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Relevant bibliographies by topics / Zen poetry

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Journal articles
Dissertations / Theses
Books
Book chapters
Conference papers

Academic literature on the topic 'Zen poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "Zen poetry"

1

Qin, Si. "The ‘Making’ of Chinese Zen Poetry: Sam Hamill's The Poetry of Zen." Translation and Literature 32, no. 3 (November 2023): 354–72. http://dx.doi.org/10.3366/tal.2023.0562.

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The appreciation of Zen Buddhism in the mid-twentieth century led to a new exploration and tradition of Zen poetry translation. Many translators influenced by the American ‘Zen Boom’ were drawn to Chinese Zen poems during this time. However, translating Zen poetry is a complex art, and often shaped by the translator's personal experiences and qualities. Diverse perspectives exist on what constitutes Zen poetry, and selections for Zen anthologies hinge on the editor's perception. This paper centres on Sam Hamill's work in The Poetry of Zen, 2004, examining his selection and interpretation of classical Chinese Zen poems. It highlights the intricate relationship between translated texts, their cultural and historical contexts, and the translator, while elucidating how the Zen interpretation of classical Chinese poetry contributed to the establishment of the tradition of Zen poetry translation.

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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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Wu, Chenghao, and Haoyuan Zhang. "The Influence of Sino-Japanese Zen Communication on Five Mountain Poetry: A Case Study of Zekkai Chuushin." Communications in Humanities Research 21, no. 1 (December 7, 2023): 132–41. http://dx.doi.org/10.54254/2753-7064/21/20231437.

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Five Mountain culture, a unique Sino-Japanese exchange, shaped Japan's development via Zen monks. These monks in China and Japan infused Zen's allure into Japan, initially captivating aristocrats and later the masses. As Five Mountain culture spread, it met the ruling party's needs, blending Chinese culture with local roots to form a distinct Japanese culture. Zen monks, especially Zekkai Chuushin, who studied in China, played pivotal roles. Zekkai Chuushin's Zen mastery, appreciation of Chinese customs, and study of Ming Dynasty calligraphy and poetry influenced the spread of Chinese culture. His masterpiece, "Jiao Jian Gao," epitomizes Chinese poetry in Five Mountain, encompassing nostalgia for China, yearning for homeland, and critiques of Japanese politics. Zekkai Chuushin's works reflect a deep exchange between Chinese and Japanese Zen literature, illustrating China's profound impact on Japanese Zen during the Muromachi period. This study explores how Japanese Zen monks, especially Zekkai Chuushin, drew inspiration from Chinese poetry. Through analysis of his poems, the authors examine the influence and adaptation of Chinese poetry in Japanese Zen literature. The comparative analysis highlights similarities and differences with native Chinese poets, shedding light on Japan's reception of Chinese culture in the Five Mountain period. Zekkai Chuushin creatively embraced Chinese poetry, leaving a profound mark on Japanese literature, skillfully merging tradition with originality and enriching Japanese literary culture while preserving Chinese poetic heritage, showcasing Japan's connection to Chinese culture through the Han language.

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Pizza, Joseph. "Zen Closets." GLQ 30, no. 2 (April 1, 2024): 181–203. http://dx.doi.org/10.1215/10642684-11029006.

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This article explores John Cage's “62 Mesostics re Merce Cunningham,” a love poem dedicated to the poet's longtime partner. Though scholars of Cage's writing and music tend to ignore the queer context in which his work was created, this study attempts to reconcile the poet's art with his life. As a homosexual couple in the postwar period, Cage and Cunningham observed a closeted silence throughout their lives together, preferring to refer to one another as collaborators rather than romantic partners or lovers. While such strategies were not uncommon, the couple's use of Zen philosophy to imbue their silent relationship with an almost religious purpose distinguishes them from many others. Indeed, the poem embodies this situation well. Offering, at one moment, a glimpse into the couple's private life, at the next, the piece consistently subverts this gesture through various avant-garde techniques. In fact, in its unusual use of typography and its experimental performance history, Cage's mesostic reimagines the space and terms of traditional love poetry — much like his relationship with Cunningham reworked traditional gender roles. By bringing these aspects of Cage's life and work to light, this article aims to provide scholars with a fuller understanding of postwar queer poetics.

