Imagery Focalization and the Profiling of a Poetic World: from Semantic to Metaphorical Coherence and Beyond
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Contemporary China: a Book List
PRINCETON UNIVERSITY: Woodrow Wilson School, Politics Department, East Asian Studies Program CONTEMPORARY CHINA: A BOOK LIST by Lubna Malik and Lynn White Winter 2007-2008 Edition This list is available on the web at: http://www.princeton.edu/~lynn/chinabib.pdf which can be viewed and printed with an Adobe Acrobat Reader. Variation of font sizes may cause pagination to differ slightly in the web and paper editions. No list of books can be totally up-to-date. Please surf to find further items. Also consult http://www.princeton.edu/~lynn/chinawebs.doc for clicable URLs. This list of items in English has several purposes: --to help advise students' course essays, junior papers, policy workshops, and senior theses about contemporary China; --to supplement the required reading lists of courses on "Chinese Development" and "Chinese Politics," for which students may find books to review in this list; --to provide graduate students with a list that may suggest books for paper topics and may slightly help their study for exams in Chinese politics; a few of the compiler's favorite books are starred on the list, but not much should be made of this because such books may be old or the subjects may not meet present interests; --to supplement a bibliography of all Asian serials in the Princeton Libraries that was compiled long ago by Frances Chen and Maureen Donovan; many of these are now available on the web,e.g., from “J-Stor”; --to suggest to book selectors in the Princeton libraries items that are suitable for acquisition; to provide a computerized list on which researchers can search for keywords of interests; and to provide a resource that many teachers at various other universities have also used. -
Bowden Ku 0099M 13859 DA
A Failure to Communicate: Li Shangyin’s Hermetic Legacy By Emily Bowden Submitted to the graduate degree program in East Asian Languages and Cultures and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. ________________________________ Chairperson Keith McMahon ________________________________ Crispin Williams ________________________________ Xiao Hui Date Defended: February 5, 2015 i The Thesis Committee for Emily Bowden certifies that this is the approved version of the following thesis: A Failure to Communicate: Li Shangyin’s Hermetic Legacy __________________________ Chairperson Keith McMahon Date approved: February 23, 2015 ii Abstract An in-depth study of the Tang poet Li Shangyin, focusing on selected hermetic poems that illustrate Shangyin’s approach to Chinese poetics. This paper emphasizes the frustrating, elusive quality of Shangyin’s hermetic verses, exploring the themes and techniques that both complicate and explain this poet’s unique style. iii Contents Title Page…………………………………………………………………………………i Acceptance Page…………………………………………………………………………ii Abstract………………………………………………………………………………….iii Introduction………………………………………………………………………………1 Chapter One: A Short Biography of Li Shangyin…………………………….………….5 Chapter Two: Literary Exposition of Li Shangyin’s Poetry…………….........................12 Chapter Three: Close Reading of Selected Poems……………………………………...37 Conclusion………………………………………………………………………………74 Bibliography…………………………………………………………………………….76 0 iv Introduction -
Strong and Weak Interpretations in Translating Chinese Poetry
Journal of Modern Literature in Chinese 現代中文文學學報 Volume 14 Issue 2 Vol. 14, No. 2 - Vol. 15, No. 1 (Winter Article 2 2017 - Summer 2018) 2017 Strong and Weak Interpretations in Translating Chinese Poetry Lucas KLEIN The University of Hong Kong Follow this and additional works at: https://commons.ln.edu.hk/jmlc Part of the Translation Studies Commons Recommended Citation Klein, L. (2017). Strong and Weak Interpretations in Translating Chinese Poetry. Journal of Modern Literature in Chinese, 14(2)-15(1), 7-43. This Article is brought to you for free and open access by the Centre for Humanities Research 人文學科研究中心 at Digital Commons @ Lingnan University. It has been accepted for inclusion in Journal of Modern Literature in Chinese 現代中文文學學報 by an authorized editor of Digital Commons @ Lingnan University. Strong and Weak Interpretations in Translating Chinese Poetry Lucas Klein The other day I saw an announcement of a forthcoming book which I found exciting, though I think its title is missing a word: Michael Fuller’s Introduction to Chinese Poetry: From the Canon of Poetry to the Lyrics of the Song Dynasty (2018). It’s not the first treatment of Chinese poetry in literary Chinese—or wenyan wen 文言文—to miss a word in its title. How to Read Chinese Poetry: A Guided Anthology, edited by Zong-qi Cai (2007), does the same, as does Stephen Owen’s Norton Anthology of Chinese Literature: Beginnings to 1911 (1996).1 The absent word, of course, is “classical,” or “premodern,” or “ancient,” or some other synonym that specifies that we’re not talking about poetry written in vernacular or modern standard Chinese, or baihua wen 白話文—because for all that it has been shaped or “coauthored” by translations of international poetry, modern Chinese poetry is just as Chinese as classical Chinese poetry.2 To say that modern Chinese poetry is no less Chinese than classical Chinese poetry is, strangely, a controversial opinion in the world of Chinese literary studies. -
