Chinese Poet Research Articles

“Fu on Whistling” by the Chinese poet Chenggong Sui (231-273)

“Fu on Whistling” by the Chinese poet Chenggong Sui (231-273)

The Poetics of Journey to the West (2021): Disclosing a Way to Dwell in the World

Abstract Science fiction films and poetry are often assumed to be unrelated or even mutually opposed. Among Chinese science fiction films in recent years, Journey to the West is a uniquely poetic example. It offers a secular challenge to science fiction while simultaneously performing a dual construction of science fiction textually and thematically through poetic expressions – thereby expanding the genre boundaries and localized creation possibilities of science fiction films. This paper uses life-world philosophy to examine the film’s existential theme and analyzes the film’s science fiction poetic expressions through the theoretical perspectives of film poem, poetic thinking, poetry-film, and Chinese poetics, arguing that they illustrate and compensate for the limited meaning of the science fiction genre and scientific rationality itself, while exemplifying the ability of science fiction films to serve as a way of disclosing being-in-the-world.

An Analysis of Volition and Self-Identity Construction in Ai Qing’s Poem

The Chinese poet Ai Qing (pen name of Jiang Zhenghan) advocated expressing one’s innermost thoughts directly through poetry, and his poems often used straightforward language to convey strong volition. This article examines Ai Qing’s poetry from the perspectives of form and the process of imagination, using Coleridge's theory of imagination and Ai Qing’s own poetic philosophy. It seeks to explore the volition embodied in Ai Qing’s poetry and how he constructs his own identity through poetry. In terms of form, Ai Qing adhered to “the prose beauty of poetry,” expressing the hope to break free from constraints, liberate thoughts, and assert personal will. Through the unconventional imagination process in his poems, Ai Qing reveals the unconscious self-agent of the poet to speak for the people and an active perspective on the interplay between the poet’s self-agent and the external world. It is the combination of poetic form and the creative process of imagination that constructs Ai Qing’s identity as a national poet yearning for freedom, revolution, and yet filled with a sense of concern.

Poundian influences and misty poetics in Yang Lian’s concentric circles

ABSTRACT Ezra Pound’s The Cantos is a truly transnational feat, transcending different periods and geographical locations. The epic, ‘a poem including history’, expands the parameters of modernism in space and time, representing a diversity of culture and era through several languages, including Greek, Chinese, Italian, German, and French. The legacy of The Cantos then articulates the formation of a global poetics that has inspired writers, poets, and artists from Russia, Japan to South America. This article attempts to examine the extent to which Pound’s Cantos influenced a contemporary Chinese poet named Yang Lian (1955-). Between 1994 and 1997, Yang Lian, in his own words, attempted to ‘produce a Chinese version of the Cantos’ in his Concentric Circles. Yang Lian, exiled from China on the eve of 1989, adopts an Odysseus-like nomadic life that seeks to take on his own version of periplum. In Concentric Circles, Yang Lian adopts the form of an ideogrammic vortex where images move dynamically, intersecting, relating to one another to catalyse, convey and render emotion organically. This paper attempts to address the transmigration of Poundian influences on Yang Lian’s Chinese epic that exemplifies fragmented pattern, linguistic collage, structural discordance and avant-garde experimentation.

LITERARY TRAVELS IN CHINA DURING THE TANG DYNASTY

The article discusses literary travels in the historical period of the Tang Dynasty, which entered the history of the country as a period of flourishing culture - science, painting, literature, and especially poetry. Two great Chinese poets Li Bo and Du Fu created during this period. Literary and cultural-geographical approaches to the study of travelogues developed in Western, Chinese and Russian literary geography are presented. The historical and cultural contexts of literary travels are discussed. The cultural and historical specificity of the travelogues of the Tang Dynasty period is that many of them were made not out of interest in learning new lands and cultures, but out of necessity. For the most part, the authors of travelogues were applicants for the position of an official who had to submit a literary work at the state exam. Routes, vehicles, stopping places and other elements of travel are analyzed. The role of literary travel in the development of literature of the period under consideration is discussed. Special attention is paid to the anisotropy, or the disparity of different directions, of the cultural space of China of this historical epoch. This is due to the historically low cultural status of Southern China compared to other regions. Travelogue materials reflect this cultural phenomenon well.

