History Of Chinese Literature Research Articles

Is a New Chinese Literary History Possible? A Critical Investigation of The Cambridge History of Chinese Literature

Is a New Chinese Literary History Possible? A Critical Investigation of The Cambridge History of Chinese Literature

The Revealed and the Hidden: a Reading of The Cambridge History of Chinese Literature

The Revealed and the Hidden: a Reading of The Cambridge History of Chinese Literature

On a Far-Off Journey – a Commentary on the “History of Literary Culture” Approach in The Cambridge History of Chinese Literature

On a Far-Off Journey – a Commentary on the “History of Literary Culture” Approach in The Cambridge History of Chinese Literature

Musings on Literary History Research: The Cambridge History of Chinese Literature as a Case Study

Musings on Literary History Research: The Cambridge History of Chinese Literature as a Case Study

곤암 소세량의 삶과 시세계

This article examined his family line and overall life, focusing on 『Byeongamjip』, 『Gonamjip』, a collection of writings by Kunam So Se-ryang born in Iksan, Jeollabuk-do from the 15th to 16th centuries, summarized and reviewed the two collections before considering his watch. Gonam left a number of Chinese poems while interacting with contemporary Confucian scholars such as Cho Gwan-gjo, Lee Eon-jeok, Kim An-guk, and Kim Jong-guk, but politically, he was not noticed because he lacked clear footprints other than records of his participation in the sutra. In addition, the titles of 『Byeongamjip』 printed in 1748 and 『Gonamjip』 printed in 1929 were different, causing one literary collection to invite two literary collections on the web. Gonam, who was active during the period when Chinese poetry flourished most in the history of Chinese literature, left 176 Chinese poems with 230 titles, First, it is a poem with the tendency of “gwangak-style” created in government life, secondly, it is written in the form of a diary to pay tribute to his father with grain, and thirdly, it can be divided into Gonam's Chinese poems. Based on the ideology of royal politics, Gonam created a Chinese poem to understand Taoism in practical and realistic terms because the spirit of Sarim, who wanted to realize more than supreme rule, was deeply based on it.

Research on the Dissemination and Influence of the English Translations of Journey to the West

The four great Chinese classics possess a high literary standard and profound thinking, representing four great monuments in the history of Chinese literature. Their translation and dissemination abroad are an important part of the national strategy of "Chinese culture going global", and are incorporated into the major policies of national cultural development. However, previous research on English translations has mostly focused on translation techniques, translator's motivation, comparisons with the original text, etc., with a lack of statistical, analytical, and research from the field of communication. Therefore, this project takes the 25 English translations of Wu Cheng'en's novel "Journey to the West" as the research subject, conducts statistical analysis on the reprinting of different translations, overseas reading volume and reader book reviews, magazine book reviews, academic citation times and world library collection quantities, examines the dissemination of different translations in the English-speaking world, and based on the current situation, combines contemporary scholars' views on the dissemination and translation research of "Journey to the West" in English, lays the foundation for proposing improvement strategies for the national "going global" policy, to promote the breadth and depth of Chinese culture's dissemination in the English-speaking world, supporting the spread of Chinese classical culture and thought beyond China's borders.

Hong Kong Poets and the Making of a Sinophone Literary Genre

Hong Kong has always existed on the margins of history. Interestingly, Hong Kong’s liminal status also made it a cosmopolitan space for transcultural exchanges between Chinese and Western worlds throughout the nineteenth and twentieth centuries. Despite its unique position vis-à-vis China and the West, however, Hong Kong has long been dismissed as lacking cultural gravitas. As such, Hong Kong culture finds itself self-consciously confronting a perennial crisis: as the People’s Republic of China gains increasing recognition in the canons of world literature, Hong Kong’s cosmopolitan culture is indirectly side-lined in the process. Meanwhile, Hong Kong literature is routinely underrepresented in the canons of modern Chinese literature. Anthologies of modern Chinese poetry and poetry research, for instance, scarcely include Hong Kong poets, if at all. Given this context, this essay seeks to rearticulate the place of Hong Kong in modern Chinese literary history. More specifically, it traces the emergence of Hong Kong poetry as a cosmopolitan literary genre in the latter half of the twentieth century. The goals are threefold: to historicise the confluence of Chinese and Western literary traditions in the city of Hong Kong; to locate specific intersections of identity, language, and politics in the production of Hong Kong poetry; and to introduce biographical and bibliographical data on notable Hong Kong poets.

