唐诗三百首，卷一 Three Hundred Tang Poems, Volume 1

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Picture here 唐唐诗三百首，卷一 Three Hundred Tang Poems, Volume 1 By Zhang Jiuling, Li Bai, Du Fu, Wang Wei, Meng Haoran, Wang Changling, 诗三百首，卷一 Qiu Wei, Qiwu Qian, Chang Jian, Cen Can, Yuan Jie, Wei Yingwu, Liu Zongyuan, and Meng Jiao The Tang Dynasty (618 to 907) was a golden age of Chinese culture: religion and philosophy, painting and calligraphy, sculpture, architecture and music all reached peaks of perfection. Poetry was the epitome of the arts: a scholastic requirement, a route to fame, a moulder of character. Nearly 50,000 poems of the Tang have survived. The Volume 1 Hundred Three Tang Poems, collection ‘Three Hundred Tang Poems’ was compiled around 1763. It comprises six volumes, with poems grouped by verse form. Volume 1 covers the ‘ancient verse’ style in five-character lines (poems 1 to 35), and ‘folk song style verse’ (36 to 45). The masters Li Bai, Du Fu and Wang Wei are well represented here. Recordings in this volume are in Cantonese, Hokkien, Mandarin and Taiwanese, as indicated in the titles; some are spoken, others are sung. (Summary by David Barnes) Three Hundred Tang Poems, Volume 1 Hundred Three Tang Poems, Read by David Barnes, Mr Zhuang Shiguang, Mike Scott, Li Su-hsiang, Graham, Jin Yilin, Leu Poon Po Chin, ianish, & Cyril Law, Jr. Total Running Time: 02:12:11 This recording is in the public domain and may be reproduced, distributed, or modified without permission. For more information or to volunteer, visit librivox.org. Cover picture by an anonymous mural painter of the Tang Dynasty (706). Copyright expired in US, Canada, EU 诗三百首，卷一 and all countries with author’s life +70 yrs laws. Cover design by Janette Brown. This design is in the public domain. 唐 .

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Advances in Social Science, Education and Humanities Research, volume 324 International Conference on Architecture: Heritage, Traditions and Innovations (AHTI 2019) Exploration on the Protection Scheme of the Great Ruins of Southern Lifang District in the Luoyang City Site in Sui and Tang Dynasties Haixia Liang Luoyang Institute of Science and Technology Luoyang, China Peiyuan Li Zhenkun Wang Xi’an University of Architecture and Technology China Petroleum First Construction Company (Luoyang) Xi'an, China Luoyang, China Abstract—The great ruins are a kind of non-renewable district in a comprehensive and detailed way. Through the precious resources. The southern Lifang district in the analysis of the current situation of southern Lifang district, a Luoyang City Site in Sui and Tang Dynasties is the product of relatively reasonable planning proposal is obtained. This the development of ancient Chinese capital to a certain study can provide theoretical or practical reference and help historical stage. As many important relics and rich cultural on the protection and development of Luoyang City Site in history have been excavated here, the district has a rich Sui and Tang Dynasties, as well as the reconstruction of humanity history. In the context of the ever-changing urban southern Lifang district. construction, the protection of the great ruins in the district has become more urgent. From the point of view of the protection of the great ruins, this paper introduces the II. GREAT RUINS, SUI AND TANG DYNASTIES, LUOYANG important sites and cultural relics of southern Lifang district CITY AND LIFANG DISTRICT in Luoyang city of the Sui and Tang Dynasties through field Great ruins refer to large sites or groups of sites with a investigation and literature review.