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L.T., Balakayeva, and Osmanova M.S. "Zen Buddhism in Japanese poetry." Journal of Oriental Studies 80, no. 1 (2017): 148–53. http://dx.doi.org/10.26577/jos-2017-1-820.

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Feng, Yi. "The Epiphany of Language: The Connotation of Zen-Taoism in Charles Bernstein's Echopoetics." boundary 2 48, no. 4 (November 1, 2021): 163–83. http://dx.doi.org/10.1215/01903659-9382243.

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Abstract As a prominent representative figure of American Language poetry, Charles Bernstein has incorporated many themes concerning “nothingness” into his poetry. Contrary to the traditional Western philosophy that defines the concept of “nothingness” as meaninglessness and agnosticism, “nothingness” in Bernstein's poetics is endowed with profound poetic and aesthetic implications. Bernstein studied the works of Zen-Taoist philosophy in his early years. Understanding the Zen-Taoist connotations of “nothingness” is an important new dimension in interpreting Bernstein's echopoetics. Bernstein integrates the anti-traditional ideas in Zen-Taoist philosophy and aesthetics with the experiment of American avant-garde poetry. “The transformation between Xu (emptiness) and Shi (Being),” the beauty of “speechlessness,” and the expression of “defamiliarization” show the “epiphany” of language and the “nature” of language. The Chinese traditional Zen-Taoist philosophy is an important part of Bernstein's echopoetics.

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盛, 钰. "“Paint” Zen from Poetry: On Philip Whalen’s Visual Poetry." World Literature Studies 03, no. 02 (2015): 43–52. http://dx.doi.org/10.12677/wls.2015.32008.

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Sul, Taesoo. "Sungchol’s Zen Poetry and William Blake." Journal of East-West Comparative Literature 46 (December 31, 2018): 125–42. http://dx.doi.org/10.29324/jewcl.2018.12.46.125.

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Kim,Mi-Seon. "Zen priest Joungho's realm of poetry." Journal of Korean Classical Chinese Literature 16, no. 1 (June 2008): 297–330. http://dx.doi.org/10.18213/jkccl.2008.16.1.010.

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Balaban, John. "Zen in Vietnamese Poetry and Politics." Translation Review 93, no. 1 (September 2, 2015): 88–93. http://dx.doi.org/10.1080/07374836.2015.1138083.

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Dissertations / Theses on the topic "Zen poetry"

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Foxton, Nicholas. "Finding the space in the heart : primitivism, Zen Buddhism and deep ecology in the works of Gary Snyder." Thesis, University of Nottingham, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363688.

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Schultz, Kelly J. "Toward Rangzen, through Rang and Zen: Contextualized Agency of Contemporary Tibetan Poet-Activists in Exile." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1386339510.

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Ullyatt, Gisela. ""Bride of Amazement" : a Buddhist perspective on Mary Oliver's poetry / G. Ullyatt." Thesis, North-West University, 2013. http://hdl.handle.net/10394/9710.

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The thesis undertakes a Buddhist reading of Mary Oliver’s oeuvre. It seeks to fill a palpable lacuna in extant criticism of her work, which tends to adopt Romantic, Feminist, Ecocritical, and Christian viewpoints. Thus far, no criticism has offered a sustained reading of her work from a specifically Buddhist stance. The thesis is structured in five chapters. The introductory chapter is followed by a literature review. The next three chapters are devoted to the Buddhist themes of Mindfulness, Interconnection, and Impermanence respectively. Each chapter opens with detailed consideration of its respective theme before moving on to the analysis and amplification of poems pertinent to it. In addition, the main Buddhist theme of each chapter is subdivided into its component sub-themes or corollaries. The main methodological approach to Oliver’s poetry comprises explication de texte as this makes provision for detailed readings of the texts themselves. Furthermore, this approach has been adopted because it allows for in-depth exploration of Oliver’s literary devices, three notable examples of which are anaphora, adéquation, and correspondence. In the course of the discussion, reference is also made to the influence of Imagism and, more specifically, the Japanese haiku tradition insofar as they impact on her poetry. This discussion is intended to give some indication of Oliver’s place within the American poetic tradition. The predominant subject-matter of her corpus is an all-encompassing view of the natural world with its birth-life-decay-death cycle. She does not flinch from addressing the harsh and violent aspects of nature as well as its exuberance and beauty. Her unifying topos is being the bride of amazement as witness to the natural world. For her readers, this witnessing translates into an inner, potentially transformative process, ultimately integrating mind and heart. The thesis concludes with a list of references and a glossary of the Buddhist terms.
Thesis (PhD (English))--North-West University, Potchefstroom Campus, 2013.

