Chinese Gretchen in Russian Literature: on the Genesis and Attribution of M. Shkapskaya’s Poetry Book Tsa-Tsa-Tsa

This article examines in detail Maria Shkapskayas poetry book Tsa-Tsa- Tsa (1923) and its handwritten genesis. It explains the role and significance of ancient Chinese poetry for this literary piece of work. The problem is to attribute the texts that make up the book and find out their translated or stylized basis. The general thesis is that all the poetic texts of the book are translations: the names of Tao-Yuan-Ming, Du Fu, and Bo-Juyi indicated by Shkapskaya in the manuscripts are reported. One of the texts in the book is attributed as the Sixth Poem from the Shi ju gu shi ( Nineteen Ancient Poems ). The removal of the names of Chinese authors (not only in the book published in 1923 but also in the manuscript of 1921) and the alignment of the thematic word series silk, crane, thousand, spring that organize the book into a single text indicate a tendency to blur the border of the own-alien text (even though the book was treated by the author as translation from the Chinese, in autobiographies and correspondence). This trend leads to the appearance of a central artistic image of the book (it is a feature of M. Shkapskayas poetic books). It is the image of a lonely, longing woman. The mention of the spinning wheel connects this image with the popular (especially in Western European literature) image of Gretchen. This way the poetry book Tsa-Tsa-Tsa goes beyond the narrowly translated work and reveals some features of chronologically later literary trends (such as postmodernism and metapoesis).

A Study of Du Fu’s Poetry in the West in Modern Times

Chinese classical literature has attracted much attention in the Western world. As an important part of Chinese classical literature, Du Fu’s poetry, also as an important carrier, plays a great role in the international communication of cultural confidence. In recent years, some domestic research institutions and scholars have also written literature reviews on the research progress of Du Fu, but few works of literature comprehensively review related western research results. With the combination of big data and visualization tools, this study uses the title keyword “Du Fu Poetry” to search the English literature of Google scholar. VOSviewer is used to make visual analysis and draw a knowledge map from the aspects of literature quantity, authors, research institutions, co-citation, keyword clustering, etc., to analyze the research situation and hotspots of the Western study of Du’s poetry. The following conclusions are drawn: 1) In recent decades, western translation of Du Fu’s poetry have emerged constantly, attracting more and more famous international publishing houses to cooperate; 2) The study of Du’s poetry abroad mainly focuses on the English translation of Du’s poetry as well as the interpretation and evaluation of poets' thoughts; 3) The study of Du’s poetry abroad ignores the dynamic study of Du's poetry development, and there are some obvious cultural errors or omissions in translation. In a word, this study objectively reflects the development, theme and hotspots of modern western Du Fu poetry research, which has certain significance for fully understanding the general situation of Du Fu research field in Western countries and help to deepen Du Fu’s research.

Developing a Learning Module 唐诗 (Tangshi)

Poetry is a critical element of literature which must be studied. The language in poetry is a parable language and difficult to understand because the language is rarely used in everyday life. Similarly, classical Chinese poetry preserves ancient Mandarin （文言文） [Wén yán wén] which was used in the past in China. This study is based on the findings of students’ difficulties in understanding the meaning of classical Chinese poetry. The research aimed to develop a learning medium in the form of a famous Chinese classical poetry learning module during the Tang Dynasty. There are three classical Chinese poems in this module, namely, the 静夜思 [ Jìngyè sī] by 李白 [Li Bai]; 春晓 [Chūnxiao] by ̌ 孟浩然 [Meng Haoran]; and 春夜 喜雨 [Chūnyè x ̌iyu] by ̌ 杜甫 [Du Fu], which are accompanied with an explanation of the poetry, learning activities, formative assignments, and evaluation. This study uses the Five Phases of Instructional Design Model developed by Cennamo and Kalk (2005). The results of this study indicate that the module is excellent and suitable for learning. Keywords: learning module, 唐诗 (Tangshi), literature Study, R&D

THE SECOND NOTEBOOK OF THE VOCAL AND CHORAL CYCLE "SICHUAN ELEGIES" BY NIKOLAI SIDELNIKOV: DRAMATURGY AND STYLISTIC FEATURES