An Analysis of the Human Geographic Evolution of Mount Emei, China

An ancient Chinese poet wrote: The moon of Emei Mountain is half a wheel of autumn, and its shadow enters the waters of the Pingqiang River. With its emerald green peaks and majestic atmosphere, Mount Emei is a world-class cultural heritage recognized by the world. From the perspective of geologists, it is a rich geological museum. It has preserved more than 400 million years of sedimentary records and recorded more than 800 million years of geological history. As a famous cultural mountain, Mount Emei also preserves a rich historical and cultural heritage. In this paper, from the perspective of human geography, we adopt the literature analysis method to sort out the human history of Mount Emei. It explores the cultural genes and cultural changes of this famous mountain. It is found that Emei Mountain, as a mountain range with rich cultural precipitation, has been indelible in traditional Chinese culture and is of great significance to Chinese culture.

The Implications of Umwelt in Poetics: The Case of Ye Xie, a Seventeenth-Century Chinese Poet and Critic

The Implications of Umwelt in Poetics: The Case of Ye Xie, a Seventeenth-Century Chinese Poet and Critic

Dreaming of Cydalise: Chimeras, disfiguration, translation

AbstractThis essay argues that translation, next to other kinds of language ferrying, can be profitably seen as remedial work. To make this point, I discuss five attempts at poetising ‘Cydalise’, a chimera dreamed into being by Théophile Gautier (1811–1872). After introducing it, I investigate three of Gautier's failed textualisations of this chimera and the resulting early tokens of literary chinoiserie and literary pastel. I then explore the disfigurations Cydalise suffers at the hands of Romanian writer Vasile Alecsandri (1821–1890) as he appropriates, refashions and explodes chinoiserie (and distorts pastel) in his endeavour to capture Gautier's ‘dream in its reality’. I next trace the translatorial moves Chinese poet Shao Xunmei (1906–1968) enacts finally to transport Cydalise into text, as he also pays discreet homage to the powers of translation. I conclude by giving firmer contours to the hypertextual landscape I imagine, which equally welcomes originals, translations and everything in between.

Evolution of Poetic Composition Theories from Shilin Shihua to Chengzhai Shihua

Ye Mengde, a well-known Chinese poet and poetry critic in the Song Dynasty, advocated the concept of implicit naturalness in his work, Shilin Shihua (Shilin’s Remarks on Poetry). He emphasized that the use of allusions in poetic composition should not be far-fetched and demanded that words and sentences be refined and hammered. Based on Ye’s insights, Yang Wanli, another famous Chinese poet in the Southern Song Dynasty, further developed the theory. In Chengzhai Shihua (Chengzhai’s Remarks on Poetry), he proposed that the essence of poetry lies in “poems being concluded while the taste remains eternal,” paid attention to the skillful integration of idioms and allusions, advocated the importance of creating “stunning verses” in writing poetry, and practiced what he preached by actively engaging in poetic composition. He shattered the traditional conventions of the late Jiangxi School of Poetry, created the unique “Chengzhai Style” characterized by freshness and liveliness, and injected a vibrant “poetic taste” into poetry, enhancing the role of poetic composition theory in guiding poetry creation practices.

Modern Technologies and Hermeneutical Analysis of Poetic Text

The subject of the study is a model of the use of modern technologies in literary analysis. The purpose of this study is to consider the stages of pedagogical technology of using AI technologies in hermeneutical text analysis. The object of the study is the poetic text of the Chinese poet of the Tang Du Fu era. The author of the article found that the use of AI-based Internet resources in the process of analyzing Chinese poetry helps to identify deep interpretations and meanings of key images. Special attention is paid to the possibility of expanding and deepening the semantic and hermeneutic meanings of Chinese poetry in the process of continuous analysis as part of pedagogical technology. Based on the analysis performed with the help of AI, it was concluded that this kind of modern technology provides a quick adaptation of the identified meanings to the analysis process, which was considered on the material of the poetic text of Du Fu. The scientific novelty of the research lies in the fact that until now, Internet resources based on AI have not been used for hermeneutical analysis of literary text as part of pedagogical technology in general and based on the material of Chinese poetic texts by Du Fu, the poet of the Tang era, in particular. In the future, it seems promising to investigate the types and features of AI tools as an element of pedagogical technologies for continuous analysis of literary texts in the process of training future philologists.

