Bibliografías temáticas / Chinese poetry Decadence in literature

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Literatura académica sobre el tema "Chinese poetry Decadence in literature"

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Publicado: 4 de junio de 2021
Última modificación: 13 de febrero de 2022

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Artículos de revistas sobre el tema "Chinese poetry Decadence in literature"

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Diedrick, James. "“THE HECTIC BEAUTY OF DECAY”: POSITIVIST DECADENCE IN MATHILDE BLIND'S LATE POETRY". Victorian Literature and Culture 34, n.º 2 (25 de agosto de 2006): 631–48. http://dx.doi.org/10.1017/s1060150306051357.

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Wan mists enwrap the still-born day;The harebell withers on the heath,And all the moorland seems to breatheThe hectic beauty of decay.—Mathilde Blind, “The Evening of the Year,”Songs and SonnetsTo again invoke the organic metaphor at the root of decadence, what is crucial about the notion of decay is not so much the change from a greater to a lesser state, but the changing itself.—David Weir,Decadence and the Making of Modernism[T]he aim of decadence, whether in science or art, is to challenge the limits that mark some forms of knowledge as permissible and others as forbidden, regardless of the results.—Christine Ferguson, “Decadence as Scientific Fulfillment”
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Nosenok, B. E. "DECADENCE-LITERATURE: THE IMAGERY SPECIFICITY". UKRAINIAN CULTURAL STUDIES, n.º 1 (2017): 34–39. http://dx.doi.org/10.17721/ucs.2017.1.08.

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This article is devoted to the imagery problem of the decadence-literature (as a general phenomenon that periodically repeats itself) and of the literature of the decadency (as an oeuvre of crisis developments in art of the late 19th and early 20th century). The decadence-literatureis a manifestation of the irreducibility. It is proposed to analyze the imagery based on the context of the modernist interpretation of the image / icon. Before the image was considered together with its mimetic foundation – as an imitation of the external world. But here the image is freed from its mimetism, and it turns into a kind of "immediate ontology" (it is the Gaston Bachelard’s term). The classical structure of the image (plot, storyline, composition) ceases to play a leading role, and gives way to a writing. The decadence-literature image lets visual elements into literature. Therefore,there is a displacement from the ontology of the image to the image as an ontology in the research of imagery. It is also important to use the methodology proposed by Georges Didi-Huberman and Paul Virilio: the combination of the hermeneutic approach in the philosophy of image with elements of psychoanalysis, and the method of dromology, which is the connection of special aspects of the physics, mathematics and philosophy. The methodology of the School of Sociology of Imagination is also appropriate. The image of the decadence-literature is marked by symbolism, imaginism (it isalso known the same direction in literature – with the same name). There is also the "genres-werewolves" when a work is called, for example, poetry in prose. A personality of the writer-author plays a great role here: the decadence-literature is saturated with a psychology and a biography that is turned insideout. It is the expression of the world of unforgiven, restless personalities, which is explained by the principle of creation from an absence, emptiness, depressive and melancholic states (nostalgia, fatigue, sweet melancholy). It's interesting that decadent moods contribute to creation here. Distinctive features of the authors of decadence-literature: soreness, tenderness, hypersensitivity, a difficult life path and an unstable world. The imagery that is generated by creativity of these individuals is marked by a special attitude to time and space, it is also directed to the past in an attempt to find a lost paradise - that existed before the crash.
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Cai, Zong-qi y Fusheng Wu. "The Poetics of Decadence: Chinese Poetry of the Southern and Late Tang Periods". Chinese Literature: Essays, Articles, Reviews (CLEAR) 21 (diciembre de 1999): 169. http://dx.doi.org/10.2307/495251.

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Linnie, Conor. "Beginning at the end: decadence, modernism and postcolonial poetry". Irish Studies Review 27, n.º 2 (18 de febrero de 2019): 294–96. http://dx.doi.org/10.1080/09670882.2019.1582923.

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Zhongshu, Q. y Z. Liya. "Chinese Poetry and Chinese Painting". Genre 43, n.º 3-4 (1 de enero de 2010): 239–77. http://dx.doi.org/10.1215/00166928-43-3-4-239.