Space and Place in Tao Qian’s Tianyuan Poetry

Abstract Tao Qian is one of the central figures in Chinese literary history and the founding father of the so-called tianyuan (farmstead) poetry. Traditionally, Tao’s writings have been read biographically, which has limited our understanding of their deeper structural and experiential dimensions. In this article, I turn my attention to the place-consciousness of his poetry and analyze how he repeatedly creates experiences of belonging in his verses. As a theoretical frame of reference, I utilize the concepts “space” and “place” as they are defined by Yi-Fu Tuan in his study Space and Place. In Tao’s tianyuan poetry, the surrounding, indefinite space turns constantly into a lived and meaningfully organized place which functions as the epicenter of the agrarian lifestyle and worldview. As I seek to demonstrate, a place is not only a physical location but is a complex and multilayered phenomenon that can appear as a means of knowing, a source of truthful living, and even as an event. In Tao’s writings, the experience of place is predominantly positive and empowering but can also at times cause feelings of loss and grief.

New voices in an old form: rethinking the earliest Chinese translations of ‘The Isles of Greece’

ABSTRACT This paper reexamines the first translations of Byron’s ‘The Isles of Greece’ by Liang Qichao, Ma Junwu, Huang Kan and Hu Shi to highlight an essential facet of Chinese literary modernity – namely, the recourse to traditional poetic language and forms, which, though often dismissed as outdated and incapable of representing modern reality in the dominant narratives of Chinese literary history, nonetheless reflects a growing sense of urgency to find a new voice during the late Qing and early Republican periods. With considerable emphasis placed on the poetic form and narrative mode of both the original and its translations, this study facilitates a productive textual investigation into the temporal–spatial paradigm of progression and evolution of early modern Chinese poetry as well as modern Chinese literature from a historical perspective. The findings suggest that the poetic manipulations by the respective translators were in line with the nationalist discourse of the day and that their act of rewriting poetic tradition to integrate the legacy of the past into a new vision of the present established a far-reaching basis for the construction of Chinese literary modernity.

许译中国古典诗词中的转换研究

Classical Chinese poetry has become a brilliant jewel in the history of Chinese literature due to its unique beauty of rhythm and rich ideological connotations, and has become an indispensable part of Chinese civilization. High-quality English translations of poetry can help the world to better understand Chinese literature and gain a more comprehensive understanding of Chinese civilization, thereby promoting cultural exchanges between countries. Translation transformation theory was proposed by John Catford in the 1960s, who divided it into hierarchical transformation and categorical transformation, and systematically expounded the rationale for transformation phenomena in The Linguistic Theory of Translation. Practice has proved that translation transformation theory has important guiding significance for the translation process. This article takes Mr. Xu Yuanchong’s translation of classical Chinese poetry into English as an example to explore the transformation phenomenon in the process of text translation and the guiding significance of translation transformation theory for the translation of classical Chinese poetry, attempting to provide some reference for excellent English translations of traditional Chinese culture.

Written and Unwritten : Rereading the History of Chinese Literature in the 1980s

Written and Unwritten : Rereading the History of Chinese Literature in the 1980s

Chinese Tradition in the World Literature: Review of Zhang Longxi's A History of Chinese Literature

This essay reviews Zhang Longxi’s A History of Chinese Literature. The book covers Chinese literature from its very beginning to modern times. It emphasizes texts’ literary and aesthetic qualities when evaluating and historicizing literature. The book demonstrates the importance of canons in literary history, using Chinese tradition as an example. Therefore, it also brings the Chinese tradition into the broader framework of world literature. Reading Zhang’s concise historical overview of Chinese literature, we can better understand the interplay between literary tradition and the individual talent. Zhang Longxi has skillfully combined the writing of a history of literature with literary criticism in this book. Zhang’s successful attempt informs literary scholars of possible paradigms of compiling literary history in a post-cultural-studies theoretical context.

