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Tesis 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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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Qian, Jingjing. "More Than an Ornament: Intercultural Communication Value of Metaphors from Chinese and English Literature". Scholarly Repository, 2010. http://scholarlyrepository.miami.edu/oa_theses/37.

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Due to China's important status on the global stage, its language and culture have drawn a great deal of attention in academia. Meanwhile, the United States remains a major power, and English continues to be the most widely spoken language in today's world. Exploring intercultural communication among people who speak Chinese and English continues to be an important research area. This study, with its primarily linguistic concern, was designed to focus on a frequently employed figure of speech, metaphor. Based on a comprehensive review of literature on intercultural communication and cognitive linguistics, this research focused on metaphor's cognitive value in order to explore its universal validity. A sample database was generated utilizing metaphorical expressions in classical poetry from Chinese, British, and American literature. An in-depth content analysis was conducted using grounded theory methodology to investigate the common place understanding between Chinese and English cultures. Similarities were achieved among existing patterns of metaphorical expressions from relevant poems. Three primary types of metaphors were found. The first metaphor included abstract concepts projected to concrete concepts. The second metaphor was objects projected to human beings. The third metaphor was objects projected to objects. Two main implications were found based on this research. The primary implication for intercultural communication was related to common ground understanding, adaptation of Chinese immigrants in the United States, and improved international relations. Metaphor's universally cognitive validity constitutes the secondary implication of this study, which contributes to the development of cognitive linguistic theory.
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12

Tseng, Chen-chen. "Mythopoesis historicized : Qu Yuan's poetry and its legacy /". Thesis, Connect to this title online; UW restricted, 1992. http://hdl.handle.net/1773/6688.

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13

Pease, Jonathan Otis. "From the Wellsweep to the Shallow Skiff : life and poetry of Wang Anshi (1021--1086) /". Thesis, Connect to this title online; UW restricted, 1986. http://hdl.handle.net/1773/11106.

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14

Tang, Yuchi. ""Self" in poetic narratives a study of contemporary Chinese long poems in Taiwan as exemplified by works of Luo Fu, Luo Men, Chen Kehua, and Feng Qing /". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ59684.pdf.

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15

馮陳善奇 y Sydney S. K. Fung. "The poetry of Han-shan in English: a culturalapproach". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31224386.

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16

Fung, Chan Shin-kei Sydney. "The poetry of Han-shan in English : a cultural approach /". Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2327301x.

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17

Xie, Ming. "Translation from Chinese poetry and the development of imagism in Ezra Pound and some of his contemporaries". Thesis, University of Cambridge, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.303207.

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18

周業珍 y Yip-chun Rita Chau. "A study of Zhu Ziqing's (1898-1948) poetry and prose". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31212153.

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19

Ryan, Natasha. "The poetics of glass in France, 1850-1900". Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:ad30dccb-4017-461d-8785-810ff3312d4d.

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This thesis examines the representation of glass in French and Belgian poetry associated with the Symbolist and Decadent movements. It incorporates a number of authors, particularly focussing on Baudelaire, Mallarmé, Laforgue, Rodenbach, and Maeterlinck, but also encompassing more minor writers where appropriate, as well as some writers on the periphery of Symbolism and Decadence. The thesis investigates how the growing use of glass in architecture, technology, and visual art influenced late-nineteenth-century poets, providing these writers with a means by which to understand their social context as well as a multi-faceted metaphor through which to interrogate their own poetic mechanisms. Glass, in its various manifestations - windows, lenses, hothouses, aquariums, Exhibition halls, Art Nouveau glasswork, and stained glass - prompts meditation on such questions as: the interaction between subject and object; the relationship between fiction and reality; the infinite; poetic form; nature and artifice; and aesthetic identity. Ultimately, I combat the traditional understanding of this poetry as being solely concerned with the pure realm of dreams, the soul, and the 'Idée'. Instead, I insist on the material world as a starting point for this poetry, demonstrating that it is not immune to environmental factors, but rather that it uses its environment as a route towards the elusive 'Idée'. Glass is key to this process because its very ambiguity makes it a suitable embodiment of the tension between the material and the unknown, invisible, or ideal.
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20

Chiu, Man-yee Angela. "Striking the buddhist chord in snowy regions contemporary Chinese poetry on Tibetan culture = Qiao xiang xue yu de fan yin : Zhongguo dang dai Zang wen hua Han yu xin shi yan jiu /". Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B41385251.

