Chinese Poet Research Articles

동아시아 고대 여성작가 한시 속 태도에 대한 소견

This study aims to analyze the relevance of the broad East Asian context by exploring the attitudes revealed in the works of ancient female Chinese poets from Korea, China, and Japan. It also aims to reveal the significance and value of these attitudes from a feminist perspective on East Asian women's literature. The ancient Korean, Chinese, and Japanese countries shared the same cultural and linguistic landscape of Confucianism and Chinese characters. The Chinese poetry of female writers in each country exhibited several tendencies: spontaneity and generosity, honesty and sincerity. These attitudes reveal the subjectivity of female writers in spontaneity and sincerity. Generosity represents the value of understanding and acceptance towards others and the world, while honesty allows for a broad readership appeal by surpassing cultural boundaries through the expression of genuine emotions.

Moon Imagery and Poetry Emotions: A Corpus-Based Analysis from the Perspective of Conceptual Metaphor

The moon is abundant in imagery, and Chinese poets have expressed various emotions via this imagery. Based on the BLCU Corpus Center (BCC), this paper used the conceptual metaphor framework to analyse the moon imagery and emotions expressed in randomly selected 220 Song Cis. The author counted the frequency of different emotions, grammatical and lexical annotations, and analysed the imagery using specific conceptual metaphors (i.e., structural metaphor, orientation metaphor, ontological metaphor, and container metaphor). The paper also analysed the distribution of different emotions in the poems selected from the corpus using chi-square tests. Through the analysis, the author found that more negative emotions than positive ones were expressed in the selected Cis and that there were more Cis that express personal emotions and fewer that express concerns about society and changing dynasties. This paper draws on the structural, directional and ontological metaphors of conceptual metaphor to analyse the relationship between lexico-grammatical features and emotions expressed in Song Cis. The results revealed that poets used adjectives frequently in expressing different emotions and that more negative emotions were expressed by poets regardless of the dynasties in which those poets lived. This study has implications for future corpus-based analysis of typical imagery in classical Chinese literary works from the perspective of cognitive linguistics.

Study of the Translation of Stephen Owen's Tang Poems

Tang poetry is not only a historical sparkle and a literary treasure of China, but also an important part of world literature. In recent years, many scholars have begun to translate Tang poetry in an attempt to convey the charm and beauty of Tang poetry to the world. The charm of Tang poetry has crossed national boundaries and become international. In the process of enhancing the impact of the culture of Tang poetry throughout the world, translation is inevitable. In the practice of translating Chinese poets into foreign languages, not only Chinese scholars but also overseas sinologists have been involved. One of these overseas sinologists, Stephen Owen, who is a great fan of Chinese Tang poetry, has made a significant contribution to the translation of Tang poetry through his love and dedication to the cause of translation. This paper will analyse Stephen Owen's book-- Traditional Chinese Poetry and Poetics : Symbols of the World to analyse his understanding of Chinese poetry. Then the paper will also examine examples of Stephen Owen's translations of Tang poetry. By analysing his understanding of Chinese poetry, as well as his translation practice, a study of Stephen Owen's translation of Tang poetry will be realized.

I and We in Picun: The Making of Chinese Poet Xiao Hai

Abstract Xiao Hai left home at age fifteen as one of roughly three hundred million domestic migrant workers whose labor has contributed to China's rise since the 1980s. He was a factory worker in a string of cities for a good dozen years: think assembly line, overtime, exploitation, alienation. To counter the pressures of this life, he wrote poetry. In 2016 he settled in Picun, a village on the outskirts of Beijing made famous by an NGO called the Migrant Workers Home. The Home aims to advance migrant workers’ social identification through cultural education. To this end, the migrant worker community works with academic and cultural professionals, media professionals, and members of the state's cultural apparatus. This interaction takes shape in a “shared space” (in Dai Jinhua's words) of cultural production and experience that blurs distinctions of official and unofficial culture and their easy association with political power and resistance, respectively. As a member of the Picun Literature Group who expertly navigates this space, Xiao Hai has become a representative of the Picun “brand,” building a mediagenic public persona in the process. Who is Xiao Hai? What does his writing say? What other actors and factors shape his persona? What can we learn from all this about the nexus of precarious labor and cultural production? The stories of Picun, Xiao Hai, and migrant worker literature subvert simple oppositions of grassroots versus state discourse and unofficial versus official culture. Instead, they foreground the complexity of relations between the individual, community, and the state in China today.

