GPT-Based Generation for Classical Chinese Poetry ∗
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Characteristics of Chinese Poetic-Musical Creations
Characteristics of Chinese Poetic-Musical Creations Yan GENG1 Abstract: The present study intoduces a series of characteristics related to Chinese poetry. It shows that, together with rhythmical structure and intonation (which has a crucial role in conveying meaning), an additional, fundamental aspect of Chinese poetry lies in the latent, pictorial effect of the writing. Various genres and forms of Chinese poetry are touched upon, as well as a series of figures of speech, themes (nature, love, sadness, mythology etc.) and symbols (particularly of vegetal and animal origin), which are frequently encountered in the poems. Key-words: rhythm, intonation, system of tones, rhyme, system of writing, figures of speech 1. Introduction In his Advanced Music Theory course, &RQVWDQWLQ 5kSă VKRZV WKDW ³we can differentiate between two levels of the phenomenon of rhythm: the first, a general philosophical one, meaning, within the context of music, the ensemble of movements perceived, thus the macrostructural level; the second, the micro-VWUXFWXUH ZKHUH UK\WKP PHDQV GXUDWLRQV « LQWHQVLWLHVDQGWHPSR « 0RUHRYHUZHFDQVD\WKDWUK\WKPGRHVQRWH[LVWEXWUDWKHUMXVW the succession of sounds in time [does].´2 Studies on rhythm, carried out by ethno- musicology researchers, can guide us to its genesis. A first fact that these studies point towards is the indissoluble unity of the birth process of artistic creation: poetry, music (rhythm-melody) and dance, which manifested syncretically for a very lengthy period of time. These aspects are not singular or characteristic for just one culture, as it appears that they have manifested everywhere from the very beginning of mankind. There is proof both in Chinese culture, as well as in ancient Romanian culture, that certifies the existence of a syncretic development of the arts and language. -
(12) Patent Application Publication (10) Pub. No.: US 2014/0278344 A1 XIAO (43) Pub
US 20140278344A1 (19) United States (12) Patent Application Publication (10) Pub. No.: US 2014/0278344 A1 XIAO (43) Pub. Date: Sep. 18, 2014 (54) ENGLISHTRAINING METHOD AND DEVICE (57) ABSTRACT (71) Applicant: Yunfei XIAO, Flushing, NY (US) The present disclosure provides an English training method, (72) Inventor: Yunfei XIAO, Flushing, NY (US) including the following steps: classifying and storing words (21) Appl. No.: 14/202,604 according to predetermined word classification rules; receiv ing a user command for extracting a corresponding word (22) Filed: Mar 10, 2014 according to a classification of the word, and extracting the corresponding word according to the user command and out (30) Foreign Application Priority Data putting the word in audio or video form; the word classifica tion rules including: combining two consonants with five Mar. 15, 2013 (CN) ......................... 2013 10084532.3 Vowels a, e, i, o, and u respectively to form words; or using a Publication Classification main word or a transformation of the main word as a main body, and combining the main body with 26 letters of the (51) Int. Cl. English alphabet in sequence to form words; or combining the G09B 9/06 (2006.01) five vowels a, e, i, o, and u with other letters of the English G06F 7/28 (2006.01) alphabet to form word roots, and combining each of the word (52) U.S. Cl. roots with the 26 letters of the English alphabet in sequence to CPC ................ G09B 19/06 (2013.01); G06F 17/28 form words; or matching a whole English sentence or a whole (2013.01) English paragraph with a Chinese song; or noting a pronun USPC ............................................................. -
The Reception and Translation of Classical Chinese Poetry in English
