Li Qingzhao Research Articles

The Artistic Characteristics and Singing Analysis of the Ancient Poetry Art Song Ru Meng Ling

Art songs based on classical Chinese poetry began to emerge in the 1920s and have since become a common and significant genre in contemporary Chinese vocal music. This genre uniquely combines Western compositional techniques with ancient Chinese poetry, resulting in songs that feature piano accompaniments and melodies that align with the emotional trajectory of the lyrics while also embedding the deep cultural heritage of China. These songs embody the enduring beauty of Chinese culture, with long, melodious tunes and a timeless ancient charm. Whether in the process of tracing their origins, studying them, or performing them, people are invariably moved by their cultural significance, thereby enhancing cultural identity and confidence. This genre adds a vibrant hue to the development of modern music. This paper focuses on Li Qingzhao's poem "Like a Dream: Often Remembering the Sunset at the Creek Pavilion" and the art song "Like a Dream" composed by Wang Chao. Using literature research, score analysis, and inductive methods, the paper explores and reflects on the song from two perspectives: its artistic characteristics and vocal performance analysis.

A Study on the Image of Plants in the Works of Heo Nanseolheon and Li Qingzhao

A Study on the Image of Plants in the Works of Heo Nanseolheon and Li Qingzhao

Ronald Egan’s Research on the History of the Northern Song Ci Poetry from a Gender Perspective

Ronald C. Egan, a renowned American sinologist, is best known for his accurate English translations, exquisite readings, and innovative perspectives on the aesthetic ideas and pursuits of ci poets such as Ouyang Xiu, Su Shi, and Li Qingzhao, as well as the scholar-official group of the Northern Song dynasty. However, through his longitudinal study of specific ci poets, he also shows a unique understanding of the development and evolution of ci lyric poetry in the Northern Song. An integrated analysis of Egan’s scattered articles on Northern Song ci poetry indicates that gender is key to his understanding of the evolution of ci in the Northern Song. On this basis, Egan has conducted in-depth research on three aspects: the gender perspective of the lyrical protagonists described by ci poets; changes in the form, content, and patterns of writing ci poetry; and new phenomena in ci criticism. His research further enriches the details of the evolution of Northern Song ci poetry and expands its historical research horizon.

An Analysis of English Translation of Li Qingzhao's Ci Poetry with Feminist Translation Theory

Feminist translation theory has a long history and has been developed and perfected in the translation practice of many works. This section explains feminist translation theory and also explains the translation perspective of "bisexual homology" that belongs to the feminist translation methodology. This essay proposed to discuss a famous poet in Song Dynasty, who is Li Qingzhao. Her poems reflect the characteristics of the Song Dynasty women's euphemisms and shallow feelings, and reflect women's keen intuition. In this paper, it aims to analyze how a variety of translators express feminism in translated texts. It is obvious that translators always use preface, footnoting, hijacking and supplement to represent feminism. After the analysis of translated text, the strategies that used in these texts can be an effective and efficient method to make the readers have a deeper and more clear understanding of some traditional Chinese stuffs in the these poems and the representing in feminism.

The aesthetic art of graceful and restrained poetic genre—Take Li Qingzhao as an example

Ancient Chinese aesthetic thought is rich in content and has distinct national characteristics, and aesthetic art is one of the highlights of the glorious milestones. Generally speaking, aesthetic art mainly refers to the concentrated summary and reflection of human aesthetic activities, aesthetic consciousness and aesthetic concepts. It has certain subjectivity and induction, which is used by most aesthetic experts, and is the most common law of human aesthetic activities. In this paper, we analyze the description of the school, and summarize the theory of the creation of the school, so as to master the correct interpretation of the poems, so as to show more beautiful and really good things.

Towards the Description of the Cultural Images Translation of Li Qingzhao's: A Study of the Medio – Translatology

This ground-breaking study rebuts the common belief that a quantitative method cannot be successfully applied to medieval Chinese poetry. Because of this widespread skepticism, recent inquiries on Chinese poetry have been mostly confined to translation procedures and solely hermeneutical readings of pre-existing comments. This study has strong insights into the translation of images using Medio-translatology approach. The data has been collected through cultural image words in Li Qingzhao’sCi. These words have strong base and provided the clear insights to the user (Cavallo, 2016).After that the analysis has been conducted by taking different word phrases and translation has been done.

