Song Poetry Research Articles

詩、畫、禪與蘇軾、黄庭堅詠竹題畫研究———以墨竹題詠與禪趣、比德、興寄爲核心

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
 會通化成，爲宋型文化特色之一；題詠繪畫，爲宋代詩畫之岀位之思；詩畫一律之觀念，至北宋元祐年間已流行應用。宋代士人習染佛禪，以水墨作畫，往往滲透於其中；詩人題詠墨畫，亦以禪爲詩，得游戲之三昧。竹在宋代，既名列歲寒三友，又比德爲四君子之一。竹之形象，中空、有節、長青、參天、堅勁、柔韌，故引發士人喜愛，或見之歌詠，或形之畫圖。尤其竹之本固、性直、心空、節貞諸德操，詠竹詩、墨竹畫往往多所體現。本文綜考北宋蘇軾、黄庭堅之詠竹詩篇及墨竹題詠，作爲研究文本。蘇軾有墨竹、水墨山水，以及枯木之詠。黄庭堅亦作墨竹11首，題詠横竹、偃竹、竹石、畫竹、緑筠、風雨竹、竹石牧牛之倫若干首。詩人或以比德，或以興寄，詠物之妙，蔚爲文人畫之墨戲，多體現爲游戲三昧，蓋合詩、畫、禪而一之。詩、畫、禪三者之跨際會通，新奇組合，形成詠竹、墨竹之一大特色。清吴之振《宋詩鈔》引曹學佺序宋詩之言，謂宋詩特色爲“取材廣，而命意深”，宋人之水墨畫題詠可見之。
 One typical aspect of the zeitgeist of the Song dynasty is “comprehension and transformation.” The inscription of poems on paintings was a prominent trend that represents the unique aesthetics of the time. The concept that poetry and painting should be treated as the same art type was prevalent from the Yuanyou reign-period (1086-1094) of the Northern Song. The ink and wash paintings by literati in the Song, who lived in a Chan Buddhist culture, always displayed this aesthetic quality. Likewise, poets also found profound delights in their somewhat playful Chan Buddhist style inscription poems on these paintings.
 In the Song, bamboo was regarded as one of “the three friends of wintertime” and one of “the four gentlemen of high morality.” Literati were fond of bamboo because its image was laden with symbolic meanings: the hollowness inside represented generosity; the nodes referred to integrity; its evergreen nature symbolized longevity; towering toward the sky reflected aspiration; strength showed perseverance; and softness and toughness reflected flexibility. Therefore, bamboo became a common object in poetry and paintings which focused mainly on the plant’s virtuous qualities, such as: having a strong footing, being upright in nature, having a broad mind, and being chaste.
 The present article is a study of inscription poems on paintings of bamboo written respectively by Su Shi (1037-1101) and Huang Tingjian (1045-1105). Su wrote poems on ink bamboo, ink and wash landscape paintings, and paintings of withered trees. Huang also wrote eleven poems on ink and wash bamboo, and some others on horizontal bamboo, reposing bamboo, bamboo and stone, painting bamboo, green bamboo, bamboo amidst wind and rain, and other related subjects such as bamboo, rocks, and pasturing cattle. These poems are metaphors for moral character, or a means by which the poet expresses certain feelings. The wondrous description is combined with painting skills and reaches a highly profound level of aesthetic appeal, which marks the achievement of the unification of poetry, painting, and Chan Buddhism. The interdisciplinary products bear a distinguished feature. In his Hand-copied Song Poems, Wu Zhizhen (1640-1717) of the Qing dynasty quotes Cao Xuequan’s (1574-1647) “Preface to Song Poetry”: the main characteristics of Song poetry include “a wide range of themes and their profound meanings.” These characteristics are reflected in Song inscription poems on ink and wash paintings.