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Araujo, Rodrigo Michell dos Santos. "Haikai do mundo haikai de mim : o nada na poesia de Paulo Leminski." Pós-Graduação em Letras, 2014. https://ri.ufs.br/handle/riufs/5750.

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Esta dissertação investiga a produção de haikais do poeta curitibano Paulo Leminski, tomando como corpus de análise sua produção das décadas de 1970 e 1980, período de maior intensidade artística, a partir das obras Caprichos e Relaxos (1983) e La vie en close (1994). A investigação será possível mediante a constituição - pelo caminho das críticas literárias brasileira e francesa, de Benedito Nunes a Maurice Blanchot - de um espaço interseccional em que (i) a obra literária possa se abrir para o mundo, reatando os liames com o real; (ii) a literatura e a filosofia possam dialogar, sem nenhuma relação antipodal; (iii) a poesia se encontre com o pensamento oriental e com o Zen-budismo. Deste modo, defendemos a tese de que o haikai, pela sua estética do ver, do sentir e do experienciar o mundo, é a fina flor da poesia, e que os haikais de Leminski, em diálogo com a tradição nipônica e com a filosofia Zen, são carregados de experiência mística e contemplativa, um caminho em direção ao Nada.

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Byrne, Christopher Ryan. "The moon is not the moon : non-transcendence in the poetry of Han-shan and Ryōkan." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98916.

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The Zen (Ch'an) poets Han-shan (circa 6th-9 thC.) and Ryokan (1758-1831) participate in literary activity, reclusion, and ordinary emotions in a manner that questions their typical image as models of transcendence. They participate in literary activity without attachment to either linguistic adequacy or a dualistic notion of "beyond words," and poetry serves as their mode of communication from reclusion. Reclusion is a context to realize the nature of the conventional world rather than a means of transcendence to an ultimate realm and is significant as a social and political act. Interpreted through the functional model of language, the poets' expressions of sorrow experienced in their reclusive lives embody the Zen ideal of selflessness. Ultimately, the poetry of both Hanshan and Ryokan supports a non-transcendent, or trans-descendent, ideal consistent with the nondual logic of Zen Buddhism and contrary to scholarship that assumes a dualistic view of Zen enlightenment.

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McDonald, Timothy. "Mud and Ashes." Digital Commons @ East Tennessee State University, 2005. https://dc.etsu.edu/etd/1013.

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The artist discusses the work in Mud and Ashes, his Master of Fine Arts exhibition held at Slocumb Galleries, East Tennessee State University, Johnson City, Tennessee, from March 28 to April 1, 2005. The exhibition marks a turning point in the artist’s work, occupying a beginning place as he completes his graduate career. The work consists of fifteen paintings and one sculptural installation. The paintings are on paper and employ local materials such as red clay, pollen, and beeswax along with traditional artist’s materials such as oil and charcoal. Fire and a power sander have also been used as drawing tools. Each painting is 22 x 22 inches square and hangs directly on the wall, unmounted and unframed. Topics discussed include the artist’s development and work leading up to and including the exhibition works; the influences of Sung Dynasty Chinese landscape painting, Zen Buddhism, aboriginal art, nature, myth and ritual; the influences of artists Montien Boonma, Paul Cezanne, Jim Dine, Andy Goldsworthy, Morris Graves, Brice Marden, Georgio Morandi, Kiki Smith, Mark Tobey, and Cy Twombly; and the influences of composer John Cage and poet Gary Snyder. Included are images of the artist’s early work as well as a catalogue of the Mud and Ashes exhibition.

