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Littérature scientifique sur le sujet « Chinese poetry (Collection) »

Auteur : Grafiati

Publié le 25 juillet 2024

Mis à jour le 31 juillet 2025

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Articles de revues sur le sujet "Chinese poetry (Collection)"

Gao, Hang, та Li-juan Chen. "Research on the Rhyme Usages in Japanese Chinese Poetry Collection DongYing Poetry Collection (东瀛诗选)". Journal of Chinese Language, Literature and Translation 40 (31 січня 2017): 69–94. http://dx.doi.org/10.35822/jcllt.2017.01.40.69.

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Turdubaeva, Nazgul. "A COLLECTION OF EARLY POEMS OF CHINESE KYRGYZ POETS." Alatoo Academic Studies 24, no. 2 (2024): 182–98. http://dx.doi.org/10.17015/aas.2024.242.15.

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The actuality of the article differs from the fact that it focuses on the creative workshop of 22 poets-writers included in the collection of poems "Kerme Too", which gave a message of Chinese Kyrgyz literature in Kyrgyzstan in the 60s, and reviews their issues, ideological- artistic features, and thematic directions in a consistent and chronological direction. The said collection was prepared for publication in the city of Urumqi by the Xinjiang People's Press in 1962 on behalf of the Xinjiang Uyghur Autonomous District Branch of the Jungo Writers' Society. Before the establishment of the "Sh

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Qin, Cai, and Cheng Ta Seah. "Chinese Ethnic Minorities and their Oral Poetry: A Perspective from Ethnopoetics." Advances in Language and Literary Studies 12, no. 5 (2021): 6. http://dx.doi.org/10.7575/aiac.alls.v.12n.5.p.6.

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Ethnopoetics involves in the conducting of translation experiments on oral poems of native ethnic groups, converting its relevant oral texts into written forms. The theory of ethnographic poetry begins in the 1970s and was translated and introduced to China in the early 21st century. However, most ethnic minorities in China do not have textual writings. Their oral creations from primitive society to modern society such as epics, long poems, narrative poems, ballads, and folk songs are mostly in form of oral poetry. The collection and translation of oral poems of ethnic minorities in China bega

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Dreyzis, Yulia Alexandrovna. "Poetic topolectization in the formative years of the Chinese “new poetry”." Ethnic Culture 5, no. 3 (2023): 29–36. http://dx.doi.org/10.31483/r-107456.

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The paper explores the infiltration of topolect into the poetry of Liu Bannong and Crescent Moon Society authors, induced by the Folksong Collection Movement, often labeled as introducing vernacular into poetry. The language of Liu Bannong’s New Poetry presents a complex hybrid between the emerging literary norm, local Beijing vernacular and his native lect of the northern Taihu region. Many contemporaries noted his poetry’s merits and his invaluable contribution to New Poetry development, greatly facilitated by Liu Bannong’s professional linguistic training. Following Liu Ban Nong’s footsteps

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Yue, Li. "Teaching Exploration of Ma Shuilong’s Ancient Chinese Poetry Art Songs – “Spring Silkworms are Dead,” “Loneliness,” and “Falling Flowers”." Journal of Contemporary Educational Research 5, no. 9 (2021): 16–19. http://dx.doi.org/10.26689/jcer.v5i9.2509.

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Ma Shuilong was a famous composer in Taiwan, both at home and abroad. In 1986, the publication of his concerto, Bangdi, made him the first Chinese composer to have a full performance at the Lincoln Arts Center in New York. In the field of vocal music production, “Ma Shuilong Songs Collection” reflected the mutual infiltration and integration of Chinese and Western elements, especially the combination of modern techniques and classical poetry so that Chinese ancient poetry art songs would emit unique artistic conception. In view of his three works, this article elaborates the oriental connotati

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Krenz, Joanna. "Ice Cream in the Cathedral: The Literary Failures and Social Success of Chinese Robot Poet Xiao Bing." Asiatische Studien - Études Asiatiques 74, no. 3 (2020): 547–81. http://dx.doi.org/10.1515/asia-2019-0024.

