Bibliografías temáticas / Ci (Chinese poetry) – Explication

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Literatura académica sobre el tema "Ci (Chinese poetry) – Explication"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 18 de febrero de 2022

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Artículos de revistas sobre el tema "Ci (Chinese poetry) – Explication"

1

Zhang, Richong, Xinyu Liu, Xinwei Chen, Zhiyuan Hu, Zhaoqing Xu y Yongyi Mao. "Generating Chinese Ci with Designated Metrical Structure". Proceedings of the AAAI Conference on Artificial Intelligence 33 (17 de julio de 2019): 7459–67. http://dx.doi.org/10.1609/aaai.v33i01.33017459.

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Ci is a lyric poetry form that follows highly restrictive metrical structures. This makes it challenging for a computer to compose Ci subject to a specified metrical requirement. In this work, we adapt the CVAE framework to automated Ci generation under metrical constraints. Specifically, we present the first neural model that explicitly encodes the designated metrical structure for Ci generation. The proposed model is shown experimentally to generate Ci with nearly perfect metrical structures.
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박남용 y 김영명. "A Study on the Correlation between Classic Chinese poetry and Ci(詞) poetry and Modern music". Journal of Study on Language and Culture of Korea and China ll, n.º 25 (febrero de 2011): 245–69. http://dx.doi.org/10.16874/jslckc.2011..25.011.

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Hu, Jingwen y Chuanmao Tian. "Translation and Dissemination of Chu Ci in the West". IRA International Journal of Education and Multidisciplinary Studies (ISSN 2455-2526) 8, n.º 1 (27 de julio de 2017): 11. http://dx.doi.org/10.21013/jems.v8.n1.p2.

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As a new style of verse mainly created by Qu Yuan, Chu Ci is the first anthology of romantic poetry in China. With deeper communication between China and other countries, Chu Ci, as an invaluable treasure in the history of Chinese literature, has been gradually translated, introduced and disseminated around the globe. This paper briefly examines the history and present situation of translation and dissemination of Chu Ci in English-speaking countries, aiming to strengthen the globalization of Chinese culture.
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Feng, Wang y Huang Hongxia. "An Application of the "Harmony-Guided Criteria" to the English translation of Song ci: A Case Study of "Immortals at the Magpie Bridge" by Qin Guan". International Linguistics Research 3, n.º 3 (1 de septiembre de 2020): p22. http://dx.doi.org/10.30560/ilr.v3n3p22.

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Ezra Pound's Cathay set the stage for a translation of free verse and influenced many translators such as Arthur Waley and Kenneth Rexroth. However, before Pound, rhymed Chinese poems were mainly translated into rhymed English poems by Herbert Giles, W. J. B. Fletcher, etc. Is it necessary to challenge the dominant translation poetics of free verse and insist that rhymed Chinese poems are best translated into rhymed English poems? Six English versions of a Song ci poem "Immortals at the Magpie Bridge" on the Chinese Valentine's Day were analyzed in details based on the newly proposed "Harmony-Guided Criteria" for poetry translation, which takes "Harmony" as the translation standard at the macro level, "resemblance in style, sense and poetic realm" at the middle level, and the "eight beauties of poetry translation" at the micro level. It shows that the criteria can be applied to the translation of rhymed Chinese ci poems into rhymed English poems, though with limitations.
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Yujie, Li y Wang Feng. "On the English Translation of Li Qingzhao’s Ci-poems--A Contrastive Study on the Translations of the Ci-Poem “To the Tune of Tipsy in Flower Shade”". English Literature and Language Review, n.º 55 (15 de mayo de 2019): 64–70. http://dx.doi.org/10.32861/ellr.55.64.70.

