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The Making of Early Chinese Classical Poetry by Stephen Owen Pdf
"Over the centuries, early Chinese classical poetry became embedded in a chronological account with great cultural resonance and came to be transmitted in versions accepted as authoritative. But modern scholarship has questioned components of the account and cast doubt on the accuracy of received texts. The result has destabilized the study of early Chinese poetry. This study adopts a double approach to the poetry composed between the end of the first century B.C.E. and the third century C.E. First, it examines extant material from this period synchronically, as if it were not historically arranged, with some poems attached to authors and some not. By setting aside putative differences of author and genre, Stephen Owen argues, we can see that this was “one poetry,” created from a shared poetic repertoire and compositional practices. Second, it considers how the scholars of the late fifth and early sixth centuries selected this material and reshaped it to produce the standard account of classical poetry. As Owen shows, early poetry comes to us through reproduction—reproduction by those who knew the poem and transmitted it, by musicians who performed it, and by scribes and anthologists—all of whom changed texts to suit their needs."
The Making of Early Chinese Classical Poetry by Stephen Owen Pdf
This study of poetry composed between the end of the first century B.C.E. and the third century C.E. examines extant material synchronically, as if it were not historically arranged. It also considers how scholars of the late fifth and early sixth centuries selected this material and reshaped it to produce the standard account of classical poetry.
An Introduction to Chinese Poetry by Michael Fuller Pdf
"This innovative textbook for learning classical Chinese poetry moves beyond the traditional anthology of poems translated into English and instead brings readers—including those with no knowledge of Chinese—as close as possible to the texture of the poems in their original language. The first two chapters introduce the features of classical Chinese that are important for poetry and then survey the formal and rhetorical conventions of classical poetry. The core chapters present the major poets and poems of the Chinese poetic tradition from earliest times to the lyrics of the Song Dynasty (960–1279).Each chapter begins with an overview of the historical context for the poetry of a particular period and provides a brief biography for each poet. Each of the poems appears in the original Chinese with a word-by-word translation, followed by Michael A. Fuller’s unadorned translation, and a more polished version by modern translators. A question-based study guide highlights the important issues in reading and understanding each particular text.Designed for classroom use and for self-study, the textbook’s goal is to help the reader appreciate both the distinctive voices of the major writers in the Chinese poetic tradition and the grand contours of the development of that tradition."
Classical Chinese Poetry in Singapore by Bing Wang Pdf
As the essence of Chinese traditional culture, classical Chinese poetry in Singapore played a very important role in the social and cultural development of Singapore’s Chinese community. Numerous poems depicted the unique scenery of tropical rainforest and the customs with a Nanyang flavor, recorded the various historical events from the colonial era, the World War II to the independent nation, and reflected the poets’ multiple feelings. This book sketches out the brief history of classical Chinese poetry in Singapore over a hundred years, and focuses on the complex identity of poets from different generations, the function of literary societies in the construction of cultural space and the influence of modern media on the development of classical Chinese poetry based on the text interpretation. In addition, the author attempts to define different types of poetry writing using diaspora literature and Sinophone literature. The discussion of these topics will not only expand the research horizon of Chinese literature, but also provide a meaningful reference to the studies of the worldwide Chinese overseas, especially in Southeast Asia.
The Anchor Book of Chinese Poetry by Tony Barnstone,Chou Ping Pdf
Unmatched in scope and literary quality, this landmark anthology spans three thousand years, bringing together more than six hundred poems by more than one hundred thirty poets, in translations–many new and exclusive to the book–by an array of distinguished translators. Here is the grand sweep of Chinese poetry, from the Book of Songs–ancient folk songs said to have been collected by Confucius himself–and Laozi’s Dao De Jing to the vividly pictorial verse of Wang Wei, the romanticism of Li Po, the technical brilliance of Tu Fu, and all the way up to the twentieth-century poetry of Mao Zedong and the post—Cultural Revolution verse of the Misty poets. Encompassing the spiritual, philosophical, political, mystical, and erotic strains that have emerged over millennia, this broadly representative selection also includes a preface on the art of translation, a general introduction to Chinese poetic form, biographical headnotes for each of the poets, and concise essays on the dynasties that structure the book. The Anchor Book of Chinese Poetry captures with impressive range and depth the essence of China’s illustrious poetic tradition.