NCUE Journal of Humanities Vol. 6, pp. 47-64 September, 2012 The Reception and Translation of Classical Chinese Poetry in English Chia-hui Liao∗ Abstract Translation and reception are inseparable. Translation helps disseminate foreign literature in the target system. An evident example is Ezra Pound’s translation based on the 8th-century Chinese poet Li Bo’s “The River-Merchant’s Wife,” which has been anthologised in Anglophone literature. Through a diachronic survey of the translation of classical Chinese poetry in English, the current paper places emphasis on the interaction between the translation and the target socio-cultural context. It attempts to stress that translation occurs in a context—a translated work is not autonomous and isolated from the literary, cultural, social, and political activities of the receiving end. Keywords: poetry translation, context, reception, target system, publishing phenomenon ∗ Adjunct Lecturer, Department of English, National Changhua University of Education. Received December 30, 2011; accepted March 21, 2012; last revised May 13, 2012. 47 國立彰化師範大學文學院學報 第六期,頁 47-64 二○一二年九月 中詩英譯與接受現象 廖佳慧∗ 摘要 研究翻譯作品,必得研究其在譯入環境中的接受反應。透過翻譯,外國文學在 目的系統中廣宣流布。龐德的〈河商之妻〉(譯寫自李白的〈長干行〉)即一代表實 例,至今仍被納入英美文學選集中。藉由中詩英譯的歷時調查,本文側重譯作與譯 入文境間的互動,審視前者與後者的社會文化間的關係。本文強調翻譯行為的發生 與接受一方的時代背景相互作用。譯作不會憑空出現,亦不會在目的環境中形成封 閉的狀態,而是與文學、文化、社會與政治等活動彼此交流、影響。 關鍵字:詩詞翻譯、文境、接受反應、目的/譯入系統、出版現象 ∗ 國立彰化師範大學英語系兼任講師。 到稿日期:2011 年 12 月 30 日;確定刊登日期:2012 年 3 月 21 日;最後修訂日期:2012 年 5 月 13 日。 48 The Reception and Translation of Classical Chinese Poetry in English Writing does not happen in a vacuum, it happens in a context and the process of translating texts form one cultural system into another is not a neutral, innocent, transparent activity. -
An Explanation of Gexing
Front. Lit. Stud. China 2010, 4(3): 442–461 DOI 10.1007/s11702-010-0107-5 RESEARCH ARTICLE XUE Tianwei, WANG Quan An Explanation of Gexing © Higher Education Press and Springer-Verlag 2010 Abstract Gexing 歌行 is a historical and robust prosodic style that flourished (not originated) in the Tang dynasty. Since ancient times, the understanding of the prosody of gexing has remained in debate, which focuses on the relationship between gexing and yuefu 乐府 (collection of ballad songs of the music bureau). The points-of-view held by all sides can be summarized as a “grand gexing” perspective (defining gexing in a broad sense) and four major “small gexing” perspectives (defining gexing in a narrow sense). The former is namely what Hu Yinglin 胡应麟 from Ming dynasty said, “gexing is a general term for seven-character ancient poems.” The first “small gexing” perspective distinguishes gexing from guti yuefu 古体乐府 (tradition yuefu); the second distinguishes it from xinti yuefu 新体乐府 (new yuefu poems with non-conventional themes); the third takes “the lyric title” as the requisite condition of gexing; and the fourth perspective adopts the criterion of “metricality” in distinguishing gexing from ancient poems. The “grand gexing” perspective is the only one that is able to reveal the core prosodic features of gexing and give specification to the intension and extension of gexing as a prosodic style. Keywords gexing, prosody, grand gexing, seven-character ancient poems Received January 25, 2010 XUE Tianwei ( ) College of Humanities, Xinjiang Normal University, Urumuqi 830054, China E-mail: [email protected] WANG Quan International School, University of International Business and Economics, Beijing 100029, China E-mail: [email protected] An Explanation of Gexing 443 The “Grand Gexing” Perspective and “Small Gexing” Perspective Gexing, namely the seven-character (both unified seven-character lines and mixed lines containing seven character ones) gexing, occupies an equal position with rhythm poems in Tang dynasty and even after that in the poetic world. -
Han, Wei, Six Dynasties Syllabus
Topics in Classical Chinese Poetry and Poetics (16:217:527) Han, Wei and Six Dynasties Course Guidelines and Syllabus Spring 2020 Instructor: Professor Wendy Swartz [email protected] Scott Hall 323 Office Hour: T 11:00-12:00, and by appointment Course Description: This course introduces the major poetic genres and works of the Han, Wei and Six Dynasties, the formative period for classical poetry. It will focus primarily on the art of reading poetry, with attention to relevant historical, biographical and literary-historical contexts. Emphasis will thus be placed on 1) learning the conventions of particular genres and subgenres, 2) assessing the qualities of individual poets and poems through an examination of their manipulation of these conventions, and a comparison with other voices in the tradition, and 3) recognizing the larger stylistic shifts and literary concerns that developed over the course of early medieval China. Readings from a selection of modern criticism will be helpful for understanding individual poets, issues and themes. Primary texts and commentaries are in Chinese, therefore proficiency in reading both modern and classical Chinese is required. Requirements and Grading: 1. Participation (10%): Participation in the translation and analysis of poems in class is mandatory. Students will need to come to class having read and translated all of the assigned poems and critical literature. 2. Class presentation (20%): Each week a student will be delegated to present on the weekly secondary readings (highlighted in bold). These brief presentations should summarize and analyze the main arguments of the readings and pose questions about them. All other students will read in advance the selected material and be ready to pose questions about the reading. -