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21

Chan, Kar Yue. "Ambivalence in poetry : Zhu Shuzhen of the Song Dynasty". Thesis, University of Edinburgh, 2006. http://hdl.handle.net/1842/28704.

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Many people in the past praised Chinese literature partly because of the glamour revealed in splendid poetry, and in creating these poetry male poets have proved their excellence. Conversely the contributions of women poets have seemed much less significant in the history of traditional Chinese literature. Among the relatively small number of famous women poets in China, Zhu Shuzhen (11357-1180?) is certainly worthy of discussion, but she has not received much critical attention, in part because of the lack of reliable biographical information. Although some of Zhu Shuzhen's poems have been seen by some scholars as disgraceful, it is nevertheless valuable to explore the inner world and poetic indications of the voice projected from the poems in an objective way. However, as the number of poems attributed to Zhu Shuzhen is large, despite living under an atmosphere that discouraged the writing of poetry by women, her name is undoubtedly significant in the development of female poetry. Western theories of gender representation and the development of self in literature have been used as the main sources and frameworks for research in this thesis. The aesthetic values in Zhu Shuzhen's original verse have been retained through my translations by selecting the best appropriate original versions in different editions. Comparisons between Zhu Shuzhen and Yu Xuanji fa, (8447-868?), a woman poet in the Tang Dynasty, reveal similarities and differences which distinguish the two in terms of their resistance to the code that cast women as inferior. This thesis will analyse Zhu Shuzhen's ambivalent mind as revealed in her poetry through her contradictory statements, ideas and images regarding the notion of being a good wife on the one hand, and, on the other hand, of a woman suspected of conducting an extramarital affair.
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22

Ye, Mao. "Evaluating English translations of ancient Chinese poetry with special reference to image schemas and foregrounding". Thesis, University of Huddersfield, 2015. http://eprints.hud.ac.uk/id/eprint/27839/.

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Poetry translation evaluation from ancient Chinese to English has been subjective in China. This is caused by the indefinable and intangible notion of ‘poetic spirit’, which is often used in influential translators’ criteria, and by the lack of a systematic investigation of translation evaluation. The problem of subjective criteria has remained unresolved for nearly a century. In order to improve the subjective criteria of poetry translation evaluation, this thesis is an attempt to make objective evaluations of the English translations of an ancient Chinese poem using stylistic theories. To make an objective criticism, it is necessary to offer evidence which is based on systematic and reliable criteria and replicable evaluation procedures. By applying stylistic theories to both the source text and the target texts, it is possible to make a judgement based on the stylistic features found in the texts themselves. Thus, objective evaluation of poetry translation from ancient Chinese to English can be made. This research is qualitative with the data consisting of one ancient Chinese poem as the source text and six English translations as the target texts. It carries out stylistic analyses on the data with two approaches based on the cognitive stylistic concept of figure and ground and the linguistic stylistic theory of foregrounding. The target texts are judged by the evidence of locative relations and foregrounding features. This research also explores and proposes a practical framework for poetry translation. The research findings suggest how to make objective poetry translation evaluations and improve translation techniques. They also point out the need to integrate stylistics with translation evaluation to make improvements in the field.
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23

Lingenfelter, Andrea Diane. "A marked category : nine women of modern Chinese poetry, 1920-1997 /". Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/11129.

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24

Dayton, D. "Big country, subtle voices three ethnic poets from China's southwest /". Connect to full text, 2006. http://hdl.handle.net/2123/1630.

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Thesis (M.A.)--University of Sydney, 2007.
Title from title screen (viewed 25 March 2008). Submitted in fulfilment of the requirements for the degree of Master of Arts to the Dept. of Chinese Studies, Faculty of Arts. Degree awarded 2007; thesis submitted 2006. Includes bibliographical references. Also available in print form.
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25

Zhang, Hui. "Zhongguo wen xue pi ping shi shang zhi "shi shi" gai nian /". View abstract or full-text, 2005. http://library.ust.hk/cgi/db/thesis.pl?HUMA%202005%20ZHANG.

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26

Chan, Kwok-kou Leonard y 陳國球. "The reception of Tang poetry in the Ming neo-classical criticism". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1988. http://hub.hku.hk/bib/B31231081.

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27

Xiong, Ying. "Herbs and Beauty: Gendered Poethood and Translated Affect in Late Imperial and Modern China". Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23739.

