Classical Chinese Poetry Research Articles

Aesthetic Education through Classical Chinese Poetry in Higher Vocational English Teaching

Classical Chinese poetry, steeped in profound cultural heritage and imbued with timeless aesthetic value, represents a treasure trove that holds immense potential for enhancing aesthetic education within the realm of vocational colleges. By integrating this ancient literary form into the curriculum, vocational English classrooms can embark on a journey that transcends mere language instruction, nurturing in students a deeper appreciation for beauty and fostering a holistic educational experience. The strategic implementation of aesthetic education through the lens of classical Chinese poetry in vocational English classrooms is a deliberate effort aimed at cultivating students' refined aesthetic taste. It encourages them to delve into the intricate world of poetic imagery, rhythm, and metaphor, thereby awakening their senses to the intricacies of language and the beauty that lies within. This process enriches their understanding of English and broadens their cultural horizons, enabling them to appreciate the interconnectedness of diverse cultures and artistic expressions.

Comparison of the English Versions of Poem Lu Zhai

Chinese classical poetry, as a treasure of Chinese culture, has always attracted numerous translators. Translating classical poetry not only requires accurately conveying the artistic conception and expression of the original work, but also requires flexible application of translation techniques to adapt to different language and cultural backgrounds. Poetry translation is a difficult point in the translation of literary works, and poetry is known as “literature in literature”. Its form is brief but its meaning is profound, “words are here and meaning is there, words are full and meaning is infinite”. This article will take the classic Chinese classical poem “Lu Zhai"”as an example, and use the method of literature review to collect and analyze G W. Translated versions by two translators, G.W. Robinson and Xu Yuanchong. Firstly, a comprehensive reading and understanding of the two versions were conducted. Secondly, by comparing the translation styles of the two versions, we compared rhyme, image, sentence as well as arrangement. Through these comparisons, the article draws conclusions about the different stylistic characteristics of the two translators. This study is of great significance in revealing translators’ understanding and expression of classical poetry.

Characteristics of Translation and Research of Chinese Classical Poetry in Russia

The study of Chinese classical poetry in Russia dates back several centuries, it is original, has its own bright, distinctive features, no matter in the period of Imperial Russia, the Soviet Union, or contemporary Russia, it always occupies a unique position in the world’s sinology field. In this article, the spread of Chinese classical poetry in Russia is systematically considered from such aspects as the interaction of translators and researchers, translations and works about poets, writers and their works, as well as translation principles and various aspects of research, originality, models of cooperation. This article points out that the study of Chinese classical poetry in Russia attaches great importance to translation, to the exploration of translation principles from the perspectives of rhyme, rhythm, form, paragraphs, tasks, and readers, to the combination of translation, annotation, and research, to the construction of academic terms, and the cooperative mode of poetry translation between Russian sinologists and poets. The paper notes that there are two important goals for Russia and Russian science in translating and researching Chinese classical poetry: firstly, they can serve to enrich national literature and write the history of Russian literature too; secondly, they can be used to introduce Chinese poetry into the context of the development of Russian and world culture. Russian translators and Sinologists-researchers will continue to contribute to the spreading of Chinese poetry and make it a part of world literature.

China Classical Poetry Art Song Market Trend Forecast and Big Data Analysis in Music Industry

Abstract In view of the fact that Chinese classical poetry and art songs are more and more widely welcomed in people’s entertainment lives, the article conducts research on its market development trend. The PSO-Prophet-LSTM combined prediction model is constructed by combining the Prophet prediction model and the LSTM neural network model and optimizing the combined model with the PSO algorithm. The PSO-Prophet-LSTM model’s prediction performance was tested in this paper and it was used to predict the music industry and the market of Chinese classical poetry and art songs. The PSO-Prophet-LSTM model achieved the best prediction results in terms of the comparison of adaptation, LOSS, and RMSE convergence curves with prediction accuracy. In the prediction of the music industry in the next five years, the total output value of the music industry expanded from RMB 465 billion in 2024 to RMB 986 billion in 2028. The capital preservation rate, the profit tax rate of music output value, and the capital profit rate of the music industry all keep growing over the five years. In the market size prediction of Chinese classical poetry and art songs, the market size of this segment expands with the overall market size of the music industry.