The New Emperor's Clothes

Abstract This article contextualizes the visual intrigue that was created by the fifteenth-century Chinese poet and painter Sun Ai (ca. 1452–1536) when he broke from convention by using indigo blue to color the leaves of a cotton plant and a mulberry branch in a pair of paintings now in the Palace Museum, Beijing. The key to the meaning of this unique coloration lies in the poems inscribed by Shen Zhou (1427–1509) and Qian Renfu (1446–1526), as well as the socioeconomic connotations of silk, cotton, and indigo in those scholars' regions. It is argued that these paintings were made shortly after the Hongzhi emperor (r. 1487–1505) banned the submission of multicolored cotton and silk textiles. Considered in that context, the monochromatic use of indigo not only alluded to what cotton fibers and silkworms would ultimately produce—cloth and silk to be dyed indigo—but also stood in stark contrast to the kaleidoscopic appearance of the clothing banned by Hongzhi. The collaboration between Shen Zhou and Qian Renfu makes the paintings prominent examples of the layered nuance achieved in traditional Chinese painting through the interplay of color and poetry.

王維 시의 은일 공간에 대한 인지시학적 접근

The purpose of this paper is to use cognitive poetics as a perspective for analyzing poems by the renowned Chinese poet Wang Wei(王維), particularly those set against an idyllic backdrop. The paper begins by outlining the cognitive poetics theory as a methodology for analyzing the poems. From the poem of Tao Yuanming, who had a significant influence on Wang Wei's poetry, ｢Returning to the Idyll(歸園田居)｣ was selected as a representative example of the knowledge structure for interpreting the poems. Based on this, the paper analyzes five poems.
 Through the analysis, it was confirmed that the idyllic settings that appear in Wang Wei's poems are shaped as ‘Yinyi(隱逸)’ space that restore the true self. Furthermore, during the cognitive analysis process, it was found that a literary device called “sunset,” which commonly appears in Wang Wei's poems, influenced the interpretation of the poems.

Robert Burns's Poetry During Critical Years in China

Robert Burns never came to China, never read about China, nor wrote about China. But he is known almost by every cultured person in China. It is the Chinese writers and translators who introduced him to China. His poems played different significant roles in different periods during critical years. His love poems helped him enter China; his patriotic poems encouraged Chinese youth to fight for the country's freedom and independence; his folk-song style set example for young Chinese poets to follow; his love for people won the heart of Chinese readers.

British Formalist Aesthetics and Its Literary Writing Practice

British Formalist Aesthetics and Its Literary Writing Practice

Китайская судьба творчества Б. Л. Пастернака (рецепция и переводы)

The article details the background of translation and perception of B. Pasternak’s legacy in China. The translation of B. Pasternak’s works can be divided into three stages: limited circulation of the translations before 1980s, when B. Pasternak gave a narrow circle of Chinese youth a unique opportunity to get acquainted with the outside world; official translations and publications of his works in the last 20 years of the 20th century, when B. Pasternak, and especially his novel "Doctor Zhivago", were read throughout the country; B. Pasternak as a modern classic in the new century, with his poems being translated and reinterpreted by the modern Chinese poets. The work of B. Pasternak is also analyzed in the context of the self-development of the Chinese writers and poets.

The poetics of Borys Lyatoshynsky’s solo singing in terms of timbre personification of the singing voice

The poetics of Borys Lyatoshynsky’s solo singing in terms of timbre personification of the singing voice

Die dialogische Natur des Duizhang

Abstract The Chinese poetic parallelism (Duizhang) as a central aesthetic instrument of classical Chinese poetry is extraordinarily difficult to translate. The meaning and association triggered by its structure must be lost in translation. The aim of the present work is to show, with the helpaw of Mikhail Bakhtin’s dialogic theory, what is actually lost by translating a Duizhang couplet. That depends on how the mechanism of the Duizhang fulfills its aesthetic function. The answer to this question could advance the discussion how to understand Chinese poetics, how to promote poetic translation, and how to enrich the thesaurus of world literature.