" The poetry of the Late Tang often looked backward, and many poets of the period distinguished themselves through the intensity of their retrospective gaze. Chinese poets had always looked backward to some degree, but for many Late Tang poets the echoes and the traces of the past had a singular aura. In this work, Stephen Owen resumes telling the literary history of the Tang that he began in his works on the Early and High Tang. Focusing in particular on Du Mu, Li Shangyin, and Wen Tingyun, he analyzes the redirection of poetry that followed the deaths of the major poets of the High and Mid-Tang and the rejection of their poetic styles. The Late Tang, Owen argues, forces us to change our very notion of the history of poetry. Poets had always drawn on past poetry, but in the Late Tang, the poetic past was beginning to assume the form it would have for the next millennium; it was becoming a repertoire of available choices--styles, genres, the voices of past poets. It was this repertoire that would endure. "
This book examines Chinese traditional poetry with an emphasis on the sources of pleasure in creating and appreciating classical Chinese poems and the basis for valid aesthetic judgments about poetry. The pleasure derived from art plays a crucial role in people’s evaluation of its worth. This book shows that Chinese classical poetics and Western aesthetics agree on the sources of aesthetic pleasure. Both hold, despite their obvious differences, that aesthetic taste essentially involves cognition. The book explores important ideas in traditional Chinese poetry, emphasizing that “Poetry is founded upon the power of judgement (shi).” This central idea guides other key concepts throughout the history of Chinese poetics, revealing the fundamental principles of creating and appreciating poetic art. The author presents new views of traditional Chinese poetry and poetics by unifying these long-dispersed basic propositions into a new coherent cognitivist framework that also gives due importance to emotion. Scholars and students studying Chinese literature, poetics, philosophy of art, and philosophy of mind will find this book interesting.
Finest Gems by Yuhua Fang,Guohui Jiang,Mengqiu Luo Pdf
We can understand a people best through their poetry. The Chinese, who have written poetry since the beginning of time, have always regarded poetry as the finest flower of their culture. If we start with the two Chinese pagoda poems translated by George Puttenham in Arte of Poesie in 1589, classical Chinese poetry has been translated for more than 400 years. Since then, the "flowers of culture" translated by James Legge, Hebert Gelis, Arthur Waley, Ezra Pound, Burton Watson, David Hendon Hinton, and other poetry translators, have bloomed in foreign lands. Since the outbreak of the COVID-19 virus in late 2019, countries have closed their doors to prevent the spread of the virus. In the ennui of the continuous blockade and isolation, peoples' spiritual needs began growing day by day. The convenience of the Internet gave birth to instantaneous communication over any distance to people all over the world. During this period, Chinese culture repeatedly captured overseas interest on a global scale, and classical poetry was no exception. At the end of 2021, Elon Musk, the richest man in the world, posted Cao Zhi's "A Poem Composed in Seven Paces" on his social media platform. There are different interpretations of his motivations, but facts are facts: we can see that Chinese classical poetry is spreading more and more widely abroad, and its acceptance is also increasing. As lovers of poetry and translation, we naturally wanted to contribute to the translation of classical Chinese poetry through Finest Gems: The Shortest Rhyming Poems of Ancient China. "琳琅(lín láng)" is a part of the Chinese name of our work. It means pieces of glittering jade, as the classical Chinese poems in this collection are all short and precise, which is actually the scope of our original selection: First of all, the selected original poems needed to have a certain classic feeling, something that could be remembered once heard; secondly, they had to be short: within five words and four sentences, which could be regarded as the shortest poems in the Chinese library of poetry. In addition, we only included poems translated into English by contemporary Chinese translators. Works of deceased translators are not within our book. The included poems are not limited to translation strategies and methods, but were translated by rhyme, emotion, or any other method that delivered the essence of the poems. In this way, we could present the most flexible oriental poetry in the shortest possible space. After only two months of receiving manuscripts, the book includes 97 translations of 57 poems from 25 translators, covering seven Chinese dynasties from Wei and Jin to Ming and Qing dynasties. Among them are Cao Zhi's "A Poem Composed in Seven Paces" and other well-known poems such as Yu Shinan's "Ode to the Wind". There are both rhyming translations, and loosely rhyming translations. In this way, our readers can compare the elegant styles of different translations and appreciate from different aspects the brilliance of these lín láng (pieces of glittering jades). The planning, solicitation and publication of "Finest Gems" cannot be separated from the Orient-Occident Lit Collection series planned by Chao Bai of Bright Nova Media or Brent Yan, the Chief Editor of the department. With Brent's excellent translating prowess and his guiding hand, the English version of "Alas, How I've Pined Waiting for You", the shortest and earliest love poem in China, was brought into our world. It is among the finest of our "gems", as it puts a finishing stroke on our book. In addition, Jiang Guohui and Luo Mengqiu, the two deputy editors, have given it their all to edit our book.