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Couple, Amy. "Firewater." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1548080110950579.

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Pullinger, Mark. "The speaking world." Thesis, Loughborough University, 2011. https://dspace.lboro.ac.uk/2134/8953.

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Using a hybrid of poetry, creative prose, and critical prose, this thesis demonstrates a way in which we can rethink the natural world. Through a series of analyses and original verse and prose, using a reading premise derived from Zen Buddhist philosophy, it presents a vision of animal life and the natural world as philosophically nuanced and psychologically complex. It attempts to reposition the philosophical dominance over the natural world that humans have often considered their monopoly. All the poetry of the thesis engages and illustrates the main critical points outlined here. After an introduction setting out the basic aims and concepts of the thesis, the opening essay quotes David Attenborough. The philosophy espoused in his text, evolutionary theory, cannot be sustained if an animal s psychology is given greater importance. Secondly, from The Life of Birds, I present a critique that suggests that a bird s psychology is complicated to the point of mysticism. The third essay looks at Nietzsche. This piece suggests that what blinds us to the complexity of an animal s world is human ego. Next I look at Marc Bekoff, suggesting that the ego s dominant response is to anthropomorphise animals. The next essay gives a brief reading of Hamlet as a character liberated by a philosophy derived from the sparrow s world. Then follows a series of analyses of poems about non-human animals. A reading of an Emily Dickinson poem shows a narrator trapped in the world of a threatened and unstable ego. Next the poet Ted Hughes and his encounter with a hawk are shown as distanced by the human ego s inability to step outside binary oppositions. Then follows a poem by Gerard Manley Hopkins, where I argue that he draws on the notion of externality, an ego construct. The next poet, Takahashi, writes ego into his poem. His poem fails to speak without it. Finally, I look at D.H. Lawrence. Here the inability of ego to relinquish itself from dominating its encounter with the natural world is critiqued. The discursive parts of the thesis are interwoven with examples of my own creative practice that attempt to put into effect the ideas I am elaborating. In the conclusion, I offer proposals for further thought. Keywords creative writing, poetry, creative-critical, hybrid, psychology, animals, nature, natural world, Zen Buddhism, philosophy.

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Xie, Dongni. "A Performance Guide to Wu Yiming's "A Poem Carved in Stone"." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1752372/.

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A Poem Carved in Stone, a work for piano solo by Washington DC-based Chinese composer Wu Yiming was composed in Spring 2020 and is dedicated to the author of this dissertation. The piece is inspired by the poetry of Han Shan, a recluse who lived during the Tang Dynasty (618-907 A.D.). His poetry is in Chan (Zen) tradition. Wu depicts the imagery and philosophy in Han Shan's poetry through highly complex rhythms, extreme sound effects and pitches, tone clusters, and extended piano techniques. This dissertation provides practical instructions for achieving these effects and executing the unconventional techniques found in this piece, which include playing inside of the piano, various standing and sitting positions, and coordination and balance. A guide to interpret this piece is from both the composer's and the performer's perspective. Observations are drawn directly from communications and coaching received from the composer. This study briefly explores the historical and cultural context of Han Shan's poetry and discusses how Wu's use of modern western compositional devices reflects the Zen philosophy. An interview with the composer is included along with an overview of both his compositions and those of composers who influenced him. It is hoped that this dissertation will encourage pianists who are not experienced with non-traditional techniques to explore new music from living composers.

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Harmsworth, Thomas. "Gary Snyder's green Dharma." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:e4c2e123-0b71-45c9-8535-eb09ac8cfa15.