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Shields, Anna M. y Fusheng Wu. "The Poetics of Decadence: Chinese Poetry of the Southern Dynasties and Late Tang Periods". Journal of the American Oriental Society 120, n.º 3 (julio de 2000): 469. http://dx.doi.org/10.2307/606027.

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Schmidt, J. D. y Fusheng Wu. "The Poetics of Decadence: Chinese Poetry of the Southern Dynasties and Late Tang Periods". Pacific Affairs 72, n.º 3 (1999): 423. http://dx.doi.org/10.2307/2672239.

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Mather, Richard B. "The Poetics of Decadence: Chinese Poetry of the Southern Dynasties and Late Tang Periods (review)". China Review International 7, n.º 1 (2000): 243–47. http://dx.doi.org/10.1353/cri.2000.0038.

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Yeh, Michelle. "Contemporary Chinese Poetry Scenes". Chicago Review 39, n.º 3/4 (1993): 279. http://dx.doi.org/10.2307/25305771.

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John Taylor. "Poetry Today: The Intricacies of the New Chinese Poetry". Antioch Review 71, n.º 2 (2013): 382. http://dx.doi.org/10.7723/antiochreview.71.2.0382.

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Tesis sobre el tema "Chinese poetry Decadence in literature"

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Manfredi, Paul Richard. "Decadence in modern Chinese poetry problems and solutions /". access full-text online access from Digital dissertation consortium, 2001. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3024264.

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Skerratt, Brian Phillips. "Form and Transformation in Modern Chinese Poetry and Poetics". Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11116.

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Hu Shi began the modern Chinese New Poetry movement by calling for the liberation of poetic forms, but what constitutes "form" and how best to approach its liberation have remained difficult issues, as the apparent material, objective reality of literary form is shown to be deeply embedded both culturally and historically. This dissertation presents five movements of the dialectic between form and history, each illustrated by case studies drawn from the theory and practice of modern Chinese poetry: first, the highly political and self-contradictory demand for linguistic transparency; second, the discourse surrounding poetic obscurity and alternative approaches to the question of "meaning"; third, a theory of poetry based on its musicality and a reading practice that emphasizes sameness over difference; four, poetry's status as "untranslatable" as against Chinese poetry's reputation as "already translated"; and fifth, the implications of an "iconic" view of poetic language. By reading a selection of poets and schools through the lens of their approaches to form, I allow the radical difference within the tradition to eclipse the more familiar contrast of modern Chinese poetry with its foreign and pre-modern others. My dissertation represents a preliminary step towards a historically-informed formalism in the study of modern Chinese literature.
East Asian Languages and Civilizations
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Zeng, Hong. "A deconstructive reading of Chinese natural philosophy in poetry". online access from Digital dissertation consortium, 2002. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3070928.

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Lee, Gregory Barry. "Dai Wangshu : the life and poetry of a Chinese Modernist". Thesis, SOAS, University of London, 1985. http://eprints.soas.ac.uk/28535/.

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Dai Wangshu as a poet and a personality made a controversial and lasting impact on the Chinese literary world of the 1930s and 1940s. Since the 1950s, however, many literary figures of the time have suffered neglect because they are not easily categorized as belonging to the orthodoxies of Left or Right. This has been so in Dai Wangshu's case. Moreover, there is also genuine confusion about Dai's political and literary beliefs. This thesis aims to revaluate Dai's position in the canon of modern Chinese literature and, by chronicling his literary, political and personal life, to present a comprehensive picture and correct current misconceptions. There is a biographical emphasis as a result of much new information uncovered in the course of the author's research. The approach is chronological and covers Dai's early involvement in poetry and politics in late 1920s Shanghai, the process of intellectual sophistication and expansion in Europe, his anti-Japanese stance during the war period in Hong Kong and the final years of poetic silence leading up to his premature death in Peking, in 1950. Dai's poetry is treated in terms of theme, language and form to reveal the poet's growth and progression of style. The extent of the poet's retention of classical Chinese poetic elements and the assimilation of Western post-Symbolist and other poetic influences are assessed in order to arrive at the essence of the poet's style, to examine its effectiveness as a modern medium for the expression of poetic thought and to decide the appropriateness of the label 'Modernist'. The definition of Modernism is thus broached and discussed. Previously unconsulted material such as letters, diary fragments and manuscripts have been exploited and in the discussion of Dai's poetry and the literary and political questions of his day, extensive use has been made of correspondence and interviews conducted in China.
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HSIAO, CHING-SONG GENE. "SEMIOTIC INTERPRETATION OF CHINESE POETRY: TU MU'S POETRY AS EXAMPLE (CRITICISM)". Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188120.

