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Wang Anshi and Song Poetic Culture by Xiaoshan Yang Pdf
A poetic culture consists of a body of shared values and conventions that shape the composition and interpretation of poetry in a given historical period. This book on Wang Anshi (1021–1086) and Song poetic culture—the first of its kind in any Western language—brings into focus a cluster of issues that are central to the understanding of both the poet and his cultural milieu. These issues include the motivations and consequences of poetic contrarianism and the pursuit of novelty, the relationship between anthology compilation and canon formation, the entanglement of poetry with partisan politics, Buddhist orientations in poetic language, and the development of the notion of late style. Though diverse in nature and scope, the issues all bear the stamp of the period as well as Wang Anshi’s distinct personality. Conceived of largely as a series of case studies, the book’s individual chapters may be read independently of each other, but together they form a varied, if only partial, mosaic of Wang Anshi’s work and its critical reception in the larger context of Song poetic culture.
The First Print Era examines the rise of print culture during China’s Northern Song Dynasty (960–1127). Bringing together often-overlooked primary sources from the period and scholarship on many individual topics in Song print history, the book offers the first extended narrative in English of how print became entrenched as a sustained mode of textual dissemination in China. While discussing technical innovations and the growth of the print industry, the book focuses on how the rise of print affected several indispensable elements of Song intellectual culture: the expansion of the exam system, the canonization of Tang and earlier models, the rise of antiquarianism and connoisseurship, the birth of Neo-Confucianism as a new intellectual force, the growth of a new literati culture and new forms of literary production and critique, and the development of calligraphy as an art form that could be taught, critiqued, and divided into schools. Overall, the book describes a process by which print publication moved from a highly centralized state enterprise, back to expanded elite use, and eventually towards the popular print markets that would create new forms of expression during the Southern Song and Yuan dynasties. This book will be an essential read for students and scholars of Asian studies, Medieval studies, and those with a focus on print history and Chinese studies.
Zhipan’s Account of the History of Buddhism in China by Thomas Jülch Pdf
The Fozu tongji by Zhipan (ca. 1220–1275) is a key text of Chinese Buddhist historiography. The core of the work is formed by the “Fayun tongsai zhi,” an annalistic history of Buddhism in China, which extends through Fozu tongji, juan 34–48. Thomas Jülch now presents a translation of the “Fayun tongsai zhi” in three volumes. This third volume covers the annalistic display concerning the Song dynasty. Offering elaborate annotations, Jülch succeeds in clarifying the backgrounds to the historiographic contents, which Zhipan presents in highly essentialized style. Regarding the historical matters addressed in the material translated for the present volume, the Fozu tongji is often the earliest source. In several cases, inaccuracies in Zhipan’s account can however still be discerned, and Jülch succeeds in employing other sources to reveal and correct those errors.
Lineages Embedded in Temple Networks by Richard G. Wang Pdf
Lineages Embedded in Temple Networks explores the key role played by elite Daoists in social and cultural life in Ming China, notably by mediating between local networks—biological lineages, territorial communities, temples, and festivals—and the state. They did this through their organization in clerical lineages—their own empire-wide networks for channeling knowledge, patronage, and resources—and by controlling central temples that were nodes of local social structures. In this book, the only comprehensive social history of local Daoism during the Ming largely based on literary sources and fieldwork, Richard G. Wang delineates the interface between local organizations (such as lineages and temple networks) and central state institutions. The first part provides the framework for viewing Daoism as a social institution in regard to both its religious lineages and its service to the state in the bureaucratic apparatus to implement state orthodoxy. The second part follows four cases to reveal the connections between clerical lineages and local networks. Wang illustrates how Daoism claimed a universal ideology and civilizing force that mediated between local organizations and central state institutions, which in turn brought meaning and legitimacy to both local society and the state.
Taiwan has been depicted as an island facing the incessant threat of forcible unification with the People’s Republic of China. Why, then, has Taiwan spent more than three decades pouring capital and talent into China? In award-winning Rival Partners, Wu Jieh-min follows the development of Taiwanese enterprises in China over twenty-five years and provides fresh insights. The geopolitical shift in Asia beginning in the 1970s and the global restructuring of value chains since the 1980s created strong incentives for Taiwanese entrepreneurs to rush into China despite high political risks and insecure property rights. Taiwanese investment, in conjunction with Hong Kong capital, laid the foundation for the world’s factory to flourish in the southern province of Guangdong, but official Chinese narratives play down Taiwan’s vital contribution. It is hard to imagine the Guangdong model without Taiwanese investment, and, without the Guangdong model, China’s rise could not have occurred. Going beyond the received wisdom of the “China miracle” and “Taiwan factor,” Wu delineates how Taiwanese business people, with the cooperation of local officials, ushered global capitalism into China. By partnering with its political archrival, Taiwan has benefited enormously, while helping to cultivate an economic superpower that increasingly exerts its influence around the world.