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My dissertation is a comparative analysis of the juncture at which Chinese poetry became “modern.” The catalyst for this development was the early twentieth-century translation into Chinese of the European Romantics, which was contemporaneous with changes and permutations within the “herbs and beauty” myth crucial to the conception of the Chinese poet. I argue that the convergence of the two serve as an anchor for examining China’s literary responses, in both form and content, to drastic social change brought about by rapid modernization and dramatic revolutions. Through a diverse selection of written and visual texts, I scrutinize and accentuate two ambivalences that, I argue, China’s struggle for modernity required and to which the “herbs and beauty” myth gives form. On the one hand, I locate a moment when the essential femininity of the traditional Chinese poet (man or woman) came to be displaced onto the Western new woman, as the Southern Society, a large community of Chinese poets in the early 20th century, revamped the “herbs and beauty” allegory through their project of translating the European Romantics into Chinese. On the other hand, I investigate how modern Chinese poets and intellectuals, torn between their residual attachment to a hallowed national literary tradition and their new quest for non-indigenous (European) sources, partook in the difficult moments of China’s modern transformation by constantly redefining the interconnections between the beautiful and the virtuous through translation and transcultural relation. In each instance in question, the influence of translation causes a shift in modes of representation that require new definitions of what it means to be a poet in an increasingly unspiritual and commodified world: together, these examples enable me to conceptualize the poetics and politics of what I call “translated affect” and “affective modernity.”
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28

鄭瑞琴. "崇高與頹廢 : 王國維、魯迅、郭沫若與郁達夫 = Sublime and decadence : Wang Guowei, Lu Xun, Guo Moruo and Yu Dafu". HKBU Institutional Repository, 2005. https://repository.hkbu.edu.hk/etd_ra/624.

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29

Lyman, Elizabeth. "The Writing on the Wall: Chinese-American Immigrants' Fight for Equality: 1850-1943". Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd1927.pdf.

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30

Xu, Sufeng. "Lotus flowers rising from the dark mud : late Ming courtesans and their poetry". Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102831.

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The dissertation examines the close but overlooked relationship between male poetry societies and the sharp rise of literary courtesans in the late Ming. I attempt to identify a particular group of men who devoted exclusive efforts to the promotion of courtesan culture, that is, urban dwellers of prosperous Jiangnan, who fashioned themselves as retired literati, devoting themselves to art, recreation, and self-invention, instead of government office. I also offer a new interpretation for the decline of courtesan culture after the Ming-Qing transition.
Chapter 1 provides an overview of the social-cultural context in which late Ming courtesans flourished. I emphasize office-holding as losing its appeal for late Ming nonconformists who sought other alternative means of self-realization. Chapter 2 examines the importance of poetry by courtesans in literati culture as demonstrated by their visible inclusion in late Ming and early Qing anthologies of women's writings. Chapter 3 examines the life and poetry of individual courtesans through three case studies. Together, these three chapters illustrate the strong identification between nonconformist literati and the courtesans they extolled at both collective and individual levels.
In Chapter 4, by focusing on the context and texts of the poetry collection of the courtesan Chen Susu and on writings about her, I illustrate the efforts by both male and female literati in the early Qing to reproduce the cultural glory of late Ming courtesans. However, despite their cooperative efforts, courtesans became inevitably marginalized in literati culture as talented women of the gentry flourished.
This dissertation as a whole explores how male literati and courtesans responded to the social and literary milieu of late Ming Jiangnan to shed light on aspects of the intersection of self and society in this floating world. This courtesan culture was a counterculture in that: (1) it was deep-rooted in male poetry societies, a cultural space that was formed in opposition to government office; (2) in valuing romantic relationship and friendship, the promoters of this culture deliberately deemphasized the most primary human relations as defined in the Confucian tradition; (3) this culture conditioned, motivated, and promoted serious relationships between literati and courtesans, which fundamentally undermined orthodox values.
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31

Mei, Zhen y 梅真. "A study of the third generation poetry from the gender perspective = Xing bie shi jiao xia de "di san dai" shi ge". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/207897.