Writings on Patriotic Theme in Chinese Autobiographical Literature of the Song Dynasty China (960-1279

After the Yuan Army invaded the Central Plain at the end of the Song Dynasty, the Song Empire was broken. Faced with the atmosphere and historical background of the national crisis, the Song scholar-official class generally set up a moral standard and value system of "taking the world as their own duty", regarded loyalty to the country and the emperor as the most righteous path, and made a political choice to consciously transform their identity from scholar-officials to military generals who would save the country from being battered. At the same time, patriotic climax and expression of personality became an inseparable unity. Take Wen tianxiang for example, their loyalty to the Song emperor and patriotism was highly unified with their personality, it has been widely praised by future generations. The outstanding scholars’ writings made a patriotic literature climax at the end of the Song Dynasty. It not only reflected the profound influence of neo-confucianism on the personality construction of the scholar-officials and literary intelligentsia in the Song Dynasty, but also accorded with the orthodox literary thought in the Late Song Dynasty. In their patriotic writings, their noble national integrity of serving the country with death, coupled with their superb talent and creative skills, endowed their works with the epic temperament of shining through the ages. Therefore, the Song scholar-officials’ patriotic writing made the Song Dynasty a highlight moment of patriotic writing in the history of Chinese literature.

Pembelajaran Legenda Tiongkok pada Mahasiswa Pendidikan Bahasa Mandarin di Universitas Negeri Malang melalui Podcast Teatime Chinese

Podcast as learning media are believed to enlarge learners' motivation when learning a foreign language. In Chinese Literature History (CLH) course, the most difficult material faced by students of the Chinese Language Education Study Program at State University of Malang (CLESP UM) is fairy tales and legends. Students said that this theme will be easier to understand if it is presentive in audio form. Therefore, this study aimed to describe the use of the TeaTime Chinese 茶歇中文 [Chá Xiē Zhōngwén] podcast in the CLH course by means of students of the CLESP UM and to describe students responses to the utilization of the podcast media. This research used descriptive qualitative method with observation and questionnaire sheets as instruments. The first instrument was filled out by two observers and the second was filled out by 46 students of CLESP UM class of 2021. The results show that the utilize of the TeaTime Chinese 茶歇中文 [Chá Xiē Zhōngwén] podcast in the CLH course run well. Moreover, the questionnaire results depict that this podcast gain positive responses from students. They are able to understand the content of the podcast easier, find intrinsic and extrinsic elements in the story, and make cultural connections between China and Indonesia through the applied media. They also stated that the use of podcast can boost the learning atmosphere.

시선집 『靑丘詩鈔』의 편찬과 문학사적 의미

The main purpose of the present study is to elucidate the background and process in the compilation of selected poems, Cheonggusicho published by the Japanese Government-General of Joseon and its meaning in Korean Chinese literature history. Because Kim, Taejun made a diachronic study of Korean Chinese literature history to describe ancient parts of Joseon Chinese Literature History by using a lot of Cheonggusicho.
 The Competitive Exhibition of Local Products for the Fifth Anniversary of New Politics’ held by the Japanese Government-General of Joseon provided an occasion to publish Cheonggusicho. It was held to commemorate the fifth year of Japanese rule of Joseon and to make Joseon merged as a colony of Japan.
 Though Cheonggusicho was published to commemorate the fifth year of Japanese rule of Joseon, it was not a local product. It seems that its aim was for some Japanese to enjoy Korean folk culture, due to the words in the preface, “to give the books printed by the typographic culture of Joseon to the ‘persons interested in the same subject’”. It is doubtful why Cheonggusicho was taken to Joseon Chinese Literature History.
 Cheonggusicho consists of 176 poems stemmed from Gojoseon, the first Korean kingdom, to the Goryeo dynasty. Over 130 poems in it were recorded on Dongmunseon. The poems representing each historical era are arranged in chronological order with a poem a poet. It is different from other anthologies. So the origin of Joseon poetry dates back to the earlier era.
 According to the preface of Joseon Chinese Literature History, it does not belong to Chinese Literature because it is the translated Chinese character version of native Korean words. At that time when Kim, Taejun wrote Joseon Chinese Literature History, Samgukyusa(Memorabilia of the Three Kingdoms) began to spread and the literary approach to Hyangga(old Korean folk songs), Korean myths and folktales emerged in the academy. That Chinese Literature in Korea should belong to Joseon Chinese Literature History was under discussion.
 In conclusion, though Cheonggusicho was published for some Japanese to enjoy Korean folk culture, it is a clue to spread the origin of old Korean literature by Kim, Taejun at that time when the concept of literature began to change.