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Li Qingzhao (1084-ca. 1155?) is widely lauded as the most celebrated and talented woman poet in the history of classical Chinese literature. This study, with the theoretical guidance of Dr. Wang Feng’s “Harmony-Guided Three-Level Poetry Translation Criteria”, focuses on a comparative analysis of the collected renditions of the ci-poem “to the tune of Tipsy in Flower Shade” at the macro, middle and micro levels, to further promote the translation and communication of classical Chinese literature. This study aims to exert far-reaching influences on the process of Chinese literature going global, which has unprecedented contemporary significance.
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Luo, Yilu y Honghui Tan. "Rhythm Reproduction in English Translation of Chinese Poetry: A Contrastive Analysis of Li Bai's “GUAN SHAN YUE”（关山月）and its English Version". IRA International Journal of Education and Multidisciplinary Studies 16, n.º 3 (31 de agosto de 2020): 143. http://dx.doi.org/10.21013/jems.v16.n3.p3.

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This paper contrasts the rhythm of Li Bai's “GUAN SHAN YUE”（关山月）and that of Fletcher's English version “The MOON OVER The PASS” and finds out the functional equivalence between the Ping (平) and Ze (仄) (level and oblique tones) of Chinese poetry and the lightly stressed and heavily stressed syllables of English poetry, the number of Yan (言) (the number of characters) and the number of feet, and the rhymes. To promote the realization of musical beauty, formal beauty and emotional expression in the translation of Chinese poetry and reproduce the rhythm of ancient Chinese poetry, five-character and seven-character poem with regular line can be translated into iambic pentameter; pre-Tang poem and Song Ci with irregular line can be translated according to the analogy of character and syllable, and the feet of the translated poem can mainly be iambs; the rhyme of the translated poem can be couplet rhyme, cross rhyme or alternate rhyme. Based on this strategy, the author translates her self-created poem “MAN JIANG HONG ZHAN YI”（满江红·战疫）into English to prove the feasibility of the rhythm reproduction strategy of the English translation of ancient Chinese poetry.
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Dashchenko, Hanna. "Emotions and Images in Li Qingzhao’s CiPoetry: Quantitative Analysis". Respectus Philologicus, n.º 36(41) (16 de octubre de 2019): 85–98. http://dx.doi.org/10.15388/respectus.2019.36.41.25.

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This article deals with ci written by the outstanding Chinese poetess of the Song dynasty Li Qingzhao (李清照, 1084–1155?) and her poetic style Yi’an ti (易安體). The empirical material for this research is the extant 60 ci of Li Qingzhao which are presented in one of the most famous collections compiled by Xu Peijun (徐培均). Having analyzed these ci I have found several correlations concerning her poetic style. Firstly, in Li Qingzhao’s poetry ci form is positively related to ci rank: the longer ci, the higher its chance of being perceived as an “outstanding” one by commentators and poets. Secondly, the way of expressing emotions is one of the main elements that make Li Qingzhao’s long ci (zhongdiao 中調 and changdiao 長調) to be perceived as the “outstanding” ones by commentators and poets and her short ci (xiaoling 小令) as nothing very distinctive. Thirdly, negatively marked emotions are dominant in Li Qingzhao’s ci, but in most cases the poetess did not mention the reason of the sorrow of the lyrical persona or the persona this emotion was connected with. Forthly, there is a strong correlation between ci form, ci rank and types of floral images in her poetry.
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Yoojin Choi. "A receptive aspect of the Chu-Ci[楚辭] in a Chinese poetry written by Shin Yoo-Han". DONG-BANG KOREAN CHINESE LIEARATURE ll, n.º 33 (diciembre de 2007): 425–57. http://dx.doi.org/10.17293/dbkcls.2007..33.425.

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김선. "Modern Chinese Woman Writer Dingning(丁寧)'s Life and the Ci Poetry: Focused on Huanxuanci(還軒詞)". Journal of Chinese Cultural Studies ll, n.º 33 (agosto de 2016): 71–97. http://dx.doi.org/10.18212/cccs.2016..33.004.

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Kim, Hyun Ju y Youn Ju Baek. "A Study on the Acceptance Pattern of ‘the tunes for Chinese Ci poetry 「Wushan Yiduanyun」’ in Korea: Focusing on the Eight Chapter Style". Hankuk University of Foreign Studies Literature Studies 81 (28 de febrero de 2021): 61–92. http://dx.doi.org/10.22344/fls.2021.81.61.

