step towards computer creativity, automatic poetry generation has gained increasing attention these years. Though recent neural models make prominent progress in some criteria of poetry quality, generated poems still suffer from the problem of poor diversity. Related literature researches show that different factors, such as life experience, historical background, etc., would influence composition styles of poets, which considerably contributes to the high diversity of human-authored poetry. Inspired by this, we propose MixPoet, a novel model that absorbs multiple factors to create various styles and promote diversity. Based on a semi-supervised variational autoencoder, our model disentangles the latent space into some subspaces, with each conditioned on one influence factor by adversarial training. In this way, the model learns a controllable latent variable to capture and mix generalized factor-related properties. Different factor mixtures lead to diverse styles and hence further differentiate generated poems from each other. Experiment results on Chinese poetry demonstrate that MixPoet improves both diversity and quality against three state-of-the-art models.
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우림걸. "A Section of Chinese Poetry during the Transitional Period in Modern Times-The Severance of the Tradition and the Ambivalence of Poets-." Korean Classical Poetry Studies 24, no. ll (May 2008): 51–67. http://dx.doi.org/10.32428/poetry.24..200805.51.
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Tsmykal, Olga E. "Literary searches of the poets of the Far East emigration: versification poetics of Larissa Andersen." RUDN Journal of Studies in Literature and Journalism 25, no. 3 (December 15, 2020): 447–57. http://dx.doi.org/10.22363/2312-9220-2020-25-3-447-457.
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The article analyses the versification features of the poetess of Russian Harbin Larissa Andersen in the general context of the literary process of the Far Eastern branch of Russian emigration. The novelty of this study is determined by the fact that the versification poetics of Larissa Andersens works for the first time becomes the subject of independent and systematic study. The object of the study is the lyrics of L. Andersen of the Far Eastern period (1920-1940s). The purpose of the article is a holistic study of the poetics of L. Andersen versification of 1920-1940-ies on the material of her Harbin works, the collection of poems Through the Earths Meadows (1942) and the collective collection The Island (1946). The author of the article concludes that the technical, formal side of the verse is not a dominant for Larissa Andersen, which reflects the general immediacy of the poetess lyrics. However, if the concept of the work requires it, Andersen resorts to unusual means of versioning (including meter, rhyme and rhythm searches). Larissa Andersen doesnt ignore experiments, which result in poems resembling childrens poetry, folk poetry, Chinese classical poetry, futurist lyrics, etc.