The article is devoted to the analysis of the second notebook of the vocal and choral cycle "Sichuan Elegies" by Nikolai Sidelnikov, based on the poems by the VIIIth century Chinese poet Du Fu. The work reveals the stylistic constants of the composer's work. It is emphasized that though N. Sidelnikov does not strive for stylization, the use of special musical means gives the composition a specific Chinese flavor. This is manifested both in the choice of instruments and in the reliance on pentatonics, which consists of two trichordal chants-monograms, sounding in different combinations and becoming the leitintonations of the cycle. It is noted that the expansion of the instrumental composition influenced the increase in the role of episodes without chorus, which was expressed through the introduction of independent instrumental parts, as well as developed introductions and conclusions. In some cases, the composer uses tonal writing, highlighting it with key signs, while some numbers are rather tonic, emphasizing the reliance on the sustained bass pedals. Dramatic episodes are saturated with signs of expressive writing — polytonal overlays, chromaticisms and passages with increased and decreased intervals. The dramaturgy of the composition is formed thanks to thematic roll calls and reprise inclusions that form subcycles.

DU FU POETRY AND ITS INTERPRETATION IN THE GENRE DIVERSITY OF THE FIRST NOTEBOOK OF "SICHUAN ELEGIES" BY N. SIDELNIKOV

The article briefly describes the work of Du Fu, one of the classics of Tang Chinese poetry. The poet chronicled the history of the Tang state from its heyday to its decline, allowing his compatriots to call him "shi sheng", which means "holy piit". Social issues were among Du Fu's central themes, but in his later years his poetry was characterized by a more attentive attitude to the human being and an awareness of the greatness of the human spirit. The composer N. Sidelnikov, who showed a special interest in the culture of different peoples, put Du Fu's poetry on a par with the works of Michelangelo and Shakespeare. The composer took his poems as the basis for the diptych "Sichuan Elegies". The genre of elegy indicated in the title of the work, exactly corresponds to the mood of Du Fu's poems, composed in the late period of the poet's work. However, the content of the poems includes the prerequisites for the genre diversity of the cycle. In this paper, the first of the two notebooks of "Sichuan Elegies" is analyzed in terms of genre solution.

Flute archetypes of sounds in Chinese Tang era poetry

Tang epoch trains (618–907) – an important source of judgments about expressive possibilities and sound archetypes of the Chinese flute, preserved in the music of the Celestial Empire composers of the XX – XXI centuries. The purpose of this investigation is to establish sound archetypes of the flute in the Chinese poetry of the Tang epoch. The methods of investigation are historical, semantic, genre and comparative approaches. The scientific novelty of the study is to introduce the concept of «flute poetry» of the Tang era into the musicology context, to establish its characteristic properties (spiritualization of the desolate time space with a magic melody, the reflection of the state of the soul of a lonely hero, the presence of the image of the listener-poet, connection with the elements of the wind, the nocturonal semantics of the natural landscape, signs of the palace style, the embodiment in the sounds of the flute - the mediator between the earthly and celestial worlds – philosophical ideas), the formation of the thesaurus of flute affects (moaning, sadness, sadness, state of waiting, experiencing loneliness). The samples of «flute poetry» by Li Bo, Du Fu, Wang Wei, Zhao Gu are considered. The image of the jade flute from Li Bo's poem symbolizes the priceless in human life. In Li Bo's poem about the Qiang Maiden, the flute music takes on the meaning of a leitmotif that accompanies the drama of love and separation. In Du Fu's work, the limits of earthly time and space contrast with the boundless celestial chronotope associated with the flute's sound image. In Wang Wei's poetry, the flute's crying accompanies the suffering of an abandoned woman and finds a response in the soul of a lonely traveler. Zhao Gu's poem includes the names of mythical flute artists Huan Tzu and Ma Rong, contributing to the sacralization of time and space in the work. Conclusions. In «flute poetry» of the Tang era, there are typical features of a common creative method inherent to the masters of the word «golden age»: the sound image of the flute is inscribed in a common artistic continuum based on the reflection of the poet's surrounding nature in a lyrical-philosophical landscape.

Introduction

The An Lushan Rebellion that broke out in 755 set in motion forces that led to the gradual decline of the splendid Tang Empire but helped create a great poet. In 759 Du Fu 杜甫‎ (712–770) left the capital region and began wanderings through west and southwestern China that would occupy the rest of his life. His post-rebellion poetry chronicled the life of a man and his family in a chaotic age. Arguably the greatest Chinese poet, he was certainly the most influential of all Chinese authors in any genre because of the long-lasting and far-reaching impact of his poetry....