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The Third Generation Poetry that existed in the 1980s’ Chinese literary circle has usually been regarded as the rebellion of the prevailing Misty Poetry. The Third Generation poets began to experiment with colloquial poems which were emphasizing on individual expressions and advocating for the importance of “self”, including the ego and sub-consciousness of both male and female. Through the gender perspective, it could be observed the Third Generation Poetry was rich in gender flavor. The poets especially those of the Female Poetry and the Boorish Fellows Poetry had respectively expressed the awareness and concerns of their own with poem writings. The Female Poetry, featured with the structure of group poems, the rhetoric of metaphor and symbol, the connotation of the nocturnal consciousness and the lyric of confession, was a showcase for female perception. The issues regarding ego, private space, social identity, pain and love as well as "body writing" had been narrated and depicted by most of women writers. In the meantime, the poetry written by male turned to the descriptions of the lack of masculinity, or the flaunting of male power, or groaning with bitterness. Besides, the desire to vent, the memories of growth and even the detestation on the phenomenon of female being butchered had also been illustrated. Therefore an alternate inspection of the male poets’ views on female and vice versa would help to have a better understanding of gender concepts and the changing relationship between men and women in the last few decades of Chinese society. Apart from thinking of gender differences and sexual identities the Third Generation Poetry not only focused on the relationship between parents and their children, but also on the connotations of the traditional idea of reproduction and the infant imagery, and even on portraying the rare image of the ego of androgyny. In addition, The Third Generation poetry also presented abundant interlinked gender imagery, such as natural things and body, the darkness and death, the space and items etc., which had been created for the enrichment of the symbolic meanings and the aesthetic significance of the poems. In short, the social and cultural significance of various gender issues in line with the artistic techniques of the Third Generation Poetry had been scrutinized deeply in the chapters.
published_or_final_version
Chinese
Doctoral
Doctor of Philosophy
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32

Giuffré, Salvatore. "German Literary and Philosophical Influences on the Chinese Poetry of Feng Zhi (1905-1993) : the Sonnets". Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE3026/document.

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Cette thèse porte sur l’analyse des relations intertextuelles entre des œuvres littéraires et philosophiques allemandes, notamment les textes de Novalis et de Rilke, et le recueil de sonnets de l’écrivain et traducteur chinois moderne Feng Zhi. Le but de cette étude est d’analyser et de discerner dans quelle mesure il est possible d’établir des relations « transtextuelles » entre la littérature primaire, la thèse de doctorat de Feng Zhi, qui a joué un rôle vital dans le développement de sa voix poétique, et son recueil de sonnets. Les textes analysés dans le cadre de cette étude visent à montrer comment certains indices transculturels de la poésie de Feng Zhi définissent la tendance poétique de l’écrivain en tant que postromantique et métaphysique, alors qu’une recherche plus approfondie et d’autres évidences transtextuelles encadrent sa production lyrique parmi les premiers exemples de littérature moderniste chinoise. Les profondes et énigmatiques réflexions contemplatives des sonnets font de Feng Zhi un poète métaphysique. La voix lyrique s'engage avec le monde extérieur et gagne de nouvelles expériences esthétiques à travers l'imagination, la méditation sur l'infini spatial et temporel, la reconnaissance de l'état mutable et permanent de la matière, et une finale réalisation existentielle de l'auto-accomplissement de l'homme à travers son état d'isolement. Cette étude analyse enfin l'idée conceptualisée de l'infini et de la transcendance poétique évoquée par le mysticisme orphique. Cette approche redéfinit la relation du sujet poétique avec le monde extérieur et sa perception constructive finale de sa position au sein de la communauté, de la nature et du cosmos dans son ensemble
The research conducted in this work focuses on the intertextuality between German literary and philosophical works, notably those of Novalis and Rilke, and the sonnet collection of the modern Chinese scholar and writer Feng Zhi. This study analyses the extent to which transtextual elements travel between the primary literature, the author’s own German doctoral dissertation, which ultimately played a vital role in the development of his lyrical voice, and his sonnets. Moreover, the texts analysed in this study attempt to demonstrate how given transcultural elements in Feng Zhi’s poetry define the writer’s apparent poetic tendency as a post-Romantic and metaphysical lyricist, whereas other closer transtextual investigations place his work among the first examples of Chinese modernist writings. The profound and enigmatic contemplative reflections of the sonnets make Feng Zhi a metaphysical poet. The lyrical self engages with the surrounding world and gains new aesthetic experiences through the power of imagination, the meditation on spatial and temporal infinity, the recognition of the changeable and permanent state of matter, and a final existential realisation of man’s self-completion through his state of isolation. This study finally also analyses the conceptualised idea of infinity and transcendence evoked by Orphic mysticism. This approach redefines the poetic subject’s relationship with the outer world, and the subject’s final perception of his position within the community, nature and the cosmos as a whole
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33

唐梓彬. "任昉及詩文研究 = A study of Ren Fang's life and literary works". HKBU Institutional Repository, 2010. http://repository.hkbu.edu.hk/etd_ra/1146.

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34

Chiu, Man-yee Angela y 招敏儀. "Striking the buddhist chord in snowy regions". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B41385251.