Gender Reconstruction in Chinese Ci When Translated into English

This paper aims to study how gender in ci (Song lyrics) written by Li Qingzhao in the Song Dynasty is reconstructed in the process of translation. By analyzing the discourse practice of gender construction in traditional Chinese culture and its reconstruction in translation, it is hoped that different powers and values will be revealed through Critical Discourse Analysis (CDA) and Systemic Functional Linguistics (SFL). It is found that the reconstruction of gender in Chinese ci-a high-context original text-is an attempt to connect genders with social practices and also a gender doing performance negotiated between different power, and value systems.

A Contrastive Study on English Translation of LI Qingzhao's Shengshengman under the Evaluation Theory attitude System

Evaluation theory is an extension and development of systematic functional linguistics. The attitude system is the core part, which contains three subsystems: emotion, judgment and appreciation. From the perspective of evaluation theory and the attitude system using evaluation theory, this paper analyzes the realization of the four translations of Li Qingzhao's masterpiece "Shengshengman" at the attitude level, discusses how to realize its evaluation significance through comparison, tries to identify the advantages and disadvantages of translation in relevant processing from this perspective, and brings enlightenment to translation practice through this means, and improves the applicability of evaluation theory in translation research and practice. Therefore, from the perspective of evaluation system, it is concluded that it provides better evaluation standards and a more objective theoretical framework for translation system and practice to express translation.

RECONSTRUCTION OF POETIC FUNCTIONAL CONTEXT – TAKING THE ENGLISH TRANSLATION OF LI QINGZHAO'S “SLOW SLOW SONG” AS AN EXAMPLE

Based on Halliday’s systemic functional context theory, this paper makes a contrastive analysis of the transitivity process, register variants, and text genre of the two English translations of Li Qingzhao’s “Slow Slow Song” from the three dimensions of cultural context, situational context, and co-text to explore the characteristics of the language expressions of the two translations. It is found that there are differences in the process of transitivity, register variants, and discourse genre between the two translations and the original text. Based on the language use characteristics of the two translations, this paper further discusses the English translation strategies of Song Ci from the three levels of discourse cohesion, meaning interpretation, and genre selection to provide a reference for the translation practice of Song Ci.

On the Much-Debated Remarriage Case of Li Qingzhao

This article examines Li Qingzhao’s much-debated remarriage case. Rumor had it that the preeminent female Ci lyric writer once remarried to a corrupt minor official Zhang Ruzhou after her husband’s death. However, by closely studying Li’s biographical records and evidence unearthed by Qing textual researchers, we argue that Qingzhao was attacked primarily because of her satirical literary criticism; she was simply ill-tolerated by a male-dominant society.

The Genesis of Yi’an Style (易安體) in Medieval Chinese Poetry

This article deals with the genesis of Yi’an style (易安體), the poetic style of the outstanding Chinese female poet of the Song dynasty Li Qingzhao (李清照, 1084–1155?). The empirical material for this research is her extant early 22 ci (1098–1108). The first part of the article briefly discusses the specific features of ci genre, which reached its heyday during the Song dynasty (宋朝, 960–1279). The second part examines the peculiar features of Li Qingzhao’s early ci, which indicate her pushing the limits of writing traditional Chinese poetry. These features are 1) modification of the classical themes and images; 2) introduction of love and erotic ci from a female perspective; 3) experiments with the composition of ci and their rhythmic and melodic structure. She introduced the lyric element into conventional ci, composing the poems with strong personal engagement. Her genre innovations lie in overcoming the limits and conventions of the genre, legitimating the Self of a poet in her distinctive personal style – Yi’an style.