The Buddhist philosophic origins of the literary xingling theory

The literary theory of xingling (“soul”) is an early category in the history of Chinese literature, which was first proposed by the famed Buddhist literati Fan Tai, Xie Lingyun, Yan Yanzhi, He Shangzhi and other figures during the Southern Dynasties, Liu and Song periods, and broadly applied by figures such as Liu Xie, Zhong Rong and Yu Xin to esthetic theory and poetry criticism. There are chiefly two aspects to the origins of the literary theory of xingling in Buddhist philosophy: The first is the idea of foxing (“Buddhatā, Buddha-nature”) within teachings on nirvana in Mahāyāna Buddhism, and the second is the idea of shishen (“vijñāna, consciousness”) in Hīnayāna Buddhism. After being introduced into China, the theories of “Buddha-nature” and “consciousness” were ingeniously combined with the concepts of guishen (“supernatural beings”) and linghun (“spirit”) in the native Chinese tradition. “Buddha-nature,” “consciousness,” and shenling (“divinity”) were organically integrated, forming the basic content of the Buddhist theory of xingling, which referred not only to a constant and immutable, supremely powerful, and mystical force intrinsically possessed by all living creatures (sentient beings), but also to a foundational energy that filled the cosmos and obliterated differences. This provided a profound and substantial philosophical basis for the literary theory of xingling by Liu Xie, Zhong Rong, Yu Xin and other figures, imbuing xingling with the status and power of a universal center with supreme sublimity and matchless energy.

Literary Debts in Tang China

This article describes three concepts of debt that were prominent in the literary world of Tang China – money, merit, and meter – and makes a case for their fungibility in certain contexts. The relationship between the three was more than just metaphoric – all were forms of currency with exchange value within their own spheres. In some cases, debts of money, merit, and meter could be repaid not just in kind, but also with one of the other forms of currency. An understanding of these interconnected systems leads to a deeper understanding of one aspect of Chinese literary history – namely, the importance of Buddhism in the Tang literary world – and prompts questions that shed new light on its dynamics.

秦簡文字에 나타난 異體字 考察

In Shuihudi QinJian(睡虎地秦簡), large amounts of documents on loan characters have been preserved, which is an important proof of the study of ancient pronunciation. And it was written as transitional writing style between seal scripts(篆书) and official scripts(隷书), therefore, it has filled up a blank in the development of Chinese characters, allowing all to know about how it looks like and it also has been known that Official Scripts got its initial form, as a matter of fact, from Qin Dynasty and in the meantime, some mistaken concepts concerning Qin official scripts have been corrected, which is of great significance in the history of Chinese literature.
 However, the relationship between sound and meaning is reflected in characters of same source; whereas the relationship between shape and meaning is reflected in the variant characters(異體字) reflect the relationship among shape, sound and meaning.
 Large number of Qin simplified characters, the shape of which is different from Xiao Zhuan(小篆) but the same shape with 籒文, 古文(ancient characters), still retain lots of shape and meaning of ancient characters, therefore, there is proof that Li Shu(隸書) has not been derived from Xiao Zhuan(小篆), however, they got derivatives from ancient characters originated no later than Xiao Zhuan, and both the ancient shape and meaning for Chinese characters was passed down by means of Shuihudi Qinjian(睡虎地秦簡) that help with the explanation and reading(校读) of ancient characters and also ancient books, which sufficiently demonstrates that without the study of the characters of QinJian characters in Shuihudi, there is no way to understand the relationship among the form, sound and meaning. Strictly speaking, directly comparing Shuo Wen(说文) with Yin Zhou characters could be a jumping study, thus, the conclusion would be imperpect.
 As has been mentioned above, Shuihudi QinJian(睡虎地秦簡) has maintained plenty of documents of 異體字 which is an important evidence for the study of ancient sounds. lt is becauce 異體字 has been written by means of transitional style of writing between 篆隶, it has filled up an important blank during the process of Chinese characters, making it known that what it looked like and 隸書, as a matter of fact, had its initial formation in time of Warring Period. In addition, some previous wrong concepts have been corrected which is of significance in the history of Chinese literature.