REVISED DRAFT for Entertext
EnterText 5.3 J. GILL HOLLAND Teaching Narrative in the Five-Character Quatrain of Li Po 1 The pattern of complication and resolution within the traditional five-character quatrain (chüeh-chü, jueju) of “Ancient Style poetry” (ku-shih, gushi) of Li Po (Li Bo, Li Bai; 701-762) goes a long way toward explaining Burton Watson’s high praise of Li Po’s poetry: “It is generally agreed that [Li Po] and Tu Fu raised poetry in the shih form to its highest level of power and expressiveness.”1 To his friend Tu Fu, Li Po left the “compact and highly schematized form of Regulated Verse” (lü-shih, lushi), which was deemed the ideal poetic form in the High T’ang of the eighth century.2 Before we begin, we must distinguish between Ancient Style poetry, which Li Po wrote, and the more celebrated Regulated Verse. The purpose of this essay is to explain the art of Li Po’s quatrain in a way that will do justice to the subtlety of the former yet avoid the enormous complexities of the latter.3 The strict rules dictating patterns of tones, parallelism and caesuras of Regulated Verse are not the subject of our attention here. A thousand years after Li Po wrote, eight of his twenty-nine poems selected for the T’ang-shih san-pai-shou (Three Hundred Poems of the T’ang Dynasty, 1763/1764), J. Gill Holland: The Five-Character Quatrain of Li Po 133 EnterText 5.3 the most famous anthology of T’ang poetry, are in the five-character quatrain form.4 Today even in translation the twenty-character story of the quatrain can be felt deeply. -
UC Santa Barbara UC Santa Barbara Electronic Theses and Dissertations
UC Santa Barbara UC Santa Barbara Electronic Theses and Dissertations Title Fashioning the Reclusive Persona: Zeng Jing's Informal Portraits of the Jiangnan Literati Permalink https://escholarship.org/uc/item/2mx8m4wt Author Choi, Seokwon Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Santa Barbara Fashioning the Reclusive Persona: Zeng Jing’s Informal Portraits of the Jiangnan Literati A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History by Seokwon Choi Committee in charge: Professor Peter C. Sturman, Chair Professor Miriam Wattles Professor Hui-shu Lee December 2016 The dissertation of Seokwon Choi is approved. _____________________________________________ Miriam Wattles _____________________________________________ Hui-shu Lee _____________________________________________ Peter C. Sturman, Committee Chair September 2016 Fashioning the Reclusive Persona: Zeng Jing’s Informal Portraits of the Jiangnan Literati Copyright © 2016 by Seokwon Choi iii ACKNOWLEDGEMENTS My sincerest gratitude goes to my advisor, Professor Peter C. Sturman, whose guidance, patience, and confidence in me have made my doctoral journey not only possible but also enjoyable. It is thanks to him that I was able to transcend the difficulties of academic work and find pleasure in reading, writing, painting, and calligraphy. As a role model, Professor Sturman taught me how to be an artful recluse like the Jiangnan literati. I am also greatly appreciative for the encouragement and counsel of Professor Hui-shu Lee. Without her valuable suggestions from its earliest stage, this project would never have taken shape. I would like to express appreciation to Professor Miriam Wattles for insightful comments and thought-provoking discussions that helped me to consider the issues of portraiture in a broader East Asian context. -
Hsian.G Lectqres on Chinese.Poet