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Twentieth-century environmentalist discourse often laid the blame for environmental degradation on Western civilization, and presented the religious traditions of the East as offering an ecocentric antidote to Western dualism and anthropocentrism. Gary Snyder has looked to Chinese and Japanese Buddhism to inform his environmentalist poetry and prose. While Snyder often writes in terms of a dualism of East and West, he synthesizes traditional forms of Buddhism with various Western traditions, and his green Buddhism ultimately undermines more simplistic oppositions of East and West. The first chapter reads Snyder's writing of the mid-1950s alongside several of his West Coast contemporaries - Kenneth Rexroth, Allen Ginsberg, Michael McClure, Philip Whalen and Jack Kerouac - showing that these writers evoked the natural world together with Buddhist themes before the advent of the modern environmental movement in order to mount a critique of Cold War American culture. Snyder's early interest in Buddhism was motivated largely by translations of Chinese poetry and Chapter Two examines his own translations of the Tang Dynasty poet Hanshan. In Snyder's translations and contemporaneous original poetry, Buddhist poetics mingle with American conceptions of wilderness. Chapter Three shows how Snyder's Buddhism was influenced by Anglophone writers such as D.T. Suzuki and Alan Watts, and argues that from the late 1960s Snyder aimed to Americanize Buddhism as ideas of localism became more central to his environmentalism. Chapter Four examines Snyder's synthesis of Hua-yen Buddhism and Western scientific ecology in the 1970s and 1980s. Chapter Five examines 'The Hokkaido Book,' an unfinished prose work on environmental attitudes in the Far East in which Snyder considers the relationship between the civilized and the primitive. Chapter Six examines the influence of Chinese landscape painting and Japanese No drama, two forms steeped in Buddhist ideas, on the poems of 'Mountains' and 'Rivers Without End'.

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Books on the topic "Zen poetry"

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Grigg, Ray. Zen brushpoems. Boston: C.E. Tuttle Co., 1991.

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Shinkichi, Takahashi. Poesía Zen. México, D.F: Verdehalago, 1994.

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Linssen, Robert. Living Zen. New York: Grove Press, 1988.

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Ŭn, Ko. What?: 108 Zen poems. Berkeley, Calif: Parallax Press, 2008.

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Phongphaibūn, Naowarat. Yā hō̜m læ dō̜kmai rūang. [Bangkok]: Samnakphim Yā Hō̜m, 1991.

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Susan, Porterfield, and Stryk Lucien, eds. Zen, poetry, the art of Lucien Stryk. Athens: Swallow Press, 1993.

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Stryk, Lucien. Where we are: Selected poems and Zen translations. London: Skoob Books, 1997.

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Ikkyū. Wild ways: Zen poems of Ikkyū. Boston, Mass: Shambhala, 1995.

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Myreng, Svein. Plum poems. Berkeley, Calif: Parallax Press, 1999.

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Kodama, Misao. The Zen fool Ryōkan. Rutland, Vt: Tuttle, 1999.

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Book chapters on the topic "Zen poetry"

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Ling, Chung. "Jane Hirshfield’s Poetic Voice and Zen Meditation." In American Modernist Poetry and the Chinese Encounter, 153–77. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9780230391727_9.

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Langdell, Tim. "The Fox Sleeps in Plain Sight: Zen in the Poetry of W. S. Merwin." In Reading W.S. Merwin in a New Century, 159–78. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-13157-8_8.

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Wang, Keping. "Poetic Wisdom in Zen Enlightenment." In Chinese Culture of Intelligence, 135–61. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-3173-2_7.

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Azambuja, Enaiê Mairê. "Zen subversion and planetary entanglement in E. E. Cummings's poetic experimentation." In The Zen of Ecopoetics, 145–76. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003358749-6.

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Navratil, Michael. "Stottern und treideln. Postsouveräne Poetik und politisches Schreiben bei Kathrin Röggla und Juli Zeh." In Kontemporär. Schriften zur deutschsprachigen Gegenwartsliteratur, 289–313. Berlin, Heidelberg: Springer Berlin Heidelberg, 2024. http://dx.doi.org/10.1007/978-3-662-68051-3_19.

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Nehrlich, Thomas. "Juristendichtung. Zur Poetik von Literatur und Recht am Beispiel von Ferdinand von Schirach und Juli Zeh." In Kontemporär. Schriften zur deutschsprachigen Gegenwartsliteratur, 315–30. Berlin, Heidelberg: Springer Berlin Heidelberg, 2024. http://dx.doi.org/10.1007/978-3-662-68051-3_20.