THE GOLDEN SANDS MUSICAL (金沙): ON THE FORMATION OF A GENRE ARCHETYPE IN CHINA

The Golden Sands musical is considered in terms of the genre formation specifics in China. Attention is focused on the American origins of Chinese musicals, especially regarding style, scenography, and the specifics of vocal sound extraction. Consideration is given to the penetration of Chinese ethnic elements into the means of musical expression and choreographic poetics in the Equatorial Rain original musical, which demonstrated the fusion of national elements with Western ones, with jazz, rock, rap, etc. The author puts forward the hypothesis that the development of musicals in China is still at the stage of mastering and forming a genre with national specifics, using the original folk style of singing. It is the mixing of different singing styles that is becoming the most important trend in the development of modern Chinese musical theatre. Created under the direction of Zhou Enlai, the Golden Sands musical (金沙) reveals the typological features of the genre characteristic of its Western models: a synthesis of academic and pop music principles, a synthesis of arts (music, choreography, stage design, costume art). However, its combination with Chinese poetics has created a new nationally oriented direction, which has a significant influence on the development of musical art both in China and throughout the world.

The Influence of Sino-Japanese Zen Communication on Five Mountain Poetry: A Case Study of Zekkai Chuushin

Five Mountain culture, a unique Sino-Japanese exchange, shaped Japan's development via Zen monks. These monks in China and Japan infused Zen's allure into Japan, initially captivating aristocrats and later the masses. As Five Mountain culture spread, it met the ruling party's needs, blending Chinese culture with local roots to form a distinct Japanese culture. Zen monks, especially Zekkai Chuushin, who studied in China, played pivotal roles. Zekkai Chuushin's Zen mastery, appreciation of Chinese customs, and study of Ming Dynasty calligraphy and poetry influenced the spread of Chinese culture. His masterpiece, "Jiao Jian Gao," epitomizes Chinese poetry in Five Mountain, encompassing nostalgia for China, yearning for homeland, and critiques of Japanese politics. Zekkai Chuushin's works reflect a deep exchange between Chinese and Japanese Zen literature, illustrating China's profound impact on Japanese Zen during the Muromachi period. This study explores how Japanese Zen monks, especially Zekkai Chuushin, drew inspiration from Chinese poetry. Through analysis of his poems, the authors examine the influence and adaptation of Chinese poetry in Japanese Zen literature. The comparative analysis highlights similarities and differences with native Chinese poets, shedding light on Japan's reception of Chinese culture in the Five Mountain period. Zekkai Chuushin creatively embraced Chinese poetry, leaving a profound mark on Japanese literature, skillfully merging tradition with originality and enriching Japanese literary culture while preserving Chinese poetic heritage, showcasing Japan's connection to Chinese culture through the Han language.

Multimedia technologies for presenting poetry in online educational blogs: interpreting the poems of Chinese poets in contemporary music of China

Multimedia technologies for presenting poetry in online educational blogs: interpreting the poems of Chinese poets in contemporary music of China

A New Language for a New Perception: A Study of the Influence of Chinese Poetry on the Composition of Spring and All

Abstract This essay highlights the numerous evidences of Chinese influences on Williams’s poetry, and particularly on the composition of Spring and All. What was it in Chinese poetry that could help Williams accomplish his poetic modernization which Pound was urging him to perform? In which ways and to which extent did Williams use Chinese poetic forms and concepts to compose his modernist masterpiece? As a continuation of the research of Wai-Lim Yip and Zhaoming Qian, two of the very few scholars who have focused their attention on this topic, this essay asks how much of what is seen by Western critics as poetic innovations by Williams can actually be seen as appropriations or derivations from Chinese language and poetics. It highlights that many of the poetic devices used in Spring and All, Williams’s breakthrough volume as a modernist, are actually either borrowed from traditional Chinese poetics, or result from the fusion of the English language with ideogramic linguistic concepts.

Modernizing Classical Poetics and Cultural Traditions: Wu Mi's Enterprise of Rewriting George Gordon Byron

Modernizing Classical Poetics and Cultural Traditions: Wu Mi's Enterprise of Rewriting George Gordon Byron

Composing Like an Ancient Chinese Poet: Learn to Generate Rhythmic Chinese Poetry

Composing Like an Ancient Chinese Poet: Learn to Generate Rhythmic Chinese Poetry

Жизнь и творчество Пань Юэ в контексте его «Оды о губном оргáне»

The research aims to determine the main characteristics of the life and literary works of one of the most prominent Chinese poets of the late 3rd century CE Pan Yue. The paper examines the biography of the author in its various periods and stages, the themes and uniqueness of his works in different traditional genres, as well as the historical fate and significance of his literary legacy. The scientific novelty of the research lies in the fact that it is the first time in Russian Sinology that the life and poetry of Pan Yue become the subject of a specific and comprehensive study: a detailed periodization of his biography is provided, a thematic classification of his works is presented, the related discussions in Chinese tradition are analyzed, the key importance of Pan Yue’s “Rhapsody on the Mouth Organ” for understanding his worldview, creative work and life conflicts is revealed. As a result of the research, the main periods and stages in Pan Yue’s biography have been established; the contradictory nature of traditional evaluations of the poet’s verses has been explained; the main themes of his works with the central theme of mourning for the deceased have been identified; the aesthetic significance of the category of sorrow in Pan Yue’s literary works as a means of restoring harmony and life has been clarified.