Hsian.g LectQres on Chinese.Poet: Centre for East Asian Research . McGill University Hsiang Lectures on Chinese Poetry Volume 7, 2015 Grace S. Fong Editor Chris Byrne Editorial Assistant Centre for East Asian Research McGill University Copyright © 2015 by Centre for East Asian Research, McGill University 688 Sherbrooke Street West McGill University Montreal, Quebec, Canada H3A 3R1 Calligraphy by: Han Zhenhu For additional copies please send request to: Hsiang Lectures on Chinese Poetry Centre for East Asian Research McGill University 688 Sherbrooke Street West Montreal, Quebec Canada H3A 3R1 A contribution of $5 towards postage and handling will be appreciated. This volume is printed on acid-free paper. Endowed by Professor Paul Stanislaus Hsiang (1915-2000) Contents Editor’s Note vii Nostalgia and Resistance: Gender and the Poetry of 1 Chen Yinke Wai-yee Li History as Leisure Reading for Ming-Qing Women Poets 27 Clara Wing-chung Ho Gold Mountain Dreams: Classical-Style Poetry from 65 San Francisco Chinatown Lap Lam Classical Poetry, Photography, and the Social Life of 107 Emotions in 1910s China Shengqing Wu Editor’s Note For many reasons, Volume 7 has taken much longer than anticipated to appear. One was the decision to wait in order to have four Hsiang Lectures in this volume rather than the customary three. The delay and small increase in the number of lectures bring new horizons in research on Chinese poetry to our readers. Indeed, in terms of the time frame covered, this volume focuses mostly, but not exclusively, on the twentieth century. Three of the four lectures are fascinating studies of the manifold significations of classical verse and their continued vitality in the discursive space of Chinese politics and culture in a century of modernization. -
Generating Classical Chinese Poems from Vernacular Chinese
Generating Classical Chinese Poems from Vernacular Chinese Zhichao Yang1,∗ Pengshan Cai1∗, Yansong Feng2, Fei Li1, Weijiang Feng3, Elena Suet-Ying Chiu1, Hong Yu1 1 University of Massachusetts, MA, USA fzhichaoyang, [email protected] [email protected] [email protected] hong [email protected] 2 Institute of Computer Science and Technology, Peking University, China [email protected] 3 College of Computer, National University of Defense Technology, China [email protected] Abstract Since users could only interfere with the semantic of generated poems using a few input words, mod- Classical Chinese poetry is a jewel in the trea- els control the procedure of poem generation. In sure house of Chinese culture. Previous poem this paper, we proposed a novel model for classical generation models only allow users to employ Chinese poem generation. As illustrated in Figure keywords to interfere the meaning of gener- ated poems, leaving the dominion of gener- 1, our model generates a classical Chinese poem ation to the model. In this paper, we pro- based on a vernacular Chinese paragraph. Our ob- pose a novel task of generating classical Chi- jective is not only to make the model generate aes- nese poems from vernacular, which allows thetic and terse poems, but also keep rich semantic users to have more control over the semantic of the original vernacular paragraph. Therefore, of generated poems. We adapt the approach our model gives users more control power over the of unsupervised machine translation (UMT) to semantic of generated poems by carefully writing our task. We use segmentation-based padding and reinforcement learning to address under- the vernacular paragraph. -
A Brief History of Chinese Poetry: Classical to Contemporary
A BRIEF HISTORY OF CHINESE POETRY: CLASSICAL TO CONTEMPORARY Title: A Brief History of Chinese Poetry: Classical to Contemporary Author: Phil Smith School: PS 41M Subject Area: Art/Poetry Grade Level: 6-8 Time Two 50-minute perioDs Required: Standards: Standard 1: Students will read, write, listen, and speak for information and understanding. As listeners anD readers, stuDents will collect Data, facts, anD iDeas; Discover relationships, concepts, anD generalizations; anD use knowleDge generateD from oral, written, anD electronically proDuceD texts. As speakers anD writers, they will use oral anD written language to acquire, interpret, apply, anD transmit information. Standard 2: Students will read, write, listen, and speak for literary response and expression. StuDents will read anD listen to oral, written, anD electronically proDuceD texts anD performances, relate texts anD performances to their own lives, anD Develop an unDerstanDing of the Diverse social, historical, anD cultural Dimensions the texts anD performances represent. As speakers anD writers, stuDents will use oral anD written language for self- expression anD artistic creation. (Source: http://www.p12.nyseD.gov/ciai/ela/elastanDarDs/elamap.html) Keywords / “Five Classics”: “Since the