Often considered China’s greatest poet, Du Fu (712–770) came of age at the height of the Tang dynasty, in an era marked by confidence that the accumulated wisdom of the precedent cultural tradition would guarantee civilization’s continued stability and prosperity. When his society collapsed into civil war in 755, however, he began to question contemporary assumptions about the role that tradition should play in making sense of experience and defining human flourishing. In this book, Lucas Bender argues that Du Fu’s reconsideration of the nature and importance of tradition has played a pivotal role in the transformation of Chinese poetic understanding over the last millennium. In reimagining his relationship to tradition, Du Fu anticipated important philosophical transitions from the late-medieval into the early-modern period and laid the template for a new and perduring paradigm of poetry’s relationship to ethics. He also looked forward to the transformations his own poetry would undergo as it was elevated to the pinnacle of the Chinese poetic pantheon.
For two millennia, Chinese society has been producing divine revelations on an unparalleled scale, in multifarious genres and formats. This book is the first comprehensive attempt at accounting for the processes of such production. It builds a typology of the various ritual techniques used to make gods present and allow them to speak or write, and it follows the historical development of these types and the revealed teachings they made possible. Within the large array of visionary, mediumistic, and mystical techniques, Vincent Goossaert devotes the bulk of his analysis to spirit-writing, a family of rites that appeared around the eleventh century and gradually came to account for the largest numbers of books and tracts ascribed to the gods. In doing so, he shows that the practice of spirit-writing must be placed within the framework of techniques used by ritual specialists to control human communications with gods and spirits for healing, divining, and self-divinization, among other purposes. Making the Gods Speak thus offers a ritual-centered framework to study revelation in Chinese cultural history and comparatively with the revelatory practices of other religious traditions.
Metamorphosis of the Private Sphere by Xiaoshan Yang Pdf
"The Chinese garden has been explored from a variety of angles. Much has been written about its structural features as well as its cosmological, religious, philosophical, moral, aesthetic, and economic underpinnings. This book deals with the poetic configurations of the private garden in cities from the ninth to the eleventh century in relation to the development of the private sphere in Chinese literati culture. It focuses on the ways in which the new values and rhetoric associated with gardens and the objects found in them helped shape the processes of self-cultivation and self-imaging among the literati, as they searched for alternatives to conventional values at a time when traditional political, moral, and aesthetic norms were increasingly judged inapplicable or inadequate. The garden was also an artifact and a locus for material culture and social competition. Focusing on a series of anecdotes about private transactions involving objects in gardens, the author dissects the intricate nexus between the exchange of poetry and the poetry of exchange. In tracing the development of the private urban garden through the writings of Bai Juyi, Su Shi, Sima Guang, and their contemporaries, the author argues that this private space figured increasingly as a place of disengagement for those out of political power and hence was increasingly invaded by political forces."
The Birth of China Seen Through Poetry by Hong-Mo Chan Pdf
Erratum A Recital of the Chinese Poems - Hear what they sound like The book introduces Chinese culture to readers of English, using poetry from the various periods rendered into English verse to bring back to life past Chinese society as it developed from about 1000 B.C to the form we see today. With China's increasing importance on the world stage today, many readers, no doubt, would want to learn more about its ancient culture. However, to learn about a culture from its history alone, especially one as long as that of China, is time-consuming and requires a historian's expert skill. This book offers the general reader a direct glimpse into the human core of it via the universally accessible channel of poetry. It provides an outline of Chinese history from prehistoric times to the present printed mostly on left-hand pages, accompanied on the right by a selection of Chinese poems of the corresponding periods translated into English verse by the author. The poems total about eighty in number and come mostly from the classical phase dating from around 1000 B.C. to 1200 A.D. Contents:The Spring and Autumn PeriodThe Warring StatesThe Qin DynastyThe Han DynastyWei, Jin and the Northern and Southern DynastiesThe Tang DynastySong and Its Preceding Five DynastiesRoundoffAppendices:Timeline and MapsHistorical Sources, Original PoemsA Recital of the PoemsCaptions of IllustrationsGlossary of Chinese Names and Terms Readership: Anyone interested in China, history, poetry, culture, or literature. Keywords:China;History;Poetry;CultureKey Features:Unique combination of Chinese history and poetry woven into an easily readable organic wholeCan be read through as a story with the poems serving as illustrations for the historical narrativeCan be kept and enjoyed as a short anthology of Chinese poetry set in its historical backgroundReviews: “In tracing the poetic footprints in Chinese history, the author combines the precision of a scientist …, the refined taste of a lettré, the concern of a humanist …, and the acute sense of rhyme and rhythm of a creative writer … In viticultural terms, the author has selected grapes from an excellent vineyard and transformed them into mellow wine for your appreciation.” Yau Shun-chiu Emeritus Director of Research The French National