Similarities and dissimilarities between poems and song lyrics

Developments around the Afrikaans ‘songs for listening’ in the late 1970s and early 1980s, when the term gained prominence in the art of song, initiated a ‘rapprochement’ between the Afrikaans poetry and song systems which put the differentiating characteristics of poems and song lyrics, previously considered to be clearly distinguishable, in question. The consequent need for reflection on the existence, or not, of fundamental differences between the two text types inspired the research for this article (a critical study of relevant local and international sources; an application of findings to examples of Afrikaans songs and poetry). Firstly, emphasis is placed on the shared history and the continued relationship between the two genres. The difference in intended mediums of presentation – oral performance versus print edition – is identified as the most fundamental distinction between song texts and poetry. The prominent utilisation of visual-figurative prosodic elements in poetry, that is, next to the rythmic-sonic elements which it has in common with song texts, was subsequently found to be a decisive distinction, particularly since the era of high modernism with its treasure of free verse. This entails a development corresponding to what mediologist Debray described as a cultural shift from the logospheric to the graphospheric era. Finally, mention is made of how the dynamic growth of the electronic media in the current videospheric era yielded new problematical distinctions between lyrics and poetry. The scope of this article, however, does not allow further investigation regarding the latter.

American Art Song and American Poetry (2nd edition)

American Art Song and American Poetry (2nd edition)

LENGUAJE ESPECIAL EN CANTOS-POESÍA SHOSHONE

Jon Dayley analiza el lenguaje utilizado en los cantos-poesía o newe hupia de los shoshone,que contrasta con el lenguaje cotidiano shoshone, y muestra cómo se distingue el primero en cuantoa la morfología, sintaxis, semántica y pragmática, además de poseer un léxico consistente en palabrasarcaicas u obscuras. El lenguaje de los cantos también incluye una serie de vocablos utilizados paracompletar el ritmo y cadencia de los poemas y para establecer el registro especial de los eventos en quese cantan. Otros procesos que describe, ilustrados cada uno con ejemplos de los cantos, incluyen, porejemplo, el reemplazo de la primera de dos consonantes idénticas en un grupo consonántico con unanasal, el alargamiento vocálico, la simplifi cación de consonantes geminadas, la pérdida del oclusivoglotal y la introducción de semivocales para romper grupos vocálicos. El autor señala que los cambiosen la pronunciación se utilizan para hacer más melodiosas y rítmicas las palabras de los cantos. Alteracionesgramaticales identifi cadas incluyen la reducción de la sintaxis a las palabras de más contenidosemántico por la eliminación de las terminaciones de infl exión y las partículas sintácticas. Dayley porotro lado describe la situación en que algunos de los cantos-poesía, aparentemente por su naturalezaarcaica, se interpretan de maneras completamente distintas por distintos hablantes nativos. Dos versionesy traducciones del mismo canto, Oyon Tempi ‘Toda piedra’ por Earl Crum, se incluyen al fi nal, y ladiferencia entre las dos interpretaciones es muy marcada. Dayley concluye su análisis con una llamadaa otros estudiosos de lenguas amerindias a que consideren la existencia de contrastes, como los que élha identifi cado, entre el lenguaje de los cantos shoshoni y el lenguaje ordinario, ya que es un aspectoetnopoético importante que en general no se ha descrito en otros estudios.

ПОЛЬСЬКЕ ПОЕТИЧНО-ПІСЕННЕ СЛОВО В ХАРКОВІ (…ІМПРЕСІЯ-СПОМИН З НЕДАВНІХ ЛІТ)

The article focuses on the investigation of the origin of Polish poetic word in Kharkiv — one of the biggest Ukrainian cities. The main emphasis is laid upon composing popular Polish song poetry by Polish singers in the 80s of the ХХth century. Polish poetic-song word served as a spiritual link between the Slavs neighbours, it favoured the formation of the inner protest against humiliation of personality.