Han Dynasty (206 BCE-220BCE) the “Five Classics” Vocabulary: refer to a Divination manual, the Classic of Changes; the olDest anthology of poems, the Classic of Poetry; a collection of speeches anD Decrees, the Classic of Documents; a historical chronicle, the Springs and Autumns; anD three hanDbooks of rulers anD behavior nameD together as the Ritual.” Literati: “The northern state of Qin establisheD China’s first unifieD Dynasty (221-207 BCE) (The English worD “China” comes from Qin.) One key to Qin’s success was its Development of a bureaucracy of able scholars granteD official positions anD forgeD a bonD between written culture anD politics that woulD last until the late 20th century. -
Zeng Jing's Informal Portraits of the Jiangnan Litera
UNIVERSITY OF CALIFORNIA Santa Barbara Fashioning the Reclusive Persona: Zeng Jing’s Informal Portraits of the Jiangnan Literati A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History by Seokwon Choi Committee in charge: Professor Peter C. Sturman, Chair Professor Miriam Wattles Professor Hui-shu Lee December 2016 The dissertation of Seokwon Choi is approved. _____________________________________________ Miriam Wattles _____________________________________________ Hui-shu Lee _____________________________________________ Peter C. Sturman, Committee Chair September 2016 Fashioning the Reclusive Persona: Zeng Jing’s Informal Portraits of the Jiangnan Literati Copyright © 2016 by Seokwon Choi iii ACKNOWLEDGEMENTS My sincerest gratitude goes to my advisor, Professor Peter C. Sturman, whose guidance, patience, and confidence in me have made my doctoral journey not only possible but also enjoyable. It is thanks to him that I was able to transcend the difficulties of academic work and find pleasure in reading, writing, painting, and calligraphy. As a role model, Professor Sturman taught me how to be an artful recluse like the Jiangnan literati. I am also greatly appreciative for the encouragement and counsel of Professor Hui-shu Lee. Without her valuable suggestions from its earliest stage, this project would never have taken shape. I would like to express appreciation to Professor Miriam Wattles for insightful comments and thought-provoking discussions that helped me to consider the issues of portraiture in a broader East Asian context. I owe a special debt of gratitude to Susan Tai, Elizabeth Atkins Curator of Asian Art at the Santa Barbara Museum of Art. She was my Santa Barbara mother, and she helped made my eight-year sojourn in the American Riviera one that I will cherish forever. -
Jiuge: a Human-Machine Collaborative Chinese Classical Poetry Generation System
Jiuge: A Human-Machine Collaborative Chinese Classical Poetry Generation System Zhipeng Guo1∗ , Xiaoyuan Yi1∗, Maosong Sun1y , Wenhao Li1, Cheng Yang1, Jiannan Liang1, Huimin Chen1, Yuhui Zhang1, Ruoyu Li2 1Department of Computer Science and Technology, Tsinghua University, Beijing, China Institute for Artificial Intelligence, Tsinghua University, Beijing, China State Key Lab on Intelligent Technology and Systems, Tsinghua University, Beijing, China 26ESTATES PTE LTD, Singapore Abstract Zhang et al., 2017; Yi et al., 2017). Besides the research value of exploring human writing mech- Research on the automatic generation of po- anism and computer creativity, these models and etry, the treasure of human culture, has lasted for decades. Most existing systems, however, systems could also benefit electronic entertain- are merely model-oriented, which input some ment, advertisement, and poetry education. user-specified keywords and directly complete However, the recently released Chinese poetry the generation process in one pass, with lit- generation systems are mainly model-oriented, tle user participation. We believe that the which take some user inputs and directly complete machine, being a collaborator or an assistant, the generation in one pass, resulting in poor user should not replace human beings in poetic cre- participation. Moreover, these systems generate ation. Therefore, we proposed Jiuge, a human- machine collaborative Chinese classical po- poetry in fewer styles and genres, and provide lim- etry generation system. Unlike previous sys- ited options for users. For example, the Daoxi- tems, Jiuge allows users to revise the unsatis- angju system1 requires the user to determine the fied parts of a generated poem draft repeatedly. rhyme, which creates a barrier for beginners.