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To interpret a poem is to comprehend a complete act of written communication. And to comprehend such an act, the reader must break the codes in which the communication is framed. Thus, poetic interpretation becomes the study of codes--or semiotics. Poetic codes exist at pragmatic, semantic, syntactic, and phonic levels. The decoding requires the reader's linguistic skills, literary competence, and personal experience. It involves an initial reading and a retroactive reading. At the first step, the reader attempts to supply elements missing in the text. Yet trying to interpret the text literally, he encounters problems in pragmatics, semantics, syntactics, or phonics, and is unable to grasp a coherent sense of the poem. Those problems give rise to a retroactive reading. At this step, the reader looks for a higher level of understanding where a unity of meaning can be identified. And by explaining the clues in the text according to his linguistic and literary competence, and revising his understanding on the basis of his new findings, he finally discovers a kernel concept, on which the whole text can be seen as a single unit, and every element, which first appeared to be puzzling, has a significative purpose. This semiotic model of interpretation has proven to be very fruitful in the explication of Tu Mu's poetry. It also enables the reader to appreciate the poetic discourse more thoroughly. Some of the ideas advocated by the model may also serve as principles for the translation of poetry. For example, in reading a poem, the model requires a search for unified pragmatic, semantic, syntactic, and phonic patterns, which convey the kernel concept. Thus, in translating a poem, the translator should also try to re-produce in the target language such unified patterns so that the reader may grasp the same kernel concept as contained in the original discourse. The model stresses implicities of poetry. Hence the rendition of a poem should preserve the implicities of the original text in order to invoke from the reader a response similar to what would be induced by the original poem.
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Zheng, Ruiqin. "Chong gao yu tui fei : Wang Guowei, Lu Xun, Guo Moruo yu Yu Dafu = Sublime and decadence : Wang Guowei, Lu Xun, Guo Moruo and Yu Dafu /". click here to view the abstract and table of contents click here to view the fulltext, 2005. http://net3.hkbu.edu.hk/~libres/cgi-bin/thesisab.pl?pdf=b18843451a.pdf.

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Tang, Yanfang. "Mind and manifestation : the intuitive art (Miaowu) of traditional Chinese poetry and poetics /". The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487848531365196.

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Xu, Gang. "The Past is Eternal: Chinese Pan-Historicism as Manifested in Poetry on History /". The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487933245537382.

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Luo, Feng y 洛楓. "The image of the city in contemporary Chinese poetry". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B31210168.

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Kao, Yi-Li. "Chinese poetry and painting in postwar Taiwan : angst and transformation in the negotiation between tradition and modernity /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2005. http://wwwlib.umi.com/cr/ucsd/fullcit?p3170230.

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Libros sobre el tema "Chinese poetry Decadence in literature"

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The poetics of decadence: Chinese poetry of the Southern dynasties and late Tang periods. Albany, NY: State University of New York Press, 1998.

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Benjamin, Anne Myra Goodman. Decadence in thirteenth century Provençal and Hebrew poetry. Ann Arbor, Mich: MARC Pub. Co., 1987.

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Reframing decadence: C.P. Cavafy's imaginary portraits. Ithaca: Cornell University Press, 2015.

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H.D. and the Victorian fin de siècle: Gender, modernism, decadence. Cambridge: Cambridge University Press, 1996.

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Essays in medieval Chinese literature and cultural history. Farnham: Ashgate, 2009.

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Zang Maoxun ji. Hangzhou Shi: Zhejiang gu ji chu ban she, 2012.

