Traditional Chinese Poetry and Poetics: Omen of the World

1986 ◽  
Vol 60 (2) ◽  
pp. 361
Author(s):  
Michelle Yeh ◽  
Stephen Owen
Keyword(s):  
Chinese Poetry ◽  
Poetry And Poetics ◽  
The World

Traditional Chinese Poetry and Poetics: Omen of The World

1987 ◽  
Vol 47 (1) ◽  
pp. 350
Author(s):  
Pauline Yu ◽  
Stephen Owen
Keyword(s):  
Chinese Poetry ◽  
Poetry And Poetics ◽  
The World

Against the Monist Model of Tang Poetics

T oung Pao ◽  
2021 ◽  
Vol 107 (5-6) ◽  
pp. 633-687
Author(s):  
Lucas Rambo Bender
Keyword(s):  
Tang Dynasty ◽  
Chinese Poetry ◽  
Poetry And Poetics ◽  
Religious Traditions ◽  
The World ◽  
The Tang Dynasty ◽  
Western Scholarship

Abstract In recent decades, a significant amount of Western scholarship on traditional Chinese poetry and poetics has either proposed or assumed a vision of the art underwritten by the supposed “monism,” “nonduality,” and “immanence” of traditional Chinese worldviews. This essay argues that although these were important ideas in certain periods and contexts, they cannot be taken as unproblematically defining the world of thought in which poetry operated during the Tang dynasty. Instead, Tang writers more routinely drew in their discussions of art upon the epistemological tensions and discontinuities posited by medieval intellectual and religious traditions. For this reason, they often outlined models of poetry very different from those most common in contemporary criticism.

The Poems of Li Ch'Ing-Chao (1084-1141)

PMLA ◽  
1962 ◽  
Vol 77 (5) ◽  
pp. 521-528
Author(s):  
Kai-Yu Hsu
Keyword(s):  
Chinese Poetry ◽  
Chinese History ◽  
Apparent Lack ◽  
The World ◽  
The Aesthetic

These WORDS of Li Ch'ing-chao, regarded by many as the greatest woman poet in Chinese history, were written shortly after the death of her husband, who had been her devoted companion and faithful comrade in letters. His death was the strongest influence in her life, bringing to her poems a depth of feeling that, like a colorless blue in the flame of her genius, gave them brilliance and intensity. To be sure, Li Ch'ing-chao had earned a position in Chinese poetry long before her husband's death, largely because of her rare sensitivity to the aesthetic and poetic quality of the world in which she lived. While her poetry reflected a limited world of nature and of man, she more than compensated for this apparent lack with the depth of her imaginative penetration.

Studies in Chinese Poetry and Poetics, Volume 1

1980 ◽  
Vol 2 (1) ◽  
pp. 145 ◽  
Author(s):  
Paul W. Kroll ◽  
Ronald C. Miao
Keyword(s):  
Chinese Poetry ◽  
Poetry And Poetics

About the Chinese Book “The Book of Poetry”

2021 ◽  
Vol 16 (1) ◽  
pp. 25-34
Author(s):  
Zhao Xiao-bing ◽  
◽  
Zhao Wenqing ◽  
Keyword(s):  
Social Life ◽  
Role Model ◽  
Chinese Literature ◽  
Sociological Research ◽  
Chinese Poetry ◽  
Excellent Starting Point ◽  
Starting Point ◽  
The World ◽  
Love Marriage ◽  
Poetic Texts

“The Shi Jing’’(‘‘The Book of Poetry”） is one of the first poems in the world, including Chinese poems, from the 11th century BC to the 6th century BC. During this period, about 3 000 verses appeared, of which 305 poems were selected by Confucius. Poetic texts in “The Shi Jing’are divided into three categories: regional songs, odes, hymns. The composition of the poems uses such techniques as Fu, Bi and Xing. These poems constitute the creative source (source) of Chinese poetry. “Fu”，“Bi” and “Xing” are important artistic features of “The Shi Jing”. “Fu”” - direct narration, parallelism. “Bi” is a metaphor, comparison. “Sin” means “stimulation”， it first speaks about others, then about what the poet wants to express. Fu and Bi are the most basic techniques of expression, and Xing is a relatively unique technique in “The Shi Jing”， even in Chinese poetry in general. “The Shi Jing” is an excellent starting point for Chinese literature, which has already reached a very high artistic level from the very beginning. "The Shi Jing” affects almost all aspects of the early social life of ancient China, such as sacrifice, banquet, labor, war, love, marriage, corvee, animals, plants, oppression and resistance, manners and customs, even astronomical phenomena, etc. It became historical value for the study of that society. The overwhelming majority of the poems in “The Shi Jing”reflect the reality, everyday life and everyday experience. There is almost no illusory and supernatural mythical world in it. As the first collection of poetry in China, “The Shi Jing” laid the foundation for the lyrical and realistic tradition of Chinese literature. “The Shi Jing” also has a huge impact on the genre structure and linguistic art of Chinese literature, etc., which is a role model for writers of later generations. “The Shi Jing”has already been translated into the languages of the countries of the world. “The Shi Jing”has been influencing Chinese poetics; it has become the source of the classical realistic tradition and literature in China. Lively description is essential for historical, anthropological and sociological research. We expect that as the cultural ties between China and Russia deepen, as well as the popularization and spread of Chinese-Russian translations, more and more Russian people will read “The Shi Jing”， study “The Shi Jing”， the Russian translation of “The Shi Jing” will improve and play its role as the original classic of Chinese literature. “The Shi Jing”is a book that cannot be read or translated forever. Keywords: “The Shi Jing” （“The Book of Poetry” )， regional songs, odes, hymns, artistic features, Chinese unique cultural value

Linking Words with the World: The Language Poetry Mission

2016 ◽  
Vol 29 (1) ◽  
pp. 175-190
Author(s):  
Saroj Koirala
Keyword(s):  
Language Poetry ◽  
Poetry And Poetics ◽  
Political Poetry ◽  
The World ◽  
Long Time ◽  
Language Poets

The poets associated with the L=A=N=G=U=A=G=E School have remarkably borrowed from the Pound-Olson tradition of political poetry and poetics. But, they have also experimented with newer methods and matters that deviate from the tradition. Such continuation and departure from the tradition of the socio-cultural oriented language poets has been investigated here. Their poetic tenets have been examined through the ideas formulated by the outstanding cultural critics; Adorno, Jameson, Bakhtin, Foucault, Lukács, and Benjamin. Based on the thorough examination it has been found out that besides many other socio-cultural demands the language poets want to connect the words of art the world people live. Such connection, as they perform, has been disturbed for long time.

Reading Ezra Pound and J. H. Prynne in Chinese

2019 ◽  
pp. 109-129
Author(s):  
Joshua Kotin
Keyword(s):  
Social Change ◽  
Social Theory ◽  
Ezra Pound ◽  
Chinese Poetry ◽  
Modern Life ◽  
Incentive Structures ◽  
The World

This chapter examines Ezra Pound's and J. H. Prynne's use of Chinese poetry to understand the problem of motivation—and the incentive structures that govern modern life. It considers how difficult poetry illuminates the difficulty of motivating social change. Here, Prynne's work, “Jie ban mi Shi Hu,” exemplifies a problem for readers of his work, and for literary and social theory: How and why should we read texts that make extravagant, even impossible demands? The question asks us to justify the value of particular texts and the values of the world that receive them. To put this point a different way, when we ask for reasons to accept a poem's invitation to do work, we should also ask what kind of world would have to exist to make the invitation seem reasonable, and whether we would want to live in that world. Similar questions are relevant to debates about utopianism.

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