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Tesis sobre el tema "Ci (Chinese poetry) – Explication"

1

張力. "語言特區理論框架下的宋詞語言現象研究". Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3953427.

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Luk, Wing-cheung. "A study of Yunqixuan Ci /". Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk:8888/cgi-bin/hkuto%5Ftoc%5Fpdf?B23476412.

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Chan, Kwok-sing. "A study of Lu You's (1125 - 1210) ci poetry". Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B42694401.

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Lai, Hing-fong Camilla. "Ci poems on plum blossoms of the southern Song period (1127-1279) /". Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19929638.

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Chan, Kwok-sing y 陳國盛. "A study of Lu You's (1125 - 1210) ci poetry". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B42694401.

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Tse, Wai-lok. "Female singers and the ci poems of the Tang and Song periods Ge ji yu Tang Song ci /". Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38322110.

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Si, Tou Sau-ieng y 司徒秀英. "A study of Li E (1692-1752) and his Ci poems". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1993. http://hub.hku.hk/bib/B31211860.

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Tsang, Wai-sin. "Xu Can : a study of her life and ci poetry = Xu Can sheng ping ji qi ci yan jiu /". View the Table of Contents & Abstract, 2007. http://sunzi.lib.hku.hk/hkuto/record/B36845310.

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曹家偉 y Ka-wai Cho. "A study of the Ci poetry of Yunjian San Zi". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31222419.

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林浩光 y Ho-kwong Lam. "A study of Zhou Ji's (1781-1839) theory of CI poetry". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B31244361.

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Más fuentes

Libros sobre el tema "Ci (Chinese poetry) – Explication"

1

Shi ci xin shang. 3a ed. Tainan Shi: Shi yi wen hua shi ye gu fen you xian gong si, 1994.

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2

Zhenzhen, Zhong, ed. Song ci ju: Wai san zhong. Nanjing Shi: Jiangsu gu ji chu ban she, 2002.

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Chang yong shi ci jia ju yi ping. Beijing: Hua wen chu ban she, 2003.

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4

Zhou, Benchun. Shi ci meng yu: Shi ci ru men de yi ba yao shi. Shanghai: Shanghai wen yi chu ban she, 2001.

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Li dai shi ci ming ju xi shang tan yüan: He ding ben : yu ming Zhongguo shi ci ming ju xi shang ci dian. 3a ed. Gaoxiong Shi: He pan chu ban she, 1991.

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6

Li dai shi ci ming ju xi shang tan yuan: He ding ben : You ming "Zhongguo shi ci ming ju xi shang ci dian". Gao xiong shi: He pan chu ban she, 2014.

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Gu dian yi yao shi ci xin shang. Beijing: Zhong yi gu ji chu ban she, 2006.

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8

Li dai shi ci ming ju xi shang tan yuan. 7a ed. Gaoxiong Shi: He pan chu ban she, 1995.

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9

Jiang, Kui, approximately 1155-approximately 1235, ed. Jiang Kui. Taibei Shi: Di qiu chu ban she, 1990.

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10

Zhang Yan. Taibei Shi: Di qiu chu ban she, 1990.

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Capítulos de libros sobre el tema "Ci (Chinese poetry) – Explication"

1

"Ci 詞 (Lyric Poetry)". En Chinese Poetic Writing, 305–12. The Chinese Uniersity Press, 2017. http://dx.doi.org/10.2307/j.ctv2t4dmr.13.

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"Who Wrote That? Attribution in Northern Song Ci". En Reading Medieval Chinese Poetry, 202–20. BRILL, 2015. http://dx.doi.org/10.1163/9789004282063_009.

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Xingpei, Yuan y Paul White. "The rise and evolution of ci poetry". En An Outline of Chinese Literature II, 105–25. Routledge, 2017. http://dx.doi.org/10.4324/9781315277899-9.

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