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Inscriptional Records of the Western Zhou
INSCRIPTIONAL RECORDS OF THE WESTERN ZHOU Robert Eno Fall 2012 Note to Readers The translations in these pages cannot be considered scholarly. They were originally prepared in early 1988, under stringent time pressures, specifically for teaching use that term. Although I modified them sporadically between that time and 2012, my final year of teaching, their purpose as course materials, used in a week-long classroom exercise for undergraduate students in an early China history survey, did not warrant the type of robust academic apparatus that a scholarly edition would have required. Since no broad anthology of translations of bronze inscriptions was generally available, I have, since the late 1990s, made updated versions of this resource available online for use by teachers and students generally. As freely available materials, they may still be of use. However, as specialists have been aware all along, there are many imperfections in these translations, and I want to make sure that readers are aware that there is now a scholarly alternative, published last month: A Source Book of Ancient Chinese Bronze Inscriptions, edited by Constance Cook and Paul Goldin (Berkeley: Society for the Study of Early China, 2016). The “Source Book” includes translations of over one hundred inscriptions, prepared by ten contributors. I have chosen not to revise the materials here in light of this new resource, even in the case of a few items in the “Source Book” that were contributed by me, because a piecemeal revision seemed unhelpful, and I am now too distant from research on Western Zhou bronzes to undertake a more extensive one.
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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.
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Bibliography
Bibliography An, Qi 安琪 et al., eds. 2003. Zhongjiandai Shi 中间代诗 (Mid-generation poetry). Fuzhou: Haixia wenyi chubanshe. Artisan of Flowery Rocks 花岩匠人. “Net Servers.” In Low Poetry Tide <http://my.ziqu.com/bbs/666023/>. Accessed November 11, 2006. Auden, W. H. 1975a. “American Poetry.” In The Dyer’s Hand and Other Essays, 354–368. London: Faber and Faber. ———. 1975b. “Robert Frost.” In The Dyer’s Hand and Other Essays, 337–353. London: Faber and Faber. Ballard, J. G. 1970. The Atrocity Exhibition. London: Granda Books. Barlow, Tani E., ed. 1993. Gender Politics in Modern China: Writing and Feminism. Durham: Duke University Press. ———. 1994. “Politics and Protocols of Funü: (Un)Making National Woman.” In Gilmartin 1994: 339–359. Barmé, Geremie, and John Minford, eds. 1986. Seeds of Fire: Chinese Voices of Conscience. Hong Kong: Far Eastern Economic Review. Baudelaire, Charles. 1993. “Le Cygne” (The Swan). In James McGowan, tr., The Flowers of Evil. Oxford: Oxford University Press, 172–177. Bei, Dao 北島. 1991. Old Snow. Bonnie S. McDougall and Chen Maiping, trs. New York: New Directions. Benjamin, Walter. 1979. One-Way Street and Other Writings. London: New Left Books. Bing, Xin 冰心 (Xie Wanying 謝婉瑩). 1923. Fanxing 繁星 (Myriad stars). Shanghai: Commercial Press. ———. 1931. Chunshui 春水 (Spring waters), reprint. Shanghai: Beixin shuju. ———. 1949. Bing Xin shiji 冰心詩集 (Collected works of Bing Xin). Reprint, Shanghai: Kaiming shudian. Booth, Allyson. 1996. Postcards from the Trenches: Negotiating the Space between Modernism and the First World War. New York and Oxford: Oxford University Press. Borges, Jorge Luis. 1999. “The Argentine Writer and Tradition.” In Eliot Weinberger, ed., Selected Non-Fictions, 420–427.
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Dissertation Section 1
Elegies for Empire The Poetics of Memory in the Late Work of Du Fu (712-770) Gregory M. Patterson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 ! 2013 Gregory M. Patterson All rights reserved ABSTRACT Elegies for Empire: The Poetics of Memory in the Late Work of Du Fu (712-770) Gregory M. Patterson This dissertation explores highly influential constructions of the past at a key turning point in Chinese history by mapping out what I term a poetics of memory in the more than four hundred poems written by Du Fu !" (712-770) during his two-year stay in the remote town of Kuizhou (modern Fengjie County #$%). A survivor of the catastrophic An Lushan rebellion (756-763), which transformed Tang Dynasty (618-906) politics and culture, Du Fu was among the first to write in the twilight of the Chinese medieval period. His most prescient anticipation of mid-Tang concerns was his restless preoccupation with memory and its mediations, which drove his prolific output in Kuizhou. For Du Fu, memory held the promise of salvaging and creatively reimagining personal, social, and cultural identities under conditions of displacement and sweeping social change. The poetics of his late work is characterized by an acute attentiveness to the material supports—monuments, rituals, images, and texts—that enabled and structured connections to the past. The organization of the study attempts to capture the range of Du Fu’s engagement with memory’s frameworks and media. It begins by examining commemorative poems that read Kuizhou’s historical memory in local landmarks, decoding and rhetorically emulating great deeds of classical exemplars.