Knowledge-Guided Transformer for Joint Theme and Emotion Classification of Chinese Classical Poetry

Knowledge-Guided Transformer for Joint Theme and Emotion Classification of Chinese Classical Poetry

Feasibility of online self-help mindfulness intervention integrating Chinese classical poetry and its impact on participants’ adherence

Feasibility of online self-help mindfulness intervention integrating Chinese classical poetry and its impact on participants’ adherence

Research on the teaching of classical Chinese poetry recitation in vocational education

Research on the teaching of classical Chinese poetry recitation in vocational education

<葛驛雜詠>의 성격과 그 의의

“Kal-yŏk Chap-yŏng (葛驛雜詠)” is a condensed piece of Sam-yŏn Kim Ch’anghŭp’s lifelong poetic practice, and can be seen as a representative work of Sam-yŏn’s literature and of the changes in Korean classical Chinese poetry in the 18th century. This study discusses the writing principle of the work and the method of composition in order to identify the core nature of “Kal-yŏk Chap-yŏng.” “Kal-yŏk Chap-yŏng” embraces various poetic materials, but a specific writing principle runs through it. In this article, I will refer to it as “investigation of things (格物窮理)” or “attaining knowledge through investigation of things (格物致知).” The writing principal of “Kal-yŏk Chap-yŏng,” that is, “attaining knowledge through investigation of things,” as a literary deed is fundamentally based on a concept from Neo- Confucianism, but has a concrete implication in relation to Kim Ch’anghŭp’s theory on literature which is represented as “Ch’ŏn-ki (天機, secret of nature)” theory. In other words, this expression refers to “the act of discovering the heavenly principles embodied in Ch’ŏn-ki” or “the act of discovering the reasoning of the world by observing things and thinking about their rightness and wrongness, and their truth and false.” In accordance with this writing principle, the works of “Kal-yŏk Chap-yŏng” can be divided into two categories: the expression of “the process or result of inquiry into the object of perception” and the illustration of “the subject of perception” as the premise that makes such an inquiry possible. The former is a direct result of the “investigation of things,” and the latter presents a “true poetic subject” who can practice the “investigation of things,” embodying the Ch’ŏn-ki of the subject.
 In the following sections, I examine the aspects of creation of these works within each type. First, the poems that correspond to the embodiment of the perceiving subject were created in two ways. One is a poem that describes the image of the true self, manifested in a way that emphasizes the idealized image of the self in harmony and unity. The other is retrospection and reflection through the direct utterance of the poetic self. A retrospective look at life is part of establishing a true self, and a reflective attitude seeks the truthfulness of the perceiving subject. This materialization of the perceiving subject is a way of revealing the subject’s Ch’ŏn-ki, which adds credibility and weight to the utterance in “Kal-yŏk Chap-yŏng.” Next, I examine the types of works that show the process and results of perception or “investigation of things.” These works can be divided into three types: poems that explore reason through the observation of familiar objects, poems that discuss human history and the principles of the operation of the heavens and earth, and poems that criticize and denounce various problems in human affairs. The second type is closely associated with the world view of Yi (易) based on Sao Yong’s Image-numerology (象數學), and it is noteworthy that the barbarians’ domination of China was understood in terms of a “fateful” view of human history.
 Kim Ch’anghŭp’s entire poetic world can be viewed as the aesthetic practice of his own ideas, philosophy, and poetic theory, and “Kal-yŏk Chap-yŏng” is the work in which he most actively and successfully combines his theory and practice. This is another important basis for placing Kal-yŏk Chap-yŏng” at the pinnacle of Sam-yŏn Kim Ch’anghŭp’s poetics.

Non-intrusive assessment of speech quality for classical Chinese poetry recitals using perceptual and acoustic features

Non-intrusive speech quality assessment is vital for objectively rating vast speech datasets without pristine reference signals. However, most existing research emphasizes speech clarity, neglecting tempo and rhythm. Different from normal Chinese speech, the prosody of classical Chinese poetry conveys profound emotion and a unique classical beauty. To assess the speech quality of classical Chinese poetry recitals across varied reciters and recording conditions, it's essential to design modules evaluating both clarity and prosody. In this paper, we propose a non-intrusive assessment method, utilizing perceptual and acoustic features as key indicators. First, by extracting the poetry's pitch frequency, we quantify the reference assessment function, deriving a prosodic score based on deviation degrees. Secondly, we devise a residual-structured neural network to capture the Mel-spectrogram's perceptual features, yielding the objective MOS score. Finally, we craft a comprehensive model using second-order polynomial regression to map both the objective MOS and prosody scores to the poetry recital quality score. After experimental validation, prosody and clarity modules both show outstanding prediction accuracy. The final quality assessment score performs a high correlation with human perception.