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Lin Geng shi wen ji. Beijing: Qing hua da xue chu ban she, 2005.

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Christie, Stuart y Yuejun Zhang. American modernist poetry and the Chinese encounter. New York: Palgrave Macmillan, 2012.

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Xiong, Guohua. Hai wai Hua wen wen xue du ben: Shi ge juan : Readings of overseas chinese literature : Poetry. Guangzhou: Ji nan da xue chu ban she, 2009.

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ill, Gao Jing, ed. Shi jian xian sheng bu zai jia. Guangzhou Shi: Xin shi ji chu ban she, 2015.

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Capítulos de libros sobre el tema "Chinese poetry Decadence in literature"

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Yeh, Michelle. "Modern Poetry in Chinese". En A Companion to Modern Chinese Literature, 149–66. Chichester, UK: John Wiley & Sons, Ltd, 2015. http://dx.doi.org/10.1002/9781118451588.ch9.

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Green, Frederik H. "Romanticizing new Chinese in poetry". En Routledge Handbook of Modern Chinese Literature, 111–27. London; New York, NY: Routledge, 2018.| Includes bibliographical references and index.: Routledge, 2018. http://dx.doi.org/10.4324/9781315626994-10.

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Bruno, Cosima. "Experimental and opaque poetry". En Routledge Handbook of Modern Chinese Literature, 491–501. London; New York, NY: Routledge, 2018.| Includes bibliographical references and index.: Routledge, 2018. http://dx.doi.org/10.4324/9781315626994-40.

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Lin, Pei-yin. "Masterpieces of Taiwan poetry". En Routledge Handbook of Modern Chinese Literature, 643–55. London; New York, NY: Routledge, 2018.| Includes bibliographical references and index.: Routledge, 2018. http://dx.doi.org/10.4324/9781315626994-53.

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Zhou, Gang. "Modern consciousness and symbolist poetry". En Routledge Handbook of Modern Chinese Literature, 143–54. London; New York, NY: Routledge, 2018.| Includes bibliographical references and index.: Routledge, 2018. http://dx.doi.org/10.4324/9781315626994-12.

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Shi, Yaohua. "The poetry of Dai Wangshu". En Routledge Handbook of Modern Chinese Literature, 155–67. London; New York, NY: Routledge, 2018.| Includes bibliographical references and index.: Routledge, 2018. http://dx.doi.org/10.4324/9781315626994-13.

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Yang, Bingfeng. "Zang Kejia and Tian Jian’s poetry". En Routledge Handbook of Modern Chinese Literature, 221–34. London; New York, NY: Routledge, 2018.| Includes bibliographical references and index.: Routledge, 2018. http://dx.doi.org/10.4324/9781315626994-19.

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Bi, Lijun y Xiangshu Fang. "Poetry of new China (1949–1966)". En Routledge Handbook of Modern Chinese Literature, 397–409. London; New York, NY: Routledge, 2018.| Includes bibliographical references and index.: Routledge, 2018. http://dx.doi.org/10.4324/9781315626994-32.

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Magagnin, Paolo. "Imagining new Chinese in Guo Moruo’s poetry". En Routledge Handbook of Modern Chinese Literature, 99–110. London; New York, NY: Routledge, 2018.| Includes bibliographical references and index.: Routledge, 2018. http://dx.doi.org/10.4324/9781315626994-9.

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Vuilleumier, Victor. "Ai Qing’s poetry and Dayanhe, My Nurse". En Routledge Handbook of Modern Chinese Literature, 235–46. London; New York, NY: Routledge, 2018.| Includes bibliographical references and index.: Routledge, 2018. http://dx.doi.org/10.4324/9781315626994-20.

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Actas de conferencias sobre el tema "Chinese poetry Decadence in literature"

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Ying, Chu Shiao Sharon. ""Understanding Poetry Translation from the Argumentative Perspective Classical Chinese poetry as a Case in Point"". En 6th Annual International Conference on Language, Literature and Linguistics (L3 2017). Global Science & Technology Forum (GSTF), 2017. http://dx.doi.org/10.5176/2251-3566_l317.16.

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