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KU LEUVEN FACULTY OF ARTS BLIJDE INKOMSTSTRAAT 21 BOX 3301 3000 LEUVEN, BELGIË ! Ideophones in Middle Chinese: A Typological Study of a Tang Dynasty Poetic Corpus Thomas'Van'Hoey' ' Presented(in(fulfilment(of(the(requirements(for(the(degree(of(( Master(of(Arts(in(Linguistics( ( Supervisor:(prof.(dr.(Jean=Christophe(Verstraete((promotor)( ( ( Academic(year(2014=2015 149(431(characters Abstract (English) Ideophones in Middle Chinese: A Typological Study of a Tang Dynasty Poetic Corpus Thomas Van Hoey This M.A. thesis investigates ideophones in Tang dynasty (618-907 AD) Middle Chinese (Sinitic, Sino- Tibetan) from a typological perspective. Ideophones are defined as a set of words that are phonologically and morphologically marked and depict some form of sensory image (Dingemanse 2011b). Middle Chinese has a large body of ideophones, whose domains range from the depiction of sound, movement, visual and other external senses to the depiction of internal senses (cf. Dingemanse 2012a). There is some work on modern variants of Sinitic languages (cf. Mok 2001; Bodomo 2006; de Sousa 2008; de Sousa 2011; Meng 2012; Wu 2014), but so far, there is no encompassing study of ideophones of a stage in the historical development of Sinitic languages. The purpose of this study is to develop a descriptive model for ideophones in Middle Chinese, which is compatible with what we know about them cross-linguistically. The main research question of this study is “what are the phonological, morphological, semantic and syntactic features of ideophones in Middle Chinese?” This question is studied in terms of three parameters, viz. the parameters of form, of meaning and of use.
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How Poetry Became Meditation in Late-Ninth-Century China
how poetry became meditation Asia Major (2019) 3d ser. Vol. 32.2: 113-151 thomas j. mazanec How Poetry Became Meditation in Late-Ninth-Century China abstract: In late-ninth-century China, poetry and meditation became equated — not just meta- phorically, but as two equally valid means of achieving stillness and insight. This article discusses how several strands in literary and Buddhist discourses fed into an assertion about such a unity by the poet-monk Qiji 齊己 (864–937?). One strand was the aesthetic of kuyin 苦吟 (“bitter intoning”), which involved intense devotion to poetry to the point of suffering. At stake too was the poet as “fashioner” — one who helps make and shape a microcosm that mirrors the impersonal natural forces of the macrocosm. Jia Dao 賈島 (779–843) was crucial in popularizing this sense of kuyin. Concurrently, an older layer of the literary-theoretical tradition, which saw the poet’s spirit as roaming the cosmos, was also given new life in late Tang and mixed with kuyin and Buddhist meditation. This led to the assertion that poetry and meditation were two gates to the same goal, with Qiji and others turning poetry writing into the pursuit of enlightenment. keywords: Buddhism, meditation, poetry, Tang dynasty ometime in the early-tenth century, not long after the great Tang S dynasty 唐 (618–907) collapsed and the land fell under the control of regional strongmen, a Buddhist monk named Qichan 棲蟾 wrote a poem to another monk. The first line reads: “Poetry is meditation for Confucians 詩為儒者禪.”1 The line makes a curious claim: the practice Thomas Mazanec, Dept.