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35

金春媛. "張伯駒 叢碧詞話 箋證 = The annotation of Zhang Boju's Commentaries on Ci-Poetry of Cong Bi". Thesis, University of Macau, 2011. http://umaclib3.umac.mo/record=b2456368.

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36

Kong, Xueying. "Change and Un-change: Bian Zhilin’s Struggles in the War Time, 1937-1958". The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu148043197617731.

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37

Yang, Zhen. "La littérature française dans les revues littéraires chinoises entre 1917 et 1937". Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040078.

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La période comprise entre 1917 et 1937 marque le début de la littérature chinoise moderne. La littérature française a participé à la construction de cette nouvelle littérature, dont la modernité réside dans la négation des valeurs littéraires et sociales chinoises classiques, dans l’ouverture aux littératures étrangères et dans l’appel au respect de l’individualité. Des écrivains chinois novateurs contestent la nécessité de la société et mettent en avant la vie intérieure dans la littérature. Ils trouvent une signification à la vie dans l’amour et dans la beauté, chacun interprétant ces notions à sa manière. Cette époque est aussi celle, en Chine, de débats littéraires. Aux écrivains individualistes s’opposent des écrivains passéistes et des écrivains engagés à gauche. La confrontation entre différentes conceptions littéraires se reflète dans la réception de la littérature française. Dans les revues littéraires chinoises, des idées opposées sont formulées à propos de Ronsard, de Montaigne et de Malherbe. Des controverses agitent les milieux littéraires autour de Molière, de Rousseau ou de Baudelaire. Les divergences sur la compréhension de la littérature française résultent du fait que les critiques et les traducteurs chinois perçoivent de manière différente la relation entre l’homme et le temps, et la relation entre l’homme et la société. L’interprétation de la littérature française par les écrivains chinois s’appuie sur des réflexions sur l’homme et sur sa situation existentielle
The period between 1917 and 1937 marks the beginning of modern Chinese literature. French literature has contributed to the construction of Chinese new literature, the modernity of which resides in the denial of traditional Chinese literary and social values, in the opening to foreign literatures, and in the call for respect of the individuality. Chinese writers with pioneering spirit contest the necessity of the society and highlight the internal life in literature. They all consider the pursuit of love and beauty as the signification of the life. However, they interpret those notions of love and beauty in different ways. This period in China is full of literary debates. Individualistic writers are opposed to backward-looking writers and left-wing writers. The confrontation between different literary conceptions is reflected in the reception of French literature in China. In Chinese literary magazines, opposed ideas are formulated on Ronsard, on Montaigne and on Malherbe. Debates concerning Molière, Rousseau and Baudelaire arose in literary circles. The difference of opinions on French literature results from the fact that Chinese critics and translators understand in different ways the relationship between mankind, the time and the society. The interpretation of French literature by Chinese writers is based on reflection on human beings and on their existential situation
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38

Xiang, Zheng. "La poésie française moderne (Baudelaire, Rimbaud, Lautréamont) et son influence sur la nouvelle poésie chinoise dans les années 1920-1930". Phd thesis, Ecole normale supérieure de lyon - ENS LYON, 2012. http://tel.archives-ouvertes.fr/tel-00713100.

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Ce travail de recherche porte sur la poésie française moderne et son influence sur la nouvelle poésie chinoise au cours de la première vague d'introduction et d'interprétation des littératures occidentales en Chine dans les années 1920-1930. Nous cherchons à montrer comment les " Trois Grâces " de la poésie française moderne : Baudelaire, Rimbaud et Lautréamont ont été introduits en Chine et quelle est leur influence sur l'élaboration de la nouvelle poésie chinoise. Ainsi, nous montrons d'abord comment expriment Baudelaire, Rimbaud et Lautréamont par leur poésie le culte du moi, le culte du Beau et le jeu de dépersonnalisation et de pluralisation du moi. Nous examinons ensuite l'influence des littératures occidentales sur la construction de la nouvelle littérature chinoise dans les années 1920 ; et l'introduction et l'interprétation de la poésie symboliste française et son influence au niveau théorique aussi bien que pratique sur la nouvelle poésie chinoise et les poètes dits symbolistes chinois : Li Jinfa, Mu Mutian, Wang Duqing, Dai Wangshu. Enfin, nous montrons le cas Lautréamont en Chine, son absence dans les années 1920-1930 et l'état de la recherche lautréamontienne en Chine dans les trois dernières décennies. Notre thèse conduit donc à montrer que les " Trois Grâces " de la Poésie nouvelle ne jouissent pas tous du même prestige auprès du monde poétique chinois dans les années 1920-1930 et que son interprétation de la poésie française moderne n'est pas une adoption de toute une attitude de création poétique de celle-ci, mais une transformation du dynamisme poétique imposé de l'extérieur en dynamisme créateur interne de la poésie chinoise. Elle correspond aux intentions claires et guidées par le système de valeurs littéraires et morales des traducteurs-interprétateurs chinois des différentes époques.
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39