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Abstract In May 2017, Xiao Bing, a popular Chinese chatbot built by Microsoft Research Asia, made her debut as a poet with Sunlight Has Lost Its Glass Windows, a collection marketed as the entirely created by artificial intelligence. She learnt the art of poetry by “reading” the works of 519 modern Chinese poets, and her “inspiration” comes from pictures provided first by her programmers and later by netizens, who upload photographs through her website. Xiao Bing’s emergence made a splash in Chinese society and raised grave concerns among the poets, who polemicized with her engineers. This ess

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Oh, Yoon-sook. "A Study on Chinese Poetry in The Collection of Sojae’s Works." Journal of Honam Studies 77 (June 30, 2025): 55–84. https://doi.org/10.37996/hs.77.3.

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Wu, Jiahui. "The Translation, Dissemination, and Evolution of Poetry from the High Tang Dynasty in France." Journal of Social Science and Humanities 6, no. 12 (2024): 51–59. https://doi.org/10.53469/jssh.2024.6(12).12.

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The 17th to 18th centuries marked the beginning of cultural exchange between China and the West, during which Jesuit missionaries played a significant role. They introduced the latest Western thoughts and scientific advancements to China while providing detailed descriptions of China in their letters sent back to Europe. Additionally, they translated many Chinese texts, with French Jesuits contributing the most influential works. Among these translations were various collections of Tang poetry translated into French. In the 19th century, the first collection of Tang poetry in French was publis

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Proskurina, Elena N. "THE TRADITION OF ANCIENT CHINESE POETRY OF BORIS VOLKOV’S POETIC CYCLE “DRAGON DEVOURING THE SUN”." Culture and Text, no. 52 (2023): 79–95. http://dx.doi.org/10.37386/2305-4077-2023-1-79-95.

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The published work analyzes the lyrics of Boris Volkov - an almost neglected poet, prose writer, memoirist of the Eastern emigration - in a dialogue with the ancient Chinese tradition. The poetry of Li Chi (690-751) and Cui Hao (704-754) is in the field of research attention. Volkov enters into an intertextual dialogue with their work in the poetic cycle “Dragon Devouring the Sun”. The cycle is included in the poetry collection «In the Dust of Foreign Roads», published in Berlin in 1934 and never reprinted. Of the entire book of poems, the cycle “Dragon Devouring the Sun” stands out for its po

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Jia, Jinhua. "The Yaochi ji and three Daoist Priestess-Poets in Tang China." NAN NÜ 13, no. 2 (2011): 205–43. http://dx.doi.org/10.1163/156852611x602629.

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AbstractThis article examines the only extant compilation of Tang dynasty women's poetry, the Yaochi xinyong ji (Collection of new songs from Turquoise Pond), fragments of which have been rediscovered among the Dunhuang manuscripts in Russian library holdings. The study first discusses the compilation, contents, and poets of this collection, and then focuses on the works of three Daoist priestess-poets, Li Jilan, Yuan Chun, and Cui Zhongrong whose writings form the major part of this anthology. It investigates their poetry and reviews relevant sources to conduct a comprehensive examination of

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Thèses sur le sujet "Chinese poetry (Collection)"

Jung, Woo-Kwang Bian Zhilin. "A study of The Han Garden Collection : new approaches to modern Chinese poetry, 1930-1934 /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/11086.

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Croiset, Sophie. "Écrivains chinois d'expression française. Typologie d'un champ littéraire transculturel." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030074.

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Dans le courant du XXe siècle, la scène littéraire de langue française s’est enrichie d’auteurs venus de Chine. Passeurs de langues, de frontières et de cultures, ils érigent, par leurs productions, des ponts singuliers illustrant les défis de la mondialisation. Du roman à la poésie en passant par le théâtre, l’objectif de notre étude est d’avancer une typologie de ce champ littéraire émergent. Englobant les vingt-quatre auteurs qui composent ce dernier, parmi lesquels François Cheng, Gao Xingjian, Dai Sijie, ou encore Ying Chen, l’analyse se fonde sur un concept-référent : la transidentité de

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Chang, Tsu-Ling, and 張慈麟. "A Study of Chinese Ancient Poetry Collections in Taiwan and Mainland China textbooks." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/83559040271617113440.

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碩士<br>國立臺北教育大學<br>語文與創作學系語文教學碩士班<br>99<br>The study is based on textbooks published in 2008 by six publishers in Taiwan and Mainland China. These six publishers are Nani Press, Kang Shuan Press, and Han Lin Press in Taiwan; Peoples Education Press, Beijing Normal University, and Jiangsu Education Press in Mainland China. Using context analysis to analyze fundamentals, formats, and teaching styles of ancient poetry selected in Taiwan and Mainland China textbooks, the conclusions are summarized below: 1.Quality of ancient poetry collection in Taiwan textbooks is superior to those in Mainland Chi

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Stasko, Carly. "A Pedagogy of Holistic Media Literacy: Reflections on Culture Jamming as Transformative Learning and Healing." Thesis, 2009. http://hdl.handle.net/1807/18109.