Highland Emigration and the Transformation of Nostalgia in Romantic Poetry

This essay examines Scottish Highlanders as both objects of and participants in British Romanticism by bringing into conversation Gaelic song and English-language poetry about Highland emigration. Together, Gaelic song and English-language poetry reveal Highland emigration's role in the late eighteenth- and early nineteenth-century transformation of nostalgia from pathology to sentiment. By tracing representations of emigration through Gaelic songs by John MacCodrum, Calum Bàn MacMhannain and John MacDonald, and English-language poetry by Anne Grant and Felicia Hemans, the essay shows how nostalgia emerged from the specific context of the Highland Clearances to become a more generalized Romantic condition. The essay then turns to some of Wordsworth's poems inspired by his 1803 and 1831 visits to Scotland to argue that although the Clearances seem to have made little impact on “high” Romanticism, the nostalgia that they represented not only permeated English-language poetic representations of Highlands and Highlanders but may also have been absorbed by Gaelic-speaking poets. In a kind of literary-historical feedback loop, Gaelic poets' depictions of emigration were influenced by English-language representations of Gaelic emigration songs.

Troubadour Song as Performance: A Context for Guiraut Riquier’s “Pus sabers no’m val ni sens”

The songs of the troubadours present the fundamental challenge of understanding poetry as music. Although the Old Occitan lyric corpus was a sung tradition from its origins in the twelfth century, we do not know exactly how it sounded; the poetry and musical notation of troubadour song are only skeletal vestiges awaiting completion by the imagination. Miniature biographies of the troubadours known as vidas, which combine elements of fact and fiction, describe some poets as performers who sang and played instruments, while others apparently did not. (1) Most manuscript sources of troubadour song lack musical notation; the few chansonniers that do include it provide the pitches and text underlay for one strophe of melody, with the remaining strophes of text laid out in prose format. The absence of music from so much of the written transmission of the corpus can be attributed to factors such as predominantly oral transmission of the melodies (resulting in their loss as the tradition waned) and the circumstances of compilation, which favored the presentation of the songs as poems. (2) The repertory travelled in the thirteenth century to northern France, Italy, the Iberian peninsula and beyond through the movement of poets, singers, patrons, and not least, the formation of the manuscript tradition. As Marisa Galvez notes, the very concept of a troubadour corpus as an authorial tradition emerged from the chansonniers. The constitution of poetic personae in these manuscripts stands in for the construction of poetic agency and voice that would have occurred in performance (2012: 59-64). Many nonmusical, nonverbal components of performance that are now irrecoverable were as much part of the song as the melody and text, and were probably embedded in its early reception: the performers' appearance and gestures, their relationship to the audience, their present or absent patrons. (3) The framework of performance and reception takes on particular significance in the analysis of Guiraut Riquier's Pus no'm val ni sens, a song whose unique structure invites close attention to its novel combination of music and text. Studies of Riquier (c. 1230-c. 1300) note his innovative assemblage of his songs into a self-referential in chronological sequence (Bossy 1991; Bertolucci Pizzorusso 1978, 1994). As the only coherently ordered autobiographical collection created by a troubadour, Riquier's book emblematizes the performance of the self that is central to the troubadour tradition. (4) In the context of Riquier's book, Pus sabers performs the construction of a persona through lyric conventions and the deployment of the troubadour's agency as a historical subject; it also exploits the possibilities of musical and poetic form to the fullest, drawing attention to the roles of singers, listeners, and readers in the performance of the song. Although oral performance is often imputed an unquestioned primacy, literate modes of reception (as attested by the chansonniers) also had a formative role in the tradition that Riquier inherited (Gaunt 2005; Haines 2004). Audition, reading, and singing are overlapping actions: singer and audience may both know the song aurally, and a reader must reconstruct a song while viewing its written record on the manuscript page or in modern transcription. (5) As most sources of troubadour poetry do not contain melodies, their musical dimension must be conjured from memory or the imagination. Even songs with preserved melodies are typically notated only for the first strophe of the text; thereafter, the relationship between melody and text must be reconstructed for each successive strophe. Joining melody to text using the manuscript page is itself an act of performance that establishes a verbal and sonic profile. A modern singer using the manuscript record of a troubadour song must determine the pronunciation of words, the duration of syllables, the notes to sing to each syllable (when the manuscript leaves doubts about this juncture) and the length of each note. …