Goh, Yen-Lin. "Reimagining the Story of Lu You and Tang Wan: Ge Gan-ru's Wrong, Wrong, Wrong! and Hard, Hard, Hard!" Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1349118390.

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40

邵敏智. "論白居易詩歌與居士文化的關係 = The relationship between Bai Ju-yi's poetry and Buddhist culture". Thesis, University of Macau, 2005. http://umaclib3.umac.mo/record=b1636198.

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41

Romano, Fernanda Maria. "António Feijó e Camilo Pessanha: interlocuções poéticas em traduções". Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-18062013-093614/.

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A proposta desta tese é fazer uma leitura do Cancioneiro Chinês, obra que contém poemas chineses traduzidos por António Feijó da versão francesa de Judith Gautier, e das Elegias Chinesas traduzidas por Camilo Pessanha a partir dos originais. Nosso objetivo é identificar, nos procedimentos desses autores presentes em suas reimaginações, os diferentes deslocamentos culturais, linguísticos e poéticos que se estabelecem no trânsito entre a poesia Oriental e a poesia Ocidental. Para tanto, buscamos, em teóricos da tradução, sinólogos e tradutores de poesia chinesa, reflexões e conceitos que alicercem este nosso estudo.
The purpose of this thesis is to interpret a reading of Cancioneiro Chinês, a work that contains Chinese poems translated by António Feijo from Judith Gautiers French version and of Elegias Chinesas, translated by Camilo Pessanha from the original texts. Our objective is to identify, from the procedures of these authors present in their re-imaginations, the different cultural linguistics and poetics deslocation which establish the exchange between Oriental and Occidental poetry. Therefore, we search, from the scholars of translation, sinologists and translators of Chinese poetry, reflections and concepts that form the fundamentals of this study.
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42

崔雪櫻. "胡適詞學主張及創作實踐". Thesis, University of Macau, 2011. http://umaclib3.umac.mo/record=b2485504.

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43

Petrecca, Miguel Angel. "La langue en question : trois poètes chinois contemporains de la troisième génération". Thesis, Paris, INALCO, 2020. http://www.theses.fr/2020INAL0005.

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La poésie chinoise moderne ou « poésie nouvelle » (xin shi 新诗) a dû se battre depuis ses débuts pour exister en tant que genre littéraire viable. Née de la rupture avec la tradition et du rejet de la langue classique, elle a été tout au long de son histoire hantée par la question du lien avec la tradition, la tension Chine-Occident et la problématique de la langue. L’objectif de notre thèse est double. D’une part, nous avons pour objectif de replacer la problématique de la tradition, de l’identité et de la langue dans le cadre plus large de l’histoire de la poésie chinoise moderne afin de mieux comprendre ses enjeux dans le contexte actuel, marqué par l’essor des discours nationalistes et l’entrée de la poésie chinoise dans les réseaux de la poésie mondiale. De l’autre, nous essayons de voir comment cette problématique s’incarne dans l’oeuvre de trois poètes de la troisième génération (di san dai shiren 第三代诗人), c’est-à-dire ceux qui ont commencé à écrire dans le sillage des poètes obscurs (menglong shiren 朦胧诗人 ). Notre thèse a donc aussi pour but de faire découvrir les œuvres de ces trois poètes (Yu Jian 于坚, Xi Chuan 西川et Bai Hua 柏桦) qui comptent parmi les figures les plus importantes de la scène poétique chinoise actuelle, et de contribuer à attirer l’attention des chercheurs français sur une poésie (la poésie chinoise contemporaine) qui n’a pas encore reçu l’attention qu’elle mériterait
Modern Chinese poetry or "new poetry" (xin shi 新诗) has had to fight from its beginnings to exist as a viable literary genre. Born out of the break with tradition and the rejection of the classical language, it has been haunted throughout its history by the question of the link with tradition, the tension between China and the West and the problem of language. The objective of our thesis is twofold. On the one hand, we aim to placethe issue of tradition, identity and language within the broader framework of the history of modern Chinese poetry in order to better understand its challenges in the current context, marked by the rise of nationalist discourses and the entry of Chinese poetry into the networks of world poetry. On the other hand, we want to see how this problem is embodied in the work of three poets of the third generation (di san dai shiren 第三 代诗人), that is to say, those who began to write in the wake of obscure poets (menglong shiren 朦胧诗 人). Our dissertations also aims to discover the works of these three poets who are among the most important figures of the current Chinese poetic scene (Yu Jian 于 坚, Xi Chuan 西川 and Bai Hua 柏桦), and to help draw the attention of French researchers to a poetry (contemporary Chinese poetry) which has not yet received the attention it deserves
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44