A Comparison of Expression Theory Between Expressionism and Chinese Traditional Poetics

Harmony in diversity is the basic requirement of the comparative study of Chinese and foreign poetics. Expressionism, as an important school of western literature, focuses on intuition and emphasizes performance. Their works focus on the expression of emotions, using a variety of artistic means to reflect the people’s inner activities and mental state, while ignoring the description of the form of the object, often in the form of distortion and abstraction of reality. Therefore, in the works of expressionist writers and artists, abstract, deformation, symbol, illusion and so on are presented. Chinese ancient literature also attached great importance to expression, but the view of expression in expressionism literature was obviously different from that in traditional Chinese poetics. These differences are influenced not only by the time factors, but also by the national cultural differences. Through the comparative study of the two, we can find the differences and connections of expression between Expressionism and Chinese traditional poetics and promote the further development of the expression theory in contemporary Chinese literature.

韓國詩話中的唐詩解釋學

Koreans have adopted a variety of methods in the interpretation of Tang poetry, among which the five aspects of interpretaion of poetry by Chinese classics(以經解詩), Neo-Confucianism(以理解詩), other Tang poetry(以唐解唐), dialect slang and customs(以方言风俗解詩), and personal experience are the most distinctive. The interpretation of poetry by Chinese classics shows the role of Confucian classics such as the Book of Poetry in regulating and restraining poetry, highlighting the complex and insoluble relationship between scripture and literature. Some neo-Confucianism had a hostile attitude towards literature, believing that literature was harmful, such as Er-Cheng(二程), and some neo-Confucianism had a tolerant attitude towards literature, such as Zhu Xi(朱熹). This had also created some characteristics of Koreans in understanding poetry. Interpreting poetry in dialect slang and customs brought Tang poetry into the Korean context, and tried to interpret Tang poetry regionally with its own social customs and linguistic environment, which could indeed increase and expand the ways and methods of interpretation, but it also made some misunderstandings because it was separated from the specific environment created by Tang poetry. On the contrary, the interpretation of poetry by experiencing it was somewhat in the spirit of textual research in Qing Dynasty, and the interpreter only felt some emotions and even facts in Tang poetry after experiencing certain scenes or events personally, so as to better experience the charm of Tang poetry, which can be said to be a step further in the hermeneutics of Tang poetry. There are also some foreseeable problems in the methods used by Koreans in interpreting Tang poetry, such as curious interpretation, overinterpretation, etc., which existed in Chinese poetics, and also existed in Korean poetics. If it can be rooted in the local environment of Chinese poetics, combined with the interpretive experience of Koreans, and reasonable speculation and deduction within the limits of interpretation, Korean Tang poetry hermeneutics still has important academic historical value, especially as an exotic eye, Korean poetics criticism of China should attract the attention of Chinese scholars.

On the Implication of Spirituality Theory in Yuan Mei’s Poems

As a representative poet and essayist in the Qianjia period of the Qing Dynasty, Yuan Mei who styled himself Zicai with Jianzhai as his courtesy name was a scholar at the beginning and had a good reputation in his official career. However, he resigned and lived in seclusion in the 14th year of the Qianlong period after witnessing some challenges. Advocating the “spirituality” (Spirituality theory is an idea of poetry inditement and comment in ancient Chinese poetics, which is advocated most strongly by Yuan Mei in Qing Dynasty. It is one of the four major schools of poetry theory in the early Qing Dynasty, together with verve theory, style theory, and texture theory) of poetry inditement, Yuan Mei paid attention to expressing the author’s true emotion and personality. “Spirituality” put forward by him attacked the popular retro-ism and formalism in poetry at that time, which was of progressive significance, although it had limitations due to its overemphasis on subjective emotion. This paper will analyze Yuan Mei’s spirituality theory from the image and emotion of Yuan Mei’s poetry inditement.