江湜游閩和福建詩風轉型

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
 江湜是晚清重要詩人，他的詩學和詩風在晚清民國間產生了深遠影響。不過，由于客觀原因，目前學界對其關注尚不充分。本文分析其詩學形成的過程，并考察其游歷福建時與福建詩人的互動關係，探討其對福建詩學從宗唐轉型宗宋的重要作用，以期對目前清代後期詩學研究中一些尚未涉及的問題進行回答。Jiang Shi (1818-1886) was an important poet of the late Qing (1849-1911). His poetics and poetry were profoundly influential during the late Qing and early Republic periods. However, for whatever reason, inadequate attention has been paid to him in recent scholarship. The present essay is an analysis of the origin and development of his poetics. It also examines his association and interaction with a number of local poets on his journey to Fujian province and explores Jiang’s significant role in a poetic reform, which initiated a shift from the veneration of Tang poetry to Song poetry. This essay also aims to provide solutions to some unanswered questions concerning late Qing poetics in current scholarship.

The Study on the Way of Narration and Genre Characteristics of Naong Gasa and Chinese Poetry Song

The Study on the Way of Narration and Genre Characteristics of Naong Gasa and Chinese Poetry Song

Textgattungen und Musikgattungen beim Mönch von Salzburg und bei Oswald von Wolkenstein

The Mönch von Salzburg and Oswald von Wolkenstein were deeply rooted in German traditions of song poetry, the Mönch also in the Latin songs of the church, but both were also open for available elements of the more advanced French and Italian musical culture. The following study attempts a survey of typical relations between musical forms, metrical patterns and literary semantics in the monodic and polyphonic songs of both poets.

Song Poetry and the ‘Early Modern Era’ of China

Song Poetry and the ‘Early Modern Era’ of China

Aspects de la Nuit dans L'œuvre Poétique de Théodore de Banville

The night sky, a recurrent image in Banville's complete poetic oeuvre, is rarely a metaphor for death or blindness, featuring much more frequently as a source of light. While his numerous sketches of Paris show us life on the boulevards and in the theatres, cafés and restaurants beneath the artificial light of the streetlamps, the poet alone wtaches the stars. Indeed, the stars form the centre of a vast interpretative network comprising Greco-Latin mythology, the Judaeo-Christian religions, Platonic philosophy, Hesiod's Theogony, paganism and Dante's Divine Comedy. They feature as a divine gaze, and their song of universal harmony inspires the poet with his belief in eternal life. The myth of Orpheus and Eurydice, the central myth in Banville's poetics, provides a synthesis of love, beauty, the night, the stars and poetry's song which illuminates human existence and points beyond it to the luminous ideal towards which Poetry aspires.

Anywhere But the Home: The Promiscuous Afterlife of Super 8

Anywhere But the Home: The Promiscuous Afterlife of Super 8

‘Gracias a la vida’: Violeta Parra and the Creation of a Public Poetics of Introspective Reflection

This essay is inspired by and in dialogue with Robert Pring-Mill's 1990 lecture on Latin American protest poetry and song, ‘Gracias a la Vida’: The Power and Poetry of Song (C39), which analyses the work of Violeta Parra and Víctor Jara. In it, I seek to follow Pring-Mill's thought processes, which lead him from a subjective and imaginary engagement with the young woman to whom the lecture is dedicated (Kate Elder), to the prolonged consideration of two songs, particularly Violeta Parra's now iconic ‘Gracias a la vida’. Pring-Mill eloquently follows the move from the introspective to the public, to a sense of shared community that Violeta Parra traces in her song. It is this move that I then develop by close readings of her Décimas: autobiografía en verso (1959), placing them in the context of the cultural turns of popular poetry, and the genealogies to which her writing — and its study — belong. The essay then seeks to place Parra's work within a broader poetics that spans the popular, orality and the written, situating it in the force of wilful marginality from a state that is traditionally seen to disdain those that are beyond a narrowly defined centre.

In Touch with the Earth? Musical Instruments, Gender and Fertility in the Bolivian Andes

This essay discusses beliefs and practices concerning gender, musical instruments and vocal performance in rural communities of northern Potosi′, in the Bolivian Andes. While instrumental performance is a male preserve, critical to the construction and expression of manhood, it is also argued that much value is ascribed to women's singing and creation of song poetry. It is further suggested that women's exclusion from instrumental performance should not necessarily be understood in terms of subordination, but approached within broader models and contexts of gender relations. This involves exploring gendered aspects of fertility, llama husbandry, seasonality, the cosmos and the landscape, leading to an examination of courtship, androgyny, notions of ‘marked’ and ‘unmarked’ gender, and the possibility of multiple gender and degrees of gendering.