Wei, Chan Tah y 陳大為. "City Poetry in Chinese Literature(s) in Asia (1980-1999)". Thesis, 2000. http://ndltd.ncl.edu.tw/handle/54655905038176464847.

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45

CHEN, PIN-RUI y 陳品睿. "Introduction and Transformation of Decadence in Chinese Literature in 1930s: A Study on Liu Na’ou and His “Scène”". Thesis, 2018. http://ndltd.ncl.edu.tw/handle/xee2y5.

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46

"Pound, Williams, and Chinese poetry: The shaping of a Modernist tradition, 1913-1923". Tulane University, 1991.

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The rapid modernization of Pound's poetry between 1912 and 1917, and of Williams' poetry between 1917 and 1923, can largely be accounted for by their response to literary influences. While the two poets' debt to the French has been thoroughly studied by Rene Taupin, what they owed to the Chinese has only been briefly treated in a few books. My dissertation proposes to fill up this gap by tracing their explorations of Chinese poetry in this period and identify the Chinese influence in their early works My investigation begins with a survey of Pound's discovery of Chinese Imagism in 1913. Evidence will show an immediate relation between his initial Chinese exploration and the making of Des Imagistes. Pound was inspired to write the four pre-Fenollosan Chinese poems by studying H. A. Giles. The experiment in turn encouraged him to bring together poems modeled on the Greek and on the Chinese. What he derived from the Chinese was a 'hardness' that is not seen in Ripostes. Pound's next move was toward Vorticism and Cathay. Ample evidence from published and unpublished material will demonstrate how Pound succeeds in reviving the beauty and simplicity of Li Po, and how he fails to bring out the Zen-Buddhist essence of Li Po's contemporary Wang Wei Williams' early enthusiasm for Chinese poetry remains unexplored. Evidence will testify that he began a dialogue with the Mid-Tang poet Po Chu-i, first through Giles and then through Authur Waley, between 1918 and 1921. The result of this encounter was an adoption of Chinese notion and method in his own poetry. Without this dialogue, Williams wouldn't have attained a Taoistic serenity in many of his Sour Grapes poems. As Williams evolved toward Spring and All, the influence of Po Chu-i became less visible. Scrutiny reveals, however, Chinese elements blended with elements from other traditions Though my study relies on historical data, its real emphasis is on comparison of texts between periods and cultures. My theory of influence is that affinity comes before direct influence. Pound and Williams were both prepared to receive the Eastern heritage
acase@tulane.edu
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47

Gu, Ming Dong. "Literary openness and open poetics : a Chinese view in a cross-cultural perspective /". 1999. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:9951791.

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48

Estep, Chloe. "Classical Poetics in Modern China". Thesis, 2021. https://doi.org/10.7916/d8-q5q8-p987.

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The question of the relationship between modernity and poetic classicism has typically been investigated through the lens of classical-style poetry, which is to say, by examining poetry written in the modern period which adheres to existing poetic forms and eschews the European influences and free-verse style of New Poetry (xin shi). But as premodern poetry existed within a classical media ecology alongside calligraphy and painting, to understand the ways conventional poetry confronted modernity, this dissertation argues, we must also understand the way this media ecology was transformed, as well as how this constellation of modes shifted from a literati practice during imperial China to a modern, even revolutionary practice in the twentieth century. I argue that changing conceptions of the zi, or character, were central to this transformation, and to the production of poetic classicism in the modern period. I understand the zi as a material, visual, and theoretical site at which the temporal, political, and aesthetic properties of poetry are articulated, a site which transgresses the boundaries between calligraphic inscription, pictorial representation, and poetic utterance. Covering a wide variety of media, including underground literary journals, political cartoons, paintings, typography, and theatre, this study investigates the ways changing conceptions of the zi allowed writers, artists, poets, and politicians to adapt classical poetics to contemporary political concerns. At stake is more than an expanded--or even revisionist--history of twentieth-century Chinese poetry. Rather, by tracing processes of canon formation, dissolution, and rearticulation in a way that reveals the role of literature in crafting political sentiment, this project shows how so-called traditional culture has been leveraged in support—and critique—of Chinese nationalism today.
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49

"Adequacy of landscape: subjectivity in Wallace Stevens' and Wang Wei's poetry". Chinese University of Hong Kong, 1993. http://library.cuhk.edu.hk/record=b5887744.