Scientific Research Centre (CNRS) “Rarely is there an anthology of Chinese poetry Translator one single individual, not a team, and yet comprehensive in its selection. Chan Hong-Mo has done it … by treating poetry with not only inspired translation but also a sense of history that would transport modern-day readers back into the original context of each poem. This bridge brings together, too, the poetic traditions of east and west, in sentiments as well as musical patterns … ” E. S. P. Almberg-Ng Professor Formerly of the Department of Translation in the Chinese University of Hong Kong “This book is a gem. What a novel idea to view Chinese history through the eyes of its most famous poets. The poems are well chosen and expertly translated … I thoroughly enjoyed and learnt much from this articulate and artistic book, written with scholarship and devotion.” Sir David Todd Emeritus Professor University of Hong Kong “ … We meet, across this great span of time, the real people who make history come alive: the soldier returning home as an old man to find his village deserted, the young man tempted away from work by a girl ‘with spring time in her heart’, … and many others. We could not get better proof that human emotions were the same centuries ago as they are now … Dr Chan's fluent translations enable us to appreciate the beauty of the poems …” Janet Morgan District Councillor The Vale of White Horse, Oxford “ … The book gave me the opportunity to learn about the country, its people, history and culture. It manages to be both condensed in contents, and easy to read, being written in a style accessible even to readers, like me, whose mother tongue is not English … The most striking feature is that, in reading these poems …, you make discoveries about life in your own country, which shares similar worries and joys …” Jose Bordes Chaired Professor (catedratico) in theoretical physics at the University of Valencia, Spain
Drifting among Rivers and Lakes by Michael Fuller Pdf
What drives literary change? Does literature merely follow shifts in a culture, or does it play a distinctive role in shaping emergent trends? Michael Fuller explores these questions while examining the changes in Chinese shipoetry from the late Northern Song dynasty (960–1127) to the end of the Southern Song (1127–1279), a period of profound social and cultural transformation. Shi poetry written in response to events was the dominant literary genre in Song dynasty China, serving as a central form through which literati explored meaning in their encounters with the world. By the late Northern Song, however, old models for meaning were proving inadequate, and Daoxue (Neo-Confucianism) provided an increasingly attractive new ground for understanding the self and the world. Drifting among Rivers and Lakes traces the intertwining of the practice of poetry, writings on poetics, and the debates about Daoxue that led to the cultural synthesis of the final years of the Southern Song and set the pattern for Chinese society for the next six centuries. Examining the writings of major poets and Confucian thinkers of the period, Fuller discovers the slow evolution of a complementarity between poetry and Daoxue in which neither discourse was self-sufficient.
The first focused study on the cultural consequences of printing in Northern Song China, this book examines how the nascent print culture shaped the poetic theory and practice of Huang Tingjian and the Jiangxi School of Poetry he founded.
Poetry and Painting in Song China by Alfreda Murck Pdf
Throughout the history of imperial China, the educated elite used various means to criticize government policies and actions. During the Song dynasty (960-1278), some members of this elite found an elegant and subtle means of dissent: landscape painting. By examining literary archetypes, the titles of paintings, contemporary inscriptions, and the historical context, Alfreda Murck shows that certain paintings expressed strong political opinions--some transparent, others deliberately concealed. She argues that the coding of messages in seemingly innocuous paintings was an important factor in the growing respect for painting among the educated elite and that the capacity of painting’s systems of reference to allow scholars to express dissent with impunity contributed to the art’s vitality and longevity.
With references to the theoretical framework of Michel Foucault and Pierre Bourdieu, this book offers a critical investigation into such epic issues as the end of art and the inherent laws of literature’s evolution, while conflating the two into one major argumentation. The book proceeds from Hegel's claim of "the end of art" to tackle the universal yet essential problem of literature: its legitimacy in a sociological sense. It invests Bourdieu’s sociological terms -- power, capital, habitus, field, etc. into the study of literature and art while taking on other theoretical enquiries, particularly the Marxist exploration into ideology, as well as aspects of economics and communication studies. This book will be a valuable resource for students and scholars of the sociology of literature, cultural studies, and those with specific interests in Chinese literature, literary and art theory.
His Stubbornship: Prime Minister Wang Anshi (1021--1086), Reformer and Poet by Jonathan O. Pease Pdf
China’s most controversial prime minister, path-breaking reformer, and an iconic Song-dynasty poet, Wang Anshi (1021—1086) is fully chronicled in English for the first time in almost a century, with a new emphasis on his luminous late verse.
Drifting with Clouds, Living by Poetry by Hongsheng Zhang Pdf
How did poets from the "Rivers and Lakes," a realm defined by its remoteness from the central government, navigate and transform the field of classical poetry, a "high" genre of the scholar-officials class? What did it mean for them to "make a living" out of poetry? Zhang Hongsheng answers those questions in this comprehensive study of the Rivers and Lakes Poetry Movement (Jianghu shipai).