Music of Poetry and Poetry of Song: Expressivity and Grammar in Vocal Performance

FollowingT. S. Eliot (1942:16) and Friedrich Nietzsche ([1872] 1995:18), th s article develops the claims that singing is (only) discourse?not the superlative site of expression that romantic idealism would have it; and singing is more than (just) language?like verse it organizes utterances in forms not native to language. The boundaries of speech and song have long been among the important topics of ethnomusicology, notably addressed in George List's foundational article (1963), in George Herzog's early explo rations of the relationship between music and text (1934,1942,1950), in John Blacking's account of musical (1982), and in linguistically informed work such as that by Leanne Hinton (1980,1984), Laura Graham (1984,1987), Charles Briggs (1993),Jean-Jacques Nattiez (1999), and Aaron Fox (1992, 2004). This dialogue with linguistics, prominent in ethnomu sicology through the 1980s, has largely receded from view since.1 In this article I revisit a topic of early interst to our discipline by investigating the patterns of sound and gesture that structure acts of speaking and singing as intelligible and interpretable utterances. Recognizing, as Bakhtin notes, that discourse is a social phenomenon ... throughout its entire range and in

Yidai caizi Qian Zhongshu (review)

Reviewed by: Yidai caizi Qian Zhongshu Pei Huang (bio) Tang Yan 湯晏. Yidai caizi Qian Zhongshu 一代才子錢鍾書 (Qian Zhongshu: A Great Literary Genius in His Day). Shanghai: Shanghai People's Press, 2005. 397 pp. Paperback RMB Yuan 26.00, ISBN 7–208–05669–2. No student of Chinese studies can deny the versatility of Qian Zhongshu (1910– 1998) as a scholar, writer, and literary critic. His writings and commentaries cover classics, poetry, history, painting, and philosophy. Born into a family with a long literary tradition, he received a solid training in Chinese classics. From middle school, he had studied Western languages: Greek, Latin, German, and French, as well as English. With this linguistic training, he was able to cite freely from Western works, medieval and modern, and juxtaposed such citations with Chinese passages, to which he then compared them. In this way, as Ronald Egan points out, Qian struck a connection between Chinese and Western cultures.1 The case can be made with his On the Art of Poetry (Tanyi lu 談藝錄) and, in particular, Limited Views: Essays on Ideas and Letters (Guazhui bian 管錐篇). Consequently, his writings are always characterized by breadth and depth that many others cannot attain. He was a well-rounded literary man fitting the Renaissance ideal and known in the circles of Chinese studies. There are numerous articles and books on Qian's life and scholarship. Tang's book is by far the best biography of Qian.2 It consists of sixteen chapters, each chronicling a stage of Qian's life. The first three chapters concern his family background and boyhood. The fourth chapter examines his college life (1929–1933) at National Qinghua University. There he studied foreign languages and literature under noted professors and devoured books from the university's rich collection. The next chapter covers his teaching career at Guanghua University in Shanghai. It also treats Yang Jiang, a beautiful and talented lady who married Qian in 1935. She later became an accomplished writer and translator. Qian's education abroad is the focal point of chapters 6 and 7. With a Sino British Boxer Indemnity Scholarship, he boarded a ship for England with Yang Jiang, who studied there at her own expense. He studied at Oxford University (1935–1937) and obtained his bachelor of letters degree. He also became the proud father of a baby girl, their only child. After Oxford they enrolled at the University of Paris. In addition to studying, they made many friends with fellow Chinese students. In 1938 they returned to China and thus ended their student life abroad. The subsequent four chapters (8–11) detail his life in wartime China until 1949. Qian accepted an offer from National Southwest Associated University and became a respected teacher. At his father's insistence, however, he taught there for only one year and joined the faculty of National Normal College, a rather obscure institution, in western Hunan province. It was at this college that he began to [End Page 562] write his On the Art of Poetry and formed the plot for his novel Fortress Besieged (Wei-cheng 圍城). After two years in Hunan, he left for Shanghai, a place with which he was familiar. Under Japanese control, especially after the Pearl Harbor attack, life in Shanghai was very difficult. He taught at colleges while his wife once even worked in an elementary school. The raptures about Japan's surrender proved ephemeral, for China immediately fell into a civil war. Like other Chinese, they continued suffering. Chapter 12 covers the period of 1949–1978. With the founding of the People's Republic of China, the Qians went to Peking. At first he taught at National Qinghua University, but beginning in 1952, he worked in the Institute of Chinese Literature, a division of the Chinese Academy of Sciences. His Annotated Anthology of Song Poetry (Songshi xuanzhu 宋詩選注) came out in 1958. Despite their aversion to politics, the Qians were helplessly swept into the vortex of the Cultural Revolution. They were accused, humiliated, and finally sent to the May 7 Cadre School for reeducation for about three years (1969–1972). There they underwent Sisyphean political sessions and performed senseless assignments. Mrs. Qian's Ganxiao liuji 幹校六記 (A cadre school...