POETRY OF RUSSIAN AND CHINESE FEMALE POETS A.P. BUNINA AND LI QINGZHAO: CONVERGENCES AND DIFFERENCES

This article is devoted to the analysis of typological similarities and differences in the works of Russian and Chinese poetesses using the example of Anna Bunina and Li Qingzhao. These poetesses weren’t contemporaries, their lives fell on different historical eras, but the work of both became the starting point for women's literature in their countries, and this is the first feature that unites them. The article gives a brief description of the creativity of both poetesses, identifies a range of similar topics and common features of their artistic approaches. It is noted that both poetesses for the first time made an attempt to comprehend the essence of women's poetry and the essence of poetry in general, and their conclusions turn out to be surprisingly similar, despite the difference in cultures and historical eras to which they belonged.

A Study on the Female Consciousness in Chinese Classical Literature: Focusing on the Three Pieces of Ci Written by Li Qingzhaos

In Chinese classical literature, female consciousness means that authors can restore the true, natural and vivid state of female in their description. Li Qingzhao's three pieces of ci in different periods all portray the image of an independent female, who expresses the feelings of complaint and sorrow. By reviewing the development of female images and comparing the female images in ci written by male and female writers in the Song Dynasty, it is found that female consciousness always exists in Chinese classical literature, though it has never become the mainstream.

On the Fighting Spirit in Li Qingzhao’s“Slow Slow Tune”

Li Qingzhao is the main representative of the graceful Ci school, but she has a kind of bold and masculine character in her personality. This kind of temperament and style is displayed in her poems and in her words. This paper analyzes Li Qingzhao’s struggle in “Slow Slow Tune” and reveals the truth that personal destiny is closely connected with the destiny of the nation.

A Comparative Analysis of Metaphors Involving Chrysanthemums

Metaphor plays a crucial role in poems and literature. Against the background of the poetess Li Qingzhao's frustrated life and unexpected emotional obstacles, and through the study of the images of chrysanthemum in a part of her poems, the essay analyzes Chrysanthemum from the perspective of Bixing and the cognitive perspective of the conceptual metaphor, which display the changes of the concepts of “chrysanthemum” in Li Qingzhao's poems and the influence of the “chrysanthemum” in her poems on “chrysanthemum” original image.

Li Qingzhao and A.P. Bunina: the complicated fates of women's poetry

Despite the fact that Li Qingzhao and Anna Petrovna Bunina were not related either geographically or temporally, contemporaries called them Chinese and Russian Sappho. The reason for this was the consonance of their poems to the lyrics of the ancient Greek poetess, the sensuality of the poems they wrote, as well as their independent position, not typical for women of their eras. This article is devoted to comparing the biographies of two outstanding poetesses, each of whom is considered the founder of women's poetry in her own country. Despite the fame of both poetesses and their status as pioneers of women's literature, their work is compared almost for the first time. In addition to their high social status and good education, both poetesses are connected by the fact that their destinies violated the traditional canon of women's behavior: instead of patriarchal family life, they chose self-realization in creativity. The exclusivity of their position, which put them in the focus of public attention and made them pariahs in their own way, on the other hand, gave freedom of choice of issues and artistic language. This allowed them to become the founders of women's poetry, to develop their own artistic manner. It is this circumstance that typologically brings together the work of two poetesses, separated from each other by eight centuries. The subject matter of their work is surprisingly similar, but the imagery is completely different, because it is conditioned by the literary tradition of each country.

Reality and Fiction: Li Qingzhao and Emily Dickinson’s Love Poems

Reality and Fiction: Li Qingzhao and Emily Dickinson’s Love Poems

Li Qingzhao and Ecofeminism: Body and Language

Li Qingzhao and Ecofeminism: Body and Language

The Thinking Model of English Translations of Chinese Classic Poetry

The thinking model of English translations of Chinese classic poetry is an unsettled issue both in theory and in practice. Based on different English translation versions of Ru Meng Ling by Li Qingzhao this research explores the thinking model and its transcendence and transform in Chinese classic poetry translation, concludes three thinking model: conceptual thinking model, imagistic thinking model and imaginary thinking model.

Italian reception of Li Qingzhao’s lyrics

Italian reception of Li Qingzhao’s lyrics