Author : John J. Deeney,Kenneth K. B. Li Publisher : University of Washington Press Page : 360 pages File Size : 51,9 Mb Release : 1976 Category : Literary Criticism ISBN : UOM:39015010382789
Reading Philosophy, Writing Poetry by Wendy Swartz Pdf
"In a formative period of Chinese culture, early medieval writers made extensive use of a diverse set of resources, in which such major philosophical classics as Laozi, Zhuangzi, and Classic of Changes featured prominently. Reading Philosophy, Writing Poetry examines how these writers understood and manipulated a shared intellectual lexicon to produce meaning. Focusing on works by some of the most important and innovative poets of the period, this book explores intertextuality—the transference, adaptation, or rewriting of signs—as a mode of reading and a condition of writing. It illuminates how a text can be seen in its full range of signifying potential within the early medieval constellation of textual connections and cultural signs.If culture is that which connects its members past, present, and future, then the past becomes an inherited and continually replenished repository of cultural patterns and signs with which the literati maintains an organic and constantly negotiated relationship of give and take. Wendy Swartz explores how early medieval writers in China developed a distinctive mosaic of ways to participate in their cultural heritage by weaving textual strands from a shared and expanding store of literary resources into new patterns and configurations."
With this groundbreaking collection Classical Chinese Poetry, translated and edited by the renowned poet and translator David Hinton, a new generation will be introduced to the work that riveted Ezra Pound and transformed modern poetry. The Chinese poetic tradition is the largest and longest continuous tradition in world literature, and this rich and far-reaching anthology of nearly five hundred poems provides a comprehensive account of its first three millennia (1500 BCE to 1200 CE), the period during which virtually all its landmark developments took place. Unlike earlier anthologies of Chinese poetry, Hinton's book focuses on a relatively small number of poets, providing selections that are large enough to re-create each as a fully realized and unique voice. New introductions to each poet's work provide a readable history, told for the first time as a series of poetic innovations forged by a series of master poets. From the classic texts of Chinese philosophy to intensely personal lyrics, from love poems to startling and strange perspectives on nature, Hinton has collected an entire world of beauty and insight. And in his eye-opening translations, these ancient poems feel remarkably fresh and contemporary, presenting a literature both radically new and entirely resonant, in Classical Chinese Poetry.
Modern Chinese New Poetry and Classical Poetry Traditions by Yi Li Pdf
"This book systematically outlines the complex relationship between modern new poetry and classical poetry traditions of China for the first time. Since its first publication in 1994, this book has been an important reference for the study of Chinese modern new poetry. This book consists of four chapters. The first three chapters analyzes the influence of Chinese classical poetry traditions on modern Chinese new poetry from a macro perspective while the last chapter uses case studies to illustrate influence of traditions on individual writers from a more micro perspective. Together, these four chapters provide a multi-layered elaboration on the complex relationship between traditional Chinese poetry and modern Chinese poetry. The author argues that Chinese modern new poetry does not completely deviate from Chinese classical poetry traditions, but draws nutrition from Chinese and Western poetry traditions and continues to form new traditions"--
How to Read Chinese Poetry Workbook by Zong-qi Cai,Jie Cui Pdf
Designed to work with the acclaimed course text How to Read Chinese Poetry: A Guided Anthology, the How to Read Chinese Poetry Workbook introduces classical Chinese to advanced beginners and learners at higher levels, teaching them how to appreciate Chinese poetry in its original form. Also a remarkable stand-alone resource, the volume illuminates China's major poetic genres and themes through one hundred well-known, easy-to-recite works. Each of the volume's twenty units contains four to six classical poems in Chinese, English, and tone-marked pinyin romanization, with comprehensive vocabulary notes and prose poem translations in modern Chinese. Subsequent comprehension questions and comments focus on the artistic aspects of the poems, while exercises test readers' grasp of both classical and modern Chinese words, phrases, and syntax. An extensive glossary cross-references classical and modern Chinese usage, characters and compounds, and multiple character meanings, and online sound recordings are provided for each poem and its prose translation free of charge. A list of literary issues addressed throughout completes the volume, along with phonetic transcriptions for entering-tone characters, which appear in Tang and Song–regulated shi poems and lyric songs.