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by Gara Pin Han.
Thesis (M.Phil.)--Chinese University of Hong Kong, 1993.
Includes bibliographical references (leaves 99-103).
Chapter Chapter One: --- Introduction --- p.1
Chapter A. --- Focus of study --- p.1
Chapter B. --- Background of Research --- p.4
Chapter C. --- Main Objectives --- p.7
Chapter D. --- Structural Clarification --- p.8
Notes to Chapter One --- p.10
Chapter Chapter Two: --- Background of Wallace Stevens' View of Nature --- p.11
Chapter A. --- The View of Nature of Stevens' Predecessors --- p.11
Chapter B. --- The View of Nature of Stevens' Contemporaries --- p.23
Notes to Chapter Two --- p.32
Chapter Chapter Three: --- Wallace Stevens' View of Nature --- p.33
Chapter A. --- "Wallace Stevens' ""Double Vision"" Towards Nature" --- p.33
Chapter 1. --- Human Perception Versus Nature --- p.36
Chapter 2. --- Human Construct Versus Nature --- p.46
Chapter B. --- Wallace Stevens' View on Reality and Imagination --- p.57
Chapter Chapter Four: --- Criticism of Wang Wei's Poetry --- p.62
Chapter A. --- Major Opinions on Wang Wei's Landscape Poetry --- p.62
Chapter B. --- Limitation of Human Perception --- p.70
Chapter C. --- Limitation of Human Construct --- p.80
Notes to Chapter Four --- p.91
Chapter Chapter Five: --- Conclusion --- p.94
Notes to Chapter Five --- p.98
Works Cited --- p.99
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50

"The crisis of the body and Chinese modernity: a transcontextual study of the self-fashioning in modern Chinese poetry, 1920s-1930s". Chinese University of Hong Kong, 1996. http://library.cuhk.edu.hk/record=b5888871.

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by Mi Jia-Yan.
Thesis (Ph.D.)--Chinese University of Hong Kong, 1996.
Includes bibliographical references (leaves 258-272).
Poems in Original Chinese.
Title Page --- p.i
Abstract --- p.ii
Acknowledgments --- p.iv
Editorial Note --- p.v
Table of Contents --- p.vi
Introduction --- p.1
Chapter One --- "The Dialectic of Progressive Body: Self, Cosmos and New National Identity in Guo Moruo's The Goddesses" --- p.16
Chapter I. --- Sources of Influence: Emergence of a Modern Body --- p.19
Chapter II. --- The Instinctual Body as Creation of Progressive Self --- p.32
Chapter III. --- The Metaphorical Body as Transfiguration of Cosmic Self --- p.50
Chapter IV. --- The Passionate Body as Sacrifice for New National Identity --- p.61
Summary --- p.71
Notes --- p.73
Chapter Two --- The Decadent Body: Toward a Negative Ethics of Mourningin Li Jinfa --- p.82
Chapter I. --- Economy of Somatic Decadence --- p.87
Chapter II. --- Aesthetics of Counter-Enlightenment --- p.100
Chapter III. --- Narrative of Reflection: A Profane Illumination --- p.117
Chapter IV. --- Toward a Negative Ethics of Mourning --- p.134
Summary --- p.142
Notes --- p.144
Chapter Three --- The Narcissistic Body: Mnemonic Aura and Fragments of Modernity in Dai Wangshu --- p.148
Chapter I. --- Modernity of Trivia and Fragments --- p.154
Chapter II. --- The Memory Narrative: A New Syntax of Self-Reconstruction --- p.165
Chapter III. --- The Tropics of Body Memory --- p.182
Chapter IV. --- The Floral and the Feminine: Gift of the Senses --- p.191
Chapter V. --- The Narcissistic Body: Toward an analytics of the Self --- p.221
Summary --- p.231
Notes --- p.233
"Conclusion Modernity, Self-fashioning and the Will to Maturity" --- p.240
Bibliography --- p.258
Appendix --- p.273
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