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This qualitative study uses narrative inquiry (Connelly & Clandinin, 1988, 1990, 2001) and self-study to investigate ways to further understand and facilitate the integration of holistic philosophies of education with media literacy pedagogies. As founder and director of the Youth Media Literacy Project and a self-titled Imagitator (one who agitates imagination), I have spent over 10 years teaching media literacy in various high schools, universities, and community centres across North America. This study will focus on my own personal practical knowledge (Connelly & Clandinin, 1982) as a cult

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Livres sur le sujet "Chinese poetry (Collection)"

Gregory, Whincup, ed. The heart of Chinese poetry. Anchor Press, Doubleday, 1987.

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Demi. Dragon kites and dragonflies: A collection of Chinese nursery rhymes. Harcourt Brace Jovanovich, 1986.

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Demi. Dragon kites and dragonflies: A collection of Chinese nursery rhymes. Harcourt Brace Jovanovich, 1986.

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Zhu, Manhua. Complete collection of Li Yu's poetry: Li Yu shi ci Ying yi quan ji. Shang wu yin shu guan guo ji you xian gong si, 2017.

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Shields, Anna M. Di zao xuan ben: "Hua jian ji" de wen hua yu jing yu shi xue shi jian = Crafting a collection : the cultural contexts and poetic practice of the Huajian ji (collection from among the flowers). Jiangsu ren min chu ban she, 2016.

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Qi, Fahui. Zu yi, di fang yu hua yu: Wen xue pi ping ji = Ethnicity, place and expression : a collection of literary criticism. She hui ke xue wen xian chu ban she, 2020.

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Ying, Liang, ed. Chi su feng ya: Ming Qing cai jian tu lu = Chinese flower tablets : a collection of old and rare letter-paper. Shandong mei shu chu ban she, 2010.

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Bo, Yang. "Tang shi lei yuan" yan jiu: A study of classified collection of Tang poems. She hui ke xue wen xian chu ban she, 2019.

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Rabinovitch, Judith N. The Kanshi poems of the Ozasa tanzaku collection: Late Edo life through the eyes of Kyoto townsmen. International Research Center for Japanese Studies, 2002.

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Kizō, Ozasa, and Bradstock Timothy Roland, eds. The Kanshi poems of the Ozasa tanzaku collection: Late Edo life through the eyes of Kyoto townsmen. International Research Center for Japanese Studies, 2002.

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Chapitres de livres sur le sujet "Chinese poetry (Collection)"

Stirpe, Luca. "Saltellando fra le rime. L’immaginario del grillo nella poesia di Du Fu (712-770)." In Connessioni. Studies in Transcultural History. Firenze University Press, 2024. http://dx.doi.org/10.36253/979-12-215-0422-4.11.

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Over two million years ago, when beings identifiable as belonging to the human species left their first traces on the planet, insects had already been present for approximately four hundred million years. Whether airborne, terrestrial, aquatic, or concealed within the earth, they have served as carriers of life, disease, suffering, death, pleasure, annoyance and fear. In every corner of the planet (and perhaps even beyond), they have invariably accompanied the existence of various creatures, including humans. Hence, it comes as no surprise that insects have been extensively depicted in various

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"Poems from the Orchid Pavilion Collection." In Chinese Poetry, 2nd ed., Revised. Duke University Press, 1997. http://dx.doi.org/10.1215/9780822382096-029.

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Nappi, Carla. "Poems (1848)." In Translating Early Modern China. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198866398.003.0007.

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Chapter 5 follows the story of Qing Dynasty Manchu poet and translator Bujilgen Jakdan, following the course of the Manchu and mixed-verse Manchu–Chinese poems included in the final volume of his poetry collection. It considers the integral relationship between the Manchu and Chinese languages in helping to create a formal poetic register of Manchu. It also follows Jakdan’s poetic descriptions of his own life as a translator, and discusses the broader context of translation in nineteenth-century China.

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"Poems from the Orchid Pavilion Collection Preface (in part) by Wang Hsi-chih." In Chinese Poetry, 2nd ed., Revised. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822382096-026.