Wang Anshi and Song Poetic Culture

Wang Anshi and Song Poetic Culture

Contributors

Previous article FreeContributorsPDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinked InRedditEmailQR Code SectionsMoreShadi Bartsch is the Helen A. Regenstein Professor of Classics at the University of Chicago and Director of the Institute on the Formation of Knowledge. She has written or edited some twelve books on classical antiquity and, recently, several essays on the Chinese reception of the Western classical tradition. Her new translation of Vergil’s Aeneid came out in 2022 and her new study, Plato Goes to China, was published by Princeton University Press in January 2022.Jue Hou is a PhD Candidate in Social Thought and Comparative Literature at the University of Chicago. His research interests include translation studies, East Asian and European literary modernisms, and Chinese and Japanese intellectual history.Huang Yang is Professor and Chair of the History Department, Fudan University, and President of the Chinese Society for the Study of Ancient World History. His research interest is Greek history. Among the books he published are Studies in Politics and Society in Ancient Greece (2014); A Study on Land Tenure in Ancient Greece (1995); and An Introductory Guide to Research in Greek History (co-authored with Yan Shaoxiang, 2nd ed., 2021), all in Chinese. His latest publications also include “The Prehistory of Western Political Science: Political Thought in Greece in the Fifth Century BC” (2020, in Chinese) and “The Invention of the ‘Barbarian’ and Ethnic Identity in Early Greece and China” (2021, in English). His current project is a comparative study of Greek and Chinese ideas of the “barbarian.”Nie Minli is Professor of Philosophy, Renmin University of China. Professor Nie’s research interests focus on ancient Greek philosophy, especially Plato and Aristotle. He was a visiting scholar at the University of Crete, Greece, during 2005–6. His important works include Being and Substance: A Study of Aristotle’s Metaphysics Zeta (Z 1–9) (2011); Substance and Form: A Study of Aristotle’s Metaphysics Zeta (Z 10–17) (2016); and The Origins of Western Thought (2017), all published in Chinese and by Chinese publishing companies.Leihua Weng is Chinese Endowed Assistant Professor of Chinese Language and Literature at Kalamazoo College. She is interested in traditions, including the formations, transformation, and transmission of traditions, as well as their modern receptions in China and in the West. She is finishing a book project on reading Plato and Leo Strauss in China.Zhang Longxi is Chair Professor of Comparative Literature and Translation at City University of Hong Kong and an Honorary President of the International Comparative Literature Association. A leading scholar in East-West cross-cultural studies, he has published more than twenty books and many articles in English and Chinese, and his major book publications in English include The Tao and the Logos: Literary Hermeneutics, East and West (1992); Mighty Opposites: From Dichotomies to Differences in the Comparative Study of China (1998); Allegoresis: Reading Canonical Literature East and West (2005); Unexpected Affinities: Reading across Cultures (2007); From Comparison to World Literature (2016); and, most recently, A History of Chinese Literature (2023).Yiqun Zhou is Associate Professor of East Asian Languages and Cultures and, by courtesy, of Classics, at Stanford University. Her research interests include the comparative study of ancient societies and the reception of classical antiquity in modern China. She is the author of Festivals, Feasts, and Gender Relations in Ancient China and Greece, published by Cambridge University Press. Previous article DetailsFiguresReferencesCited by KNOW: A Journal on the Formation of Knowledge Volume 6, Number 2Fall 2022The Complexities of Inheritance: Contemporary Chinese Readings of Antiquity East and West Article DOIhttps://doi.org/10.1086/723567 © 2022 The University of Chicago. All rights reserved.PDF download Crossref reports no articles citing this article.