POETRY AND UNCOVERING THE MYSTERY OF SOCIAL PROBLEMS: AN ARTS-BASED INQUIRY TO AGING CARE

Abstract This research focuses on a current social welfare problem: unemployment and the loss of employer-based health insurance among non-elderly adults aged 18 to 64. The literature covers this social problem in terms of health status, access to medical care, employed versus unemployed working-age adults, mitigating the risks of unemployment, and loss of health insurance via the Consolidated Omnibus Budget Reconciliation Act of 1985 (COBRA) and the Health Insurance Portability and Accountability Act of 1996 (HIPAA). As good as the findings are, they are methodologically limited by looking at only half the story. This research asks a different question: how might the humanities and arts-based perspective address the social problem? It aims at answering why the employment status is related to health and health insurance. Chinese poetry has a long rich tradition of expressing insights about the inner life since antiquity to the present. These reflections include practice wisdom and keen observations on aging. This poster presents case findings on the use of Chinese poetics to inform aging care in the West. Each case provides discussions on why social welfare system comes up short to solve the problem and how the social welfare system can be effectively changed. Researchers use survey data to compliment Chinese poetic insights about employment status and insurance status to illustrate the correlation between respondents’ health status with versus without employment. Findings are hoped to interpret the role of family as a social unit where it consists in social welfare along with the speculative inquiry of poetry.

Editing as an Act of Intersemiotic Translation in A City of Sadness: From Poetic Language to Cinematic Language

Abstract A City of Sadness (1989) is a groundbreaking Taiwan film classic directed by Hou Hsiao-Hsien. This research paper aims to comment on and contribute to academic discussions of the film by investigating the performance of Chinese poetics in Liao Ching-Song’s editing. Using an inverted sequence of the February 28 Incident as an example, this paper explores the film editor’s cultural discourse of Du Fu’s influence on his own Qi-Yun editing method that he employed to edit the sequence. Through dialogues between the ancient and the contemporary, poetics and narratives, subjectivity and objectivity, as well as the theories of Roman Jakobson, Wai-lim Yip, Pier Paolo Pasolini, and David Bordwell, this paper provides a fresh perspective for re-examining the once harshly criticised method of cinematic ellipses in the film, reaffirming the film’s aesthetic function of allowing audiences to re-access a past obliterated from modern Taiwanese history.

«Милая, добрая девушка ты»: традиция и новаторство в жанре гимна «сун» на примере «Гимна тюльпану» Цзо Фэнь (252-300 гг.)

The aim of the study is to identify the features of the poetics of the song hymn genre in the works of Zuo Fen (252-300) using the example of the “Hymn to the Tulip”. The scientific novelty is due to the fact that for the first time in Russian Sinology, we have performed an interlinear translation of Zuo Fen’s “Hymn to the Tulip” and carried out its literary analysis. Zuo Fen is one of the most prominent poetesses of early medieval China, who, thanks to her talent, managed to successfully “build a career” as a court writer. Like the vast majority of Zuo Fen’s poems, her song hymns are dedicated exclusively to women, which is a new development in this traditional genre. The article presents the characteristics of the song genre from the point of view of traditional Chinese poetics, a brief overview of the genre development, and also provides a detailed analysis of the “Hymn to the Tulip” by Zuo Fen. “Hymn to the Tulip” is carefully analysed in the context of the previous tradition, in particular by comparing it with “Hymn to the Tangerine Tree” by Qu Yuan - the first author’s work in this genre. The article studies in detail the imagery of “Hymn to the Tulip”, its lexical and stylistic features. The following results have been obtained: Zuo Fen creatively interpreted the tradition filling the song genre with new images and endowing it with the didactic function while continuing the tradition of the “Book of Songs” as well as “Chu stanzas” by Qu Yuan (339-278 BC).

Zhonggu wenxue zhong de shi yu shi

Zhonggu wenxue zhong de shi yu shi

Rereading a Poetics of Divination: Oracular Visuality and Iterations of Landscape in Wei-Jin Lyricism

Abstract While Chinese poets of the early medieval period have long been credited with the development of shanshui 山水 (landscape) poetry, the precursors of the prosody they employed merit further scrutiny. This article argues that an ancient poetics of visual augury informed early medieval shanshui lyricism and that similar iterations of nature writing emerged earlier than is often recognized. By tracing the use of the divinatory utterance yangfu 仰俯 (looking up and looking down) in earlier depictions of the natural world, the author reconsiders the visual poetics of later shanshui literature alongside texts that use analogous mantic terminology. This study concludes that, while China's first “nature poets” constructed imagery, lyrics, and personae that appear distinct if not even contradictory to one another, the poets relied on a common visual prosody derived from preestablished mantic approaches to the natural world and its representation. In so doing, this article also further highlights the underappreciated prosodic and ideological indebtedness of later shanshui poets to the authors of the Eastern Han and provides insight into the correlations that ran between diverse forms of linguistic visuality and the poetic explorations of the natural world in early China.