Du Fu’s conspicuous negativity and Li Bai’s hidden positivity: a sentiment comparison and exploration

Abstract In the studies of classical Chinese poetry, the comparison between Li Bai and Du Fu is an everlasting topic, yielding many qualitative interpretations, among which a widely known but disputable one is Li’s positivity versus Du’s negativity. With the development of digital means, distant reading has become possible, and the sentiment issue can be further explored in quantitative ways. This research conducts a corpus-based sentiment comparison of Li and Du with a self-constructed sentiment dictionary. The Complete Collection of Tang Poems is used as a representative of Tang poets, and sentiment comparisons are made at the levels of poems, verses, and characters, as well as key characters extracted with the log-likelihood measure. Analyses show that (1) among Tang poets, Du is more negative at all of the above textual levels, while Li is only more positive at the key character level, proving the importance of key characters in readers’ perception of sentiment; (2) Li and Du both stand out among Tang poets with a negative depiction of the dark reality and a positive expression of grand ideals; and (3) Li’s positivity is largely embodied in his depictions of color, light, and temperature, while Du’s negativity is closely related to his psychological description. To conclude, this research has not only determined the sentiment difference between Li and Du but also located its sources in texts with a novel key character-based sentiment analysis approach. Keywords:

A Domain Knowledge Transformer Model for Occupation Profiling

Occupation profiling is a subtask of authorship profiling that is broadly defined as an analysis of individuals’ writing styles. Although the problem has been widely explored, no previous studies have attempted to identify Chinese classical poetry. Inspired by Trudgill’s seminal work on stylistic variation as a function of occupation, we present a novel Domain-Knowledge Transformer model to predict a poet’s occupation through their poems’ writing styles. Different from other Indo-European languages, Chinese has rarely used characters and two types of writing forms: traditional Chinese and simplified Chinese. To tackle these problems, we use the language-related component to standardize our input. We also use alphabetization to satisfy the restrictions on rhyming rules and tonal styles. As a special literal form, traditional domain knowledge, for example, named entities, themes, ages and the official career path, is valuable for poet occupation profiling. However, due to the lack of appropriate annotation datasets, it is difficult to recognize these features. Therefore, we proposed the domain knowledge component employing the latent Dirichletal location model to capture the extra theme information and establish named entity dictionaries to recognize the named entity of the datasets in this study. Finally, in the deep learning component, we combine Transformer with a convolutional neural network (CNN) model to perform occupation profiling. The experimental results suggest that our model is effective in this task. Moreover, the results demonstrate an account of other social attribution features of poetry style that are predictive of occupation in this domain.

Mountains, meaning, mediation: Petrarch’s ‘Ascent to Mont Ventoux’ (1336) and the ecological imagination of classical Chinese poetry

Mountains, meaning, mediation: Petrarch’s ‘Ascent to Mont Ventoux’ (1336) and the ecological imagination of classical Chinese poetry

An empirical study of schema-associated mnemonic method for classical Chinese poetry in primary and secondary education based on cognitive schema migration theory

Classical Chinese poetry, as an indispensable part of China′s national culture, provides valuable resources for improving literary literacy and fostering patriotism among primary and secondary school students. This study, based on cognitive schema migration theory, investigated the effect of a "schema-associated mnemonic method" on the memory efficiency and retention of classical Chinese poetry memorization among the students. Through a controlled experiment, the results revealed that the experimental group (n = 63) outperformed the control one in memorizing classical poetry with higher memory efficiency and retention, which indicates the sustainable application prospects of the method in primary and secondary education. The findings of this research can provide beneficial insights for the effective integration of classical Chinese poetry teaching and educational technologies.