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"FROM THE YÜEH-FU COLLECTION OF BALLAD-SONGS OF THE BUREAU OF MUSIC IN THE HAN DYNASTY." In Chinese Poetry, 2nd ed., Revised. Duke University Press, 1997. http://dx.doi.org/10.2307/j.ctv11cw5z2.8.

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Li, Xiaorong. "Gender, Genre, and Locality: A Solicited Collection of Poetry by Notable Women from Anhui, 1936." In Cross-generic Perspectives on Traditional Chinese Literature. BRILL, 2024. https://doi.org/10.1163/9789004714069_011.

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Dyakonova, Elena M. "The Role of Commentaries in the Formation of the Japanese Literary Tradition." In Translation, Interpretation, Commentary in the Eastern and Western Literature. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/978-5-9208-0710-6-415-439.

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Classical studies were the mainstream of Far Eastern traditional culture. They structured many aspects of literature, philosophy, science, and sometimes dominated them. A study of the relationship between classics and their commentaries is central for an understanding of the intellectual history of the countries of the Far East, of which Japan is one. Commentaries made tribute to the canonization of literary monuments, but did this without regard of the artistic and intellectual character of the classical text. Commentaries to the classical texts of ancient Japan, in particular to the first po

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Bachner, Andrea. "World-Literary Hospitality." In The Making of Chinese-Sinophone Literatures as World Literature. Hong Kong University Press, 2022. http://dx.doi.org/10.5790/hongkong/9789888528721.003.0006.

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Most debates about what constitutes world literature put emphasis on movement and creation, on world literary originality or activity, thus drawing a skewed map of world-literary intensity. What if we paid attention to an equally important part of literary worlding, namely the capacity for receiving literary impulses from other cultures, the ability to translate, integrate, rewrite, and (re-)create? This essay challenges commonplaces of textual agency and espouses a methodology attentive to world-literary hospitality. It juxtaposes two examples of world-literary circulation from the early 1920

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Heine, Steven. "Historical and Rhetorical Foundations of Xuedou’s 100 Odes." In Xuedou's 100 Odes to Old Cases. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197676561.003.0001.

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Abstract This chapter examines the origins and significance of Xuedou’s 100 Odes, which were written when he was abbot of the temple on Mount Xuedou as verse comments on gong’an cases or old stories (guze) of Chan ancestors in the context of Norther Song-dynasty Chinese religion and literature at a fruitful period of productive interactions between monastic practitioners writing poetry and the literati interested in meditation as a pathway to self-realization. As shown by modern scholar Zhou Yukai, Xuedou was the second main exponent of the odes (songgu) as a Chan Buddhist genre following the

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Stamy, Cynthia. "Quotation, Curio-Collecting, and the Privileging of Detail." In Marianne Moore and China. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198184607.003.0007.

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Abstract Moore’s efforts to translate the peculiarities of Chinese poetry and painting into a personal method of writing can be seen as an attempt to interpret America through a poetic reconciliation with an alien world and its curiosities. Her use of the fu technique, Chinese perspectival principles, symbology, and philosophy all indicate that she looked to the Far East for models and ideas with which both to resist logic and contemporary trends in poetry, and to embrace the enduring nature of an ancient civilization and the clarity of its decisive moral framework.

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Actes de conférences sur le sujet "Chinese poetry (Collection)"

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.

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Kravtsova, Marina. "“A LOST TREASURE”: ON FOLK ORIGINS OF THE VERSES OF CHU (CHUCI)." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.17.

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This article is focused on analysis of the hypothesis of the local song folklore origins of the famous poetic phenomenon chuci (elegies/songs of Chu) that represents the literary heritage of the southern (Yangtze Basin) region of the Ancient China (the Zhou epoch, 11th–3rd centuries B. C.) and is associated with the emergence of the Chinese poetry. Although today the thesis about the folklore origins of chuci, or rather of the poetic pieces presented by the Chuci (Verses/Elegies of Chu, Songs of the South) collection, is generally accepted, the author argues that, first, during the 1st–7th cen

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Solomennik, Viktoria. "“THE SUN MISSLESS” - THE FIRST COLLECTION OF TRANSLATIONS OF CHINESE POETS, PUBLISHED IN THE AMUR BOOK PUBLISHING: ON THE OCCASION OF THE 60TH ANNIVERSARY OF PUBLICATION." In Россия и Китай: история и перспективы сотрудничества. Благовещенский государственный педагогический университет, 2020. http://dx.doi.org/10.48344/bspu.2020.33.14.116.

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