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Austin, James H. "Zen and the Daily-Life Incremental Training of Basho’s Attention." In Living Zen Remindfully. The MIT Press, 2016. http://dx.doi.org/10.7551/mitpress/9780262035088.003.0024.

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Davis, Bret W. "Zen and Language." In Zen Pathways, 261–74. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197573686.003.0020.

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This chapter examines Zen’s stress on both the limits and expressive power of language. The intimate relation between sound and silence is presented in haiku by Matsuo Bashō and poetry by Rainer Maria Rilke. Paradoxically, a motto of Zen is “not relying on words and letters” or “not establishing words and letters,” and yet it has produced a vast body of literature, including kōans and kōan commentaries as well as poetry. On the one hand, Zen says that a linguistic teaching is merely a “finger pointing at the moon,” and yet, on the other hand, it affirms some uses of language as what Dōgen calls an “expressive attainment of the Way” (dōtoku). In order to resolve this paradox, the chapter turns in the end to Ueda Shizuteru’s understanding of Zen practice, and human existence in general, in terms of a ceaseless dynamic of “exiting language and exiting into language.”

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Austin, James H. "Basho, the Haiku Poet." In Living Zen Remindfully. The MIT Press, 2016. http://dx.doi.org/10.7551/mitpress/9780262035088.003.0022.

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"Appendix B On Wilderness Poetry during the Tang and Sung Periods." In Zen-Brain Reflections, 462–63. The MIT Press, 2006. http://dx.doi.org/10.7551/mitpress/7348.003.0130.

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Conference papers on the topic "Zen poetry"

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Dyakonova, Elena. "THE “WAY OF POETRY” (UTA-NO MICHI) IN THE TREATISES OF MASTERS OF “LINKED VERSE”." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.38.

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The paper analyzes Sasamegoto (Whispered Conversations, 1463–1464), a treatise by Shinkei, the influential Buddhist poet and thinker of the Muromachi period (1392–1568). In this treatise on the collaborative poetry of “linked verse” (renga), the author addresses the category of the “Way” (michi) or the “Way of Poetry” (uta-no michi), which he interprets on the basis of ancient Chinese philosophers (Confucius and Lao Tze) and early Japanese authors of Zen school (e. g., Mujū Ichien, who wrote the Shasekishū — The Collection of Sand and Rocks, 13th century) and even endows it with a new meaning. In Shinkei’s view, the Way is not only mastery and its perfection. This is a sum total of many diverse things: the entire corpus of belles-lettres, theoretical treatises, schools, teachers and disciples, ideal poets, trends, styles, inner discipline, lifestyles, the past and the present.

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Voytishek, E. E., A. V. Zinchenko, and Yao Song. "“Ten virtues of incense” in Buddhist Tradition of China and Japan." In IV Международный научный форум "Наследие". SB RAS, 2023. http://dx.doi.org/10.25205/978-5-6049863-7-0-10-30.

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This article is based on the text known as “Ten Virtues of Incense” (香十德 Xiang shí de) written during the Song dynasty (960–1279). In this text, the fundamental functions of incense, manifesting in everyday life and Buddhist ceremonies, are listed in a metaphorical form. This short text, consisting only of 40 Chinese characters, over time, has become one of the fundamental works of traditional Chinese and Japanese culture, exerting its influence on the Chan and Zen practices of Buddhist masters, as well as on the arts of tea and incense. The question of authorship adds extra intrigue to the phenomenon of this text’s diffusion within East Asian culture: its creation is attributed to the Chinese poet Huang Tingjian (黃庭堅, 1045–1105) as well as to the Japanese Zen master Ikkyū Sōjun (一休宗純, 1394– 1484), and their fellow disciples who played a significant role in the development of tea and olfactory practices, poetry, calligraphy, and painting. Their artworks should also be considered within the context of the Chan/Zen religious philosophy and the Buddhist artistic tradition of the Five Mountains.

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Hou, Benta. "The Sectarian Characteristics of Rinzai-Zen Songgu Poetry in the Song Dynasty." In Proceedings of the 2nd International Conference on Contemporary Education, Social Sciences and Ecological Studies (CESSES 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/cesses-19.2019.129.