A Chinese Academic on the Hundred Flowers Campaign
SOURCE ANALYSIS CR4/ 02 A CHINESE ACADEMIC ON THE HUNDRED FLOWERS CAMPAIGN A Chinese academic, Wu Ningkun, recalls the Hundred Flowers Campaign: The Central committee enjoined party leaders at all levels to solicit criticism from people in every walk of life, especially from intellectuals and members of “democratic” parties. The critics were urged to “air their views without reserve” for the benefit of the party and its members … We all applauded the courageous decision taken by the party … The People’s Daily and other newspapers in Beijing carried numerous articles by well-known intellectuals criticizing party officials and even the guidelines of the party itself … At meetings at universities and government departments many people poured out their hearts in hopes of helping the party and its members mend their ways…Freedom of speech was having its day; that day was short … The sagacious “Great Leader” let it be known at a later date that all this had been a premeditated plot to “coax a snake out of its lair,” or to ensnare his critics into a trap … I fell into the trap … According to later government statistics, more than half a million people were labeled rightists. There were no figures for those who had been denounced but spared the label, nor of those who had been driven to insanity or suicide. The “hundred flowers” ended in a mass intellectual castration that was to plague the nation for decades to come, putting to shame the notorious emperor of the Han Dynasty who had unjustly punished only one dissident historian with physical castration. -
Li Shangyin: the Poetry of Allusion
LI SHANGYIN: THE POETRY OF ALLUSION By TERESA YEE-WAH YU B.A., The University of Hong Kong, 1973 M.A., The University of British Columbia, 1977 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (Asicin Studies) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA August 1990 (o) Teresa Yee-wah Yu, 1990 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. 1 further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver, Canada Date DE-6 (2/88) ABSTRACT A major poet of the Tang period, Li Shangyin is highly regarded yet criticized because his work is densely allusive. Dazzling and rich in meaning, it is also difficult and obscure because of its pervasive allusiveness. Chapter I reviews critical opinion of Li's use of allusion. Many traditional critics see allusion as an ornamental rhetorical device and consider Li's profuse allusiveness an idiosyncrasy to be tolerated in an esteemed poet. Chapter II studies allusion broadly and precisely as a literary concept: generally, allusion is a "connector" of texts, a link between a poet's work and his literary heritage; specifi• cally, it is a linguistic device serving metaphorical functions. -
The Donkey Rider As Icon: Li Cheng and Early Chinese Landscape Painting Author(S): Peter C
The Donkey Rider as Icon: Li Cheng and Early Chinese Landscape Painting Author(s): Peter C. Sturman Source: Artibus Asiae, Vol. 55, No. 1/2 (1995), pp. 43-97 Published by: Artibus Asiae Publishers Stable URL: http://www.jstor.org/stable/3249762 . Accessed: 05/08/2011 12:40 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Artibus Asiae Publishers is collaborating with JSTOR to digitize, preserve and extend access to Artibus Asiae. http://www.jstor.org PETER C. STURMAN THE DONKEY RIDER AS ICON: LI CHENG AND EARLY CHINESE LANDSCAPE PAINTING* he countryis broken,mountains and rivers With thesefamous words that lamentthe "T remain."'I 1T catastropheof the An LushanRebellion, the poet Du Fu (712-70) reflectedupon a fundamental principle in China:dynasties may come and go, but landscapeis eternal.It is a principleaffirmed with remarkablepower in the paintingsthat emergedfrom the rubbleof Du Fu'sdynasty some two hundredyears later. I speakof the magnificentscrolls of the tenth and eleventhcenturies belonging to the relativelytightly circumscribedtradition from Jing Hao (activeca. 875-925)to Guo Xi (ca. Ooo-9go)known todayas monumentallandscape painting. The landscapeis presentedas timeless. We lose ourselvesin the believabilityof its images,accept them as less the productof humanminds and handsthan as the recordof a greatertruth. -
VCWE: Visual Character-Enhanced Word Embeddings