〈明妃曲〉之同題競作與宋詩之創意研發－以王昭君之“悲怨不幸與琵琶傳恨”為例

There are ways to achieve originality of poetry, which are breaking up previous pattern to the pursuit variety of poetry, refining imperfection of the former works and creating a totally brand new thing. Thus, in this thesis its implementation will be discussed with strategies mentioned above with focus on the related stories of Wang Zhaojun in Tang and Sung Dynasty Poetry. Within these stories, the previous pattern's undiscovered beauty and the challenge of Song to Tang poetry will be further discussed in the field of the former works of the unsaid, uncertainty, rough outline, and sentiment beyond words. Therefore, we will learn of the poetry's originality through the spirit of Song poetry, which has inspired and revealed different aspects and various strategies of succession and originality of Song poetry.

Newe Hupia: Shoshoni Poetry Songs. By Beverly Crum, Earl Crum, and Jon P. Dayley. Logan: Utah State University Press, 2001. Pp. xii + 276. $24.95 (paper).

Previous article No AccessReviewNewe Hupia: Shoshoni Poetry Songs. By Beverly Crum, Earl Crum, and Jon P. Dayley. Logan: Utah State University Press, 2001. Pp. xii + 276. $24.95 (paper).Dennis HoltDennis HoltUniversity of California, Santa Cruz Search for more articles by this author University of California, Santa CruzPDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by International Journal of American Linguistics Volume 71, Number 3July 2005 Article DOIhttps://doi.org/10.1086/497879 Permission to reprint a review printed in this section may be obtained only from the author(s).PDF download Crossref reports no articles citing this article.

Shoshone Ghost Dance Religion: Poetry Songs and Great Basin Context (review)

Judith Vander's remarkable new book represents the culmination of her twenty years of research on Shoshone musical life. Continuing the work of her first two books, Ghost Dance Songs and Religion of a Wind River Shoshone Woman (Monograph Series in Ethnomusicology, 4 [Los Angeles: University of California, 1986]) and Songprints: The Musical Experience of Five Shoshone Women (Urbana: University of Illinois Press, 1988), this volume completes the presentation of the entire musical repertory of Emily Hill and Dorothy Tappay, Vander's primary consultants. The new book upholds Vander's reputation for exquisite attention to detail and demonstrates her exceptional ability as a linguist (although she never had formal training in linguistics). In addition, Vander conveys a powerful sense of ethnographic immediacy in her interpretation of song texts and other cultural material through generous inclusion of direct quotes from her consultants. She states in her preface that the purpose of the book is to present the music and texts for 130 Ghost Dance songs, to place the songs within the conceptual worlds of the Wind River Shoshone and the larger Great Basin cultural area, and to provide a thorough analysis of the songs themselves --both texts and music (pp. [xiii]-xiv). She not only achieves this purpose with admirable style, but also radically alters our understanding of Shoshone religion, music, and song poetry.