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"An Analysis of the Translation of Zen Poetry in Wang Wei’s Poems." In International Conference on Education, Management, Computer and Society. Scholar Publishing Group, 2021. http://dx.doi.org/10.38007/proceedings.0001821.

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Storozhuk, Alexander. "BAI JUYI AND ORIGINS OF THE NEW YUEFU." In 10th International Conference "Issues of Far Eastern Literatures (IFEL 2022)". St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063770.07.

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The first poetic cycle of 50 New Yuefu was written by Bo Juyi (白居易, 772–846) in 809 after the works of by his friend Li Shen (李紳, 772–846). Bo Juyi wrote it simultaneously with another great Tang poet Yuan Zhen (元稹, 779–831), and the new literary style has been known for centuries as Yuan-Bo (元白). Both of the poets shared the same attitude towards the role of letters in the society and aspired to implement their credo at the official posts they held. The origin of New Yuefu philosophy dates back at least to 806, when he together with Yuan Zhen created the illustrious political composition known as Celin (策林), where the bulk of their sociopolitical concepts were pronounced and stated. Most of these notions, inspired by Fugu movement, seem quite predictable and naive: the belief in an omni harmonizing role of ancient ritual, claim of necessity to promote worthy and knowledgeable, appeal to stop war and cut taxes. With all that this was a declaration of primary of benevolence over quasi orderliness, and this idea fully revealed later in New Yuefu poetry. Surely enough, New Yuefu have not been limited to the 50 poems, inspired by Li Shen. The new poetic experience gave birth to a whole literary trend, covering the most burning, up-to-date issues of contemporaneousness as well as the nearest past, picturing typical characters of different strata, pointing out social diseases and perils. The absolute trust in uppermost ritual role of a text has been embodied in such texts as, for example, Song of Eternal Grief (《長恨歌》), where the infamous story of Emperor Xuan-zong (玄宗, 685–762) and his favorite concubine Yang Gui-fei (楊貴妃, 719–756) found a new interpretation, that later would have become mainstream. Thus, the main conclusions are: 1) New Yuefu had a philosophic basement, carried out long before the first poem of the new style appeared; 2) its main goal was to revive the actual social role of poetry; 3) it had a great impact on the later Chinese poetry and social thought.

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Filatova, Anna Andreevna. "Semantics of Symbols in Poetry Z.N. Gippius." In All-Russian scientific and practical conference with international participation. Publishing house Sreda, 2024. http://dx.doi.org/10.31483/r-109918.

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Wen, Yanrong. "SOME NEW PROOFS OF BAI JUYI’S POETRY AND PROSE IN BAI’S CORPUS PRINTED BY NAWA DOUEN IN JAPAN." In 10th International Conference "Issues of Far Eastern Literatures (IFEL 2022)". St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063770.01.

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Japan has preserved many editions of Bai’s Corpus printed by Nawa Douen, which were proofread by ancient manuscripts in the early days of Edo, ncluding the proofread editions by Hayasi Razan in the Tokyo National Museum, by Tenkai in the Sonkeikaku bunko, by Housa bunko, and the editions of Waseda University, of Imperial Palace, and of Daito Bunka University. The proofreading of these ancient manuscripts can supplement and correct the friendship relationship between Bai Juyi and Han Yu, Yuan Zhen, Liu Sheng and Li Weijian. It can reproduce the original connotation of Bai Juyi’s poetry and prose, which has important reference value for the study of the stylistic evolution of the Tang Dynasty. It can also confirm the conjectures of later revisers, by way of correcting the wrong articles in Bai Juyi’s works, and help to understand some self-annotations that were not passed down from the past.

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Brocchi, Eduardo de Albuquerque, Felipe Sombra dos Santos, and Victor Loureiro Araújo. "SEPARAÇÃO ZN-FE DA POEIRA DE FORNOS ELÉTRICOS." In 62º Congresso anual da ABM. São Paulo: Editora Blucher, 2007. http://dx.doi.org/10.5151/2594-5327-0417.

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