Ezra Pound and Mang Ke (??): Image, Affect, and Consumerism in Western and Chinese Modernism

"Modernist" culture is a complex constellation of cultural phenomena—the qualities of economic goods based upon desire rather than need, aesthetics and experiential values, horizons of possible ways to understand the world, and social formations—that effect and assign value to human experience. The growing imbrication of consumerism with poetics can be seen both in the poetry of the late twentieth-century Chinese poet, Mang Ke (芒克, 1950-) and Ezra Pound (1885–1972) and their respective poetic movements: menglong (朦胧; "misty" or "obscure") poetry in China in the late twentieth century and the poetry of Imagism in the early twentieth century in the West. Juxtaposing these poets and movements shows that the spirit of modernism, once caught within material, historical and economic phenomena, does not belong to any particular culture. Its conjunction of relations among things creates the conditions of sensibilities for emerging affects imbricated with new modalities of feeling, understanding, and social organization.

Ջիդի Մաջիայի չափազանց հարազատ ձայնը

There is a kind of poetry that seems like a ritual, with the writer’s sacred reverence for the word. It is this faith that guides the Chinese poet Jidi Majia in his book ‘My Voice’ (Yerevan Armav, 2017). The translator of the book is the poet Gagik Davtyan. Jidi Majia’s poems have a deep development, based on sincere feelings, and vertical-spatial artistic inclusions appear with rich thoughtful substrata. In the series entitled ‘The Yi Nationality’, the poet depicts the love for the country, the inner relationship between the thinker about the life of his people and his self, and life becomes a cyclical continuity. What is happening, started yesterday and will continue tomorrow. To understand this wholeness, one must often look at oneself from the side. A person becomes gifted because he is not alone, he is the bearer of the heritage of the people descended from the eagle, a link in a complete chain, so often the temporal present-past-future chain system ceases to exist in the eternal white space. Jidi Majia is a devotee of his homeland, bound by an inseparable sacred bond with his native land. He has reached the highest point of the country-motherland consciousness: you do not need to demand anything from the motherland, moreover, you have to give, dedicate yourself, be, and serve the motherland and no reason is needed for that. This is the highest and most spiritual perception of dedication, which the poet also conveys to the Armenian reader.

Critical Terms and Their Resonances in Translation: The Case of Feng

Critical terms in Chinese poetics pose difficulties to those who expect clear definitions and scopes of reference since many such words are not “properly” defined in their first appearances. To make matters worse, they gain new meanings when they are used and re-used in different contexts. By tracing the origins and the further resonances of feng in Chinese poetics, this essay demonstrates the discrepancy between the varied meanings of the word in Chinese and those in the English translations. This essay argues that one should not use their preconceptions to judge other literatures and cultures but to respect this “otherness” by probing the other intellectual traditions to find out their particularities.

Analysis of the Social Network and the Evolution of the Influence of Ancient Chinese Poets

Chinese classical poetry occupies an important position in ancient Chinese literature. However, the existing research on Chinese classical poetry is usually limited to a certain poet or dynasty to analyze its historical and cultural influence and lacks comprehensive research on the process of ancient poetry from the perspective of time and space. We integrate multisource data and information, including poets’ biographies and Chinese classical poetry, to build a relatively complete social network of 41,310 poets. Based on this network, we use natural language processing and social network analysis techniques to research the relationships between poets. For example, how poets of different dynasties and different schools relate to each other. In order to quantitatively analyze the changing process of poets’ influence over a period of time, we propose a new method—time-series entropy weight method—to calculate the dynamic changing process of poets’ influence over time. Besides, we evaluate and discuss the method of calculating the influence of poets by means of propagation dynamics model and verify the effectiveness of the proposed method. Through the study of the complex social relations of poets and the quantification of their influence, we can assist in the study of the development of different schools and styles of ancient poetry. Our work offers a new, data-driven, long-run perspective on the evolution of Chinese poetry for historical researchers and enthusiasts to understand the complex relationships among historical figures.