VCWE: Visual Character-Enhanced Word Embeddings Chi Sun, Xipeng Qiu,∗ Xuanjing Huang Shanghai Key Laboratory of Intelligent Information Processing, Fudan University School of Computer Science, Fudan University 825 Zhangheng Road, Shanghai, China fsunc17,xpqiu,[email protected] Abstract et al., 2014; Cao and Rei, 2016; Sun et al., 2016a; Wieting et al., 2016; Bojanowski et al., 2016). Chinese is a logographic writing system, and Compositionality is more critical for Chinese, the shape of Chinese characters contain rich since Chinese is a logographic writing system. In syntactic and semantic information. In this pa- Chinese, each word typically consists of fewer per, we propose a model to learn Chinese word characters and each character also contains richer embeddings via three-level composition: (1) a convolutional neural network to extract the semantic information. For example, Chinese char- intra-character compositionality from the vi- acter “休” (rest) is composed of the characters for sual shape of a character; (2) a recurrent neural “º” (person) and “(” (tree), with the intended network with self-attention to compose char- idea of someone leaning against a tree, i.e., rest- acter representation into word embeddings; ing. (3) the Skip-Gram framework to capture non- Based on the linguistic features of Chinese, re- compositionality directly from the contextual cent methods have used the character informa- information. Evaluations demonstrate the su- tion to improve Chinese word embeddings. These perior performance of our model on four tasks: word similarity, sentiment analysis, named en- methods can be categorized into two kinds: tity recognition and part-of-speech tagging.1 1) One kind of methods learn word embeddings with its constituent character (Chen et al., 2015), 1 Introduction radical2 (Shi et al., 2015; Yin et al., 2016; Yu et al., 2017) or strokes3 (Cao et al., 2018). -
Mao's War Against Nature
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. in the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographicaily in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Artx>r, Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. MAO’S WAR AGAINST NATURE: POLITICS AND THE ENVIRONMENT IN REVOLUTIONARY CHINA by Judith Shapiro submitted to the Faculty of the School of International Service of American University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in International Relations Chair; 4 'aul Wapner Kslag. -
An Analysis of the Difficulties in the Translation of Regional Classical Chinese Poetry-A Case Study on Chongqing's Overseas Transmission
Asian Social Science; Vol. 11, No. 24; 2015 ISSN 1911-2017 E-ISSN 1911-2025 Published by Canadian Center of Science and Education An Analysis of the Difficulties in the Translation of Regional Classical Chinese Poetry-A Case Study on Chongqing's Overseas Transmission Yang Ding1 & Rui Zhou1 1 Southwest University, Chongqing, China Correspondence: Rui Zhou, Southwest University, Chongqing, China. Tel: 86-23-6825-2310. E-mail: [email protected]; [email protected] Received: June 30, 2015 Accepted: July 21, 2015 Online Published: August 18, 2015 doi:10.5539/ass.v11n24p326 URL: http://dx.doi.org/10.5539/ass.v11n24p326 This paper is sponsored by the Social Sciences Planning Research Program of Chongqing (NO. 2014YBWX076) Abstract With the deepening of the cultural exchange in the world, the unified orientation of Chinese literature is struggling in the cross-cultural communication. However, Chinese regional traditional culture has yet attracted more and more attention in foreign academic circles. As one of the local historical and cultural communication media, the translation of regional ancient Chinese poetry has become an urgent problem to solve. This kind of translation has a great significance in the increase of the influence of classical Chinese literature in global contexts. What’s more, it plays an important role in making new breakthroughs in regional research and promoting differentiation of academic studies on overseas dissemination of Chinese literary heritage. Taking Chongqing classical poetry as a case, this paper focused on the using of noun, the organizing of meaning and the expressing of allusions to interpret some difficulties in the translation of regional ancient Chinese poems, so that it can provide references for those who study the overseas communication in global contexts of regional classical Chinese literature. -
Food Writing of Tang Lusun and Wang Zengqi
Stakes of Authentic Culinary Experience: Food Writing of Tang Lusun and Wang Zengqi Rui Kunze* ABSTRACT Tang Lusun (唐魯孫, 1908-1985) and Wang Zengqi (汪曾祺, 1920-1997) pro- duced their food writing in the form of familiar essays, respectively, in the late martial law period of Taiwan (the 1970s and 1980s) and the early reform era of China (the 1980s and 1990s). This article examines their essays, especially those on Republican Beijing (Beiping) and wartime Kunming, to explore how narratives of autobiographical, individual culinary experience can develop into sharable or comparable social experience addressing the historical rupture of 1949. Shifting the focus of the theoretical notion of authenticity from the self to the individual’s phenomenal perception and the contested arena of social communication con- cerning historical memory, this article shows that literary practices such as the generic feature of the I-narrator in the familiar essay, the textual construction of chronotopes of food, and (re)publications across the Taiwan Strait have shaped and reshaped “authentic culinary experience” in their texts in response to changing power structures, social interests, and affective needs of the reader. KEYWORDS experience, food, authenticity, chronotope, memory Ex-position, Issue No. 43, June 2020 | National Taiwan University