Analysis of Translatability in Classical Chinese Poetry from the Perspective of Translation Strategies Taking Xu Yuanchong's Translations of the Lyrics "Everlasting Longing" as Examples

Classical Chinese poetry is an important literary genre in Chinese literature, of which the Tang poems and Song lyrics are two of the highest artistic achievements in ancient Chinese poetry. The study of classical poetry translation has become a hot topic in Chinese literary translation. This paper aims to study the translatability of Chinese classical poetry from the perspective of the translation strategies of Xu Yuanchong by selecting lyrics titled everlasting longing in the Chinese-English Translation of 300 Chinese Tang and Song Lyrics authored by Xu Yuanchong, an outstanding translator. In the translation of Xu Yuanchongs poems, he emphasized the beauty of meaning, form and sound. Through a theoretical overview of important translation strategies and case study of the translation strategies adopted by Xu Yuanchong, the following conclusions are drawn: Xu Yuanchongs translation strategy of creative translation has greatly improved the translatability of classical Chinese poetry. Due to the particularity of the poetry style and literary form, the semantic meaning loss can be caused to a certain extent, so the translation strategy oriented by functional equivalence and aesthetic pursuit can provide the reference for the translation of Chinese classical poems and lyrics.

The Influence of Classical Chinese Poetry on the Innovation of Ezra Pound

Recognised as one of the 20th century’s most challenging poets, Ezra Pound made a major contribution to modernist poetry. Inspired by ancient Chinese poetry, Pound was drawn to its vivid imagery and concise diction. He was determined to supersede the Victorian style of complicated verse and breathe fresh energy into poetry. This essay provides a detailed analysis of Pound’s most well-known composition, In a Station of the Metro, which is characterised by its modern and exotic elements. Contrasted with his translation work, Taking Leave of a Friend, selected from Cathay, this paper aims to analyse Pound’s renewal of imagery, language and metres. After the World War I, Pound became increasingly engaged with Chinese Confucian literature and resolved to write a chapter in his modern epic poem, Cantos, to address the indispensable role of Confucian culture in the restoration of post-war civilisation. Therefore, this article additionally evaluates his innovation within the context of his China Cantos and further investigates how Pound’s imagism paved the way for modernist poetry. It is also hoped that this essay will serve as a valuable resource for future studies on related topics.

Approaching Classical Chinese Poetry in Early Modern Japan: Intralingual and Interlingual Translation Strategies in Rikunyo's Remarks on Poetry

This article examines Remarks on Poetry from Makuzugahara (Katsugen shiwa 葛原詩話, 1787, 1804), a Japanese reference work for Sinitic poets that comments on unusual vocabulary and subject matter mainly gathered from Tang and Song sources. Written by the Tendai Buddhist priest and celebrated Sinitic poet Rikunyo 六如 (1734–1801), Katsugen shiwa draws on both intralingual and interlingual translational techniques to engage with Sinitic texts and clarify their meaning to a Japanese readership. With intralingual techniques such as substitution, paraphrase, or expansion into more readily intelligible Sinitic, Rikunyo engaged in approaches identical to the Ming and Qing commentators whose annotations he referenced; his interlingual translation approaches included not only standard kundoku but explicit appeals to Japanese vernacular. The article shows in concrete terms how Rikunyo (as well as two other scholars who wrote fierce, point-by-point critiques of Katsugen shiwa) made use of these dual translation strategies.

The ‘Making’ of Chinese Zen Poetry: Sam Hamill's The Poetry of Zen

The appreciation of Zen Buddhism in the mid-twentieth century led to a new exploration and tradition of Zen poetry translation. Many translators influenced by the American ‘Zen Boom’ were drawn to Chinese Zen poems during this time. However, translating Zen poetry is a complex art, and often shaped by the translator's personal experiences and qualities. Diverse perspectives exist on what constitutes Zen poetry, and selections for Zen anthologies hinge on the editor's perception. This paper centres on Sam Hamill's work in The Poetry of Zen, 2004, examining his selection and interpretation of classical Chinese Zen poems. It highlights the intricate relationship between translated texts, their cultural and historical contexts, and the translator, while elucidating how the Zen interpretation of classical Chinese poetry contributed to the establishment of the tradition of Zen poetry translation.