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Part 3: Cosmopolitan Tang: Aristocratic Culture 12: The Unified Empire: Cosmopolitan Tang Historical Overview Year Event 589 Reunification The Sui defeat of the Southern Dynasties ended the north/south split and the split between the ethnically Han and non-Han dynasties. Like the Qin it its time, this period of reunification, into the first years of the seventh century, sowed the seeds for the cultural and socio-political trends that would come to fruition in the Tang: Strengthening of central control over civil and military authorities. Economic links between N and S that led to the building of the canal. Expansion of the empire into SE and NE Asia Flourishing of Sinisized state Buddhism 630 Tang begins Amid the military overextension and environmental pressures that fomented the Sui civil war, the NE military became a dominant force. By 630, if I understood the lecture correctly, this force had achieved hegemony. The first century-and-a-half saw a new centralized aristocratic empire. Taxes were reorganized around the equal-field system, centralizing control over land and taxes. Non-Chinese people were integrated into the empire. 755-763 An Lushan rebellion Expansion into new areas taxed the Tang militia, requiring professional armies to staff the frontier posts. The An Lushan rebellion of 755-763, a frontier military rebellion, wreaked havoc on the dynasty and ushered in the developments we associate with Later Tang (but not the Later Tang Dynasty of 923). 760-918 Later Tang In this period, the tax system broke down along with relationships with the frontier kingdoms. The government retreated from commerce, opening the way for private enterprise.
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Columbia Law School Scholarship Archive Faculty Scholarship Faculty Publications 2006 Innovation through Intimidation: An Empirical Account of Defamation Litigation in China Benjamin L. Liebman Columbia Law School, [email protected] Follow this and additional works at: https://scholarship.law.columbia.edu/faculty_scholarship Part of the Torts Commons Recommended Citation Benjamin L. Liebman, Innovation through Intimidation: An Empirical Account of Defamation Litigation in China, 47 HARV. INT'L L. J. 33 (2006). Available at: https://scholarship.law.columbia.edu/faculty_scholarship/554 This Article is brought to you for free and open access by the Faculty Publications at Scholarship Archive. It has been accepted for inclusion in Faculty Scholarship by an authorized administrator of Scholarship Archive. For more information, please contact [email protected]. VOLUME 47, NUMBER 1, WINTER 2006 Innovation Through Intimidation: An Empirical Account of Defamation Litigation in China Benjamin L. Liebman* INTRODUCTION Consider two recent defamation cases in Chinese courts. In 2004, Zhang Xide, a former county-level Communist Party boss, sued the authors of a best selling book, An Investigation into China's Peasants. The book exposed official malfeasance on Zhang's watch and the resultant peasant hardships. Zhang demanded an apology from the book's authors and publisher, excision of the offending chapter, 200,000 yuan (approximately U.S.$25,000)' for emotional damages, and a share of profits from sales of the book. Zhang sued 2 in a local court on which, not coincidentally, his son sat as a judge. * Associate Professor of Law and Director, Center for Chinese Legal Studies, Columbia Law School.
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Pengfei Wang
English Metaphysical and Mid-Late Tang Poetry: A Baroque Comparison by Pengfei Wang A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Comparative Literature University of Alberta © Pengfei Wang, 2018 Abstract English Metaphysical and Mid-Late Tang Poetry: A Baroque Comparison As the title indicates, the thesis is a comparative analysis of the Metaphysical poets and Mid- late Tang poets, under the general style of the Baroque. The scholarship on this topic is very minimal because only recently with the study of James Liu on Li Shangyin and the Baroque we have learned to think of Tang poets as Baroque poets. The same goes for the Metaphysical poets who were so-called by Dr. Johnson but who can also be grouped under the Baroque, because they are seventeenth century poets. My definition of Baroque, however, does not conform to that of James Liu who uses the term historically, and by comparing “baroque” terms that metaphysical poets have in common with Tang poets. My concept of baroque is based on Nietzsche’s definition of “baroque” as a poetic ”style” that can be found in any period, and in any place and any country: in the West as well as in the East, in England and in China. Nietzsche’s definition of baroque is associated with a notion of art as allegory which is in opposition to traditional poetic, forms that that are defined as symbolic. According to Nietzsche, we have allegorical, or Baroque poetry, when traditional, symbolic forms are disrupted or are in decline.
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Li Shangyin: the Poetry of Allusion
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