Interpretation of metaphors in Chinese poetry: Where did Li Bai place his emotions?

Author(s):  
Ciyuan Peng ◽  
Jason J Jung

Abstract Recently, with an increasing number of metaphor studies being conducted, research on metaphor interpretation has set off an upsurge. Although a multitude of studies on the interpretation of metaphors exists, many are limited to the understanding of literal meanings without attempting an interpretation of hidden emotions in metaphorical expressions. There are particularly few studies on metaphorical emotions interpretation in literary studies with rich and implicit emotions, such as classical Chinese poetry. This study proposes the interpretation of the metaphorical emotions of special objects in Chinese poetry based on emotion distribution. We present a statistical approach to calculate the emotion distribution of our target objects by exploiting contextual emotion mining. According to the emotion distribution, the emotion with the highest probability is considered the metaphorical emotion of the target object. Subsequently, the metaphorical emotion can be determined as a positive or negative sentiment based on expert annotations. Using the proposed method, we have tested two representative objects, ‘月’ (moon) and ‘风’ (wind), and the accuracy performances were 84% and 83.33%, respectively, for sentiment detection and 66% and 70% for emotion-specific metaphorical interpretation. The results demonstrate that our approach can be used to assist readers with metaphorical emotional understanding in Chinese poetry.

2020 ◽  
Vol 17 (2) ◽  
pp. 303-317
Author(s):  
Ben Hutchinson

The publication, in 1908, of Hans Bethge's Die chinesische Flöte marked a highpoint in the reception of Chinese poetry in modern Europe. Bethge's ‘Nachdichtungen’ (‘after-poems’) of poems from the Tang dynasty through to the late 1800s were extraordinarily popular, and were almost immediately immortalized by Gustav Mahler's decision to use a selection from them as the text for Das Lied von der Erde (1909). Yet Bethge could not read Chinese, and so based his poems on existing translations by figures including Judith Gautier, whose Livre de Jade had appeared in 1867. This article situates Bethge's reception of Chinese poetry – and in particular, that of Li-Tai-Po (Li Bai) – within the context of European chinoiserie, notably by concentrating on his engagement with a recurring imagery of lyrics and Lieder. Although he was deaf to the music of Chinese, Bethge was extremely sensitive to the ways in which Li-Tai-Po's self-conscious reflections on poetic creation underlay his ‘after-poems’ or Nachdichtungen, deriving his impetus from images of the rebirth of prose – songs, birdsong, lyrics, Lieder – as poetry. The very form of the ‘lyric’ emerges as predicated on its function as echo: the call of the Chinese flute elicits the response of the European willow. That this is necessarily a comparative process – between Asia and Europe, between China, France, and Germany – suggests its resonance as an example of the West-Eastern lyric.


PMLA ◽  
1979 ◽  
Vol 94 (2) ◽  
pp. 261-274 ◽  
Author(s):  
Pauline Yu

AbstractThis article discusses some characteristic methods and structures shared by modern Western and classical Chinese poetry, focusing on the works of Georg Trakl and major poets of the T’ang dynasty. Among the similarities examined are the preference for concrete imagery over abstract, discursive statement; the paratactical juxtaposition of images, which leaves their logical, temporal, and grammatical relationships unspecified and often ambiguous; and the tendency for images to become “ciphers” that suggest, but do not support, metaphorical interpretation. There is also a reluctance to obtrude a first-person speaker onto the scene, and this has led some critics to label Symbolist-post-Symbolist and Chinese poetry “impersonal”; this essay argues, however, that the hidden subjectivity of even the most “impersonal” poem should not be overlooked. Nevertheless, the omission of subject does frequently increase ambiguities among the other elements of a work and contributes to the “poetics of discontinuity” common to the two traditions.


2020 ◽  
Vol 30 (1) ◽  
pp. 73-89
Author(s):  
Santosh Kumar Bharti ◽  
Reddy Naidu ◽  
Korra Sathya Babu

AbstractRecognition of sarcastic statements has been a challenge in the process of sentiment analysis. A sarcastic sentence contains only positive words conveying a negative sentiment. Therefore, it is tough for any automated machine to identify the exact sentiment of the text in the presence of sarcasm. The existing systems for sarcastic sentiment detection are limited to the text scripted in English. Nowadays, researchers have shown greater interest in low resourced languages such as Hindi, Telugu, Tamil, Arabic, Chinese, Dutch, Indonesian, etc. To analyse these low resource languages, the biggest challenge is the lack of available resources, especially in the context of Indian languages. Indian languages are very rich in morphology which pose a greater challenge for the automated machines. Telugu is one of the most popular languages after Hindi among Indian languages. In this article, we have collected and annotated a corpus of Telugu conversation sentences in the form of a question followed by a reply for sarcasm detection. Further, a set of algorithms are proposed for the analysis of sarcasm in the corpus of Telugu conversation sentences. The proposed algorithms are based on hyperbolic features namely, Interjection, Intensifier, Question mark and Exclamation symbol. The achieved accuracy is 94%.


Prism ◽  
2021 ◽  
Vol 18 (1) ◽  
pp. 138-169
Author(s):  
Lucas Klein

Abstract Examining how contemporary poets raised in China are looking at classical Chinese poetry from the Tang—in particular, the poetry and the figure of Li Bai 李白 (701–762)—this article questions the epistemological divide, common to scholarship, between premodern and modern Chinese poetry. The texts come from Shenqing shi 深情史 (Histories of Affection) by Liu Liduo 劉麗朵 (1979–); The Banished Immortal, Chinese-American poet and novelist Ha Jin's 哈金 (1956–) biography of Li Bai; the book-length poem-sequence Tang 唐, by Yi Sha 伊沙 (1966–); and poet Xi Chuan's 西川 (1963–) scholarly book Tang shi de dufa 唐詩的讀法 (Reading Tang Poetry). The author contends not only that these writers' dealings with Tang poetry make it part of a still-living tradition but also that such engagement offers a way to understand the dynamic, rather than static, canonicity of Tang poetry.


2017 ◽  
Vol 4 (1) ◽  
pp. 41-52
Author(s):  
Dedy Loebis

This paper presents the results of work undertaken to develop and test contrasting data analysis approaches for the detection of bursts/leaks and other anomalies within wate r supply systems at district meter area (DMA)level. This was conducted for Yorkshire Water (YW) sample data sets from the Harrogate and Dales (H&D), Yorkshire, United Kingdom water supply network as part of Project NEPTUNE EP/E003192/1 ). A data analysissystem based on Kalman filtering and statistical approach has been developed. The system has been applied to the analysis of flow and pressure data. The system was proved for one dataset case and have shown the ability to detect anomalies in flow and pres sure patterns, by correlating with other information. It will be shown that the Kalman/statistical approach is a promising approach at detecting subtle changes and higher frequency features, it has the potential to identify precursor features and smaller l eaks and hence could be useful for monitoring the development of leaks, prior to a large volume burst event.


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