Scene clusters, causes, spatial patterns and strategies in the cultural landscape heritage of Tang Poetry Road in Eastern Zhejiang based on text mining

The burgeoning field of digital humanities has provided important modern technological means for text mining in literary works. Chinese classical poetry, as a treasure in the world’s artistic treasury, holds significant value in recognizing the heritage of world culture. In this study, taking the 1589 Tang poems from the Tang Poetry Road in Eastern Zhejiang as an example, we constructed a research framework that explores the aesthetics of classical Chinese poetry landscapes and spatial imagery at the urban agglomeration scale by utilizing geographic and analytical tools such as Python programming, Gephi co-occurrence semantic networks, and GIS kernel density analysis. The framework exhibits three key innovations: (1) a text processing approach that treats individual characters as semantic units in ancient poetry texts, (2) a combined approach of Python programming techniques and Gephi visualization tool for social network analysis, and (3) a study focusing on the integration of textual and spatial aspects of literary landscape heritage corridors at the urban cluster scale. The constructed framework greatly enhances the efficiency and accuracy of Tang poetry text mining, it enables the extraction of natural and cultural landscape spatial imagery along the Tang Poetry Road, the construction of scene depictions, the identification of key regions within the scenes, and the derivation of location-specific strategies. This study broadens the scope of exploring the cultural heritage value of Tang poetry literature and provides practical guidance for the development of cross-regional heritage corridors.

Интерпретации образов китайской классической поэзии в переводах на русский язык (на материале стихов о разлуке)

Данная статья посвящена описанию и анализу интерпретации образов китайской классической поэзии о разлуке в переводах на русский язык. Исследование имеет актуальность в контексте культурного обмена между Китаем и Россией, а также в области перевода и литературоведения. Китайская поэзия о разлуке обладает глубокой символикой, которая олицетворяет эмоциональные состояния и жизненные переживания. Однако перевод этих образов на русский язык представляет сложность из-за культурных различий и особенностей языковых систем. В этом контексте исследование направлено на выявление особенностей трансляции таких образов, как 柳 (ива), 春草 (весенняя трава), 月亮 (луна), и их смысловой окраски из оригинальных китайских стихотворений в русскоязычные переводы. Результаты исследования позволяют лучше понять классическую китайскую поэзию о разлуке и оценить ее значение для русскоязычной аудитории, а также способствуют совершенствованию переводческой практики. Переводчики обращают особое внимание на передачу образности и эмоциональной окраски стихов, но при этом возможны потери некоторых нюансов и тонкостей оригинального текста. Полученные результаты имеют практическую значимость в области перевода и могут быть применены в образовательных целях, а также служить основой для дальнейших исследований в области сравнительной литературы и культурологии, благоприятствуя глубокому пониманию и взаимодействию между китайской и русской литературными традициями. This article is devoted to description and analysis of Russian translators’ interpretation of images of classical Chinese poetry about separation. The study is relevant in the context of cultural exchange between China and Russia, as well as for study of translation and literary criticism. Chinese poetry about separation contains deep symbolism that personifies emotional states and life experiences. However, translating such images into Russian is difficult due to cultural differences and peculiarities of language systems. In this context, the study is aimed at identifying the specifics of rendering such images as 柳 (a willow), 春草 (spring grass), 月亮 (the moon), and their semantic coloring from original Chinese poems into Russian. The results of the study help us to better understand classical Chinese poetry about separation and evaluate its significance for the Russian-speaking audience; they also enrich the traditions of poetic translation practice. Translators pay special attention to the transfer of imagery and emotional coloring of poems, but certainly some nuances and subtleties of the original text may be lost in translation. The results obtained are of practical importance in the field of translation and can be used for educational purposes, as well as serve as a basis for further research in the field of comparative literary and cultural studies, resulting in deeper understanding and interaction between Chinese and Russian literary traditions.

Les poèmes de Mao Zedong : Fleurs du mâle ou sublime prométhéen

Abstract Some sixty authenticated poems written by Mao Zedong were the subject of studies that highlight the relationship between the statesman and his literary talent, through rather socio-political or psychological approaches. The present paper intends to focus on his poetic creation, by scrutinizing from the inside the textual and scriptural tension that animates the process of reappropriation and reinvention in relation to classical Chinese poetry, in particular to the “heroic and free” or fiery style (haofang 豪放). Thematic and rhetorical analyses aim to show how the Promethean sublime nourishes a virile poetics in Mao Zedong’s work and an unusual verbal dynamic, which has the potential to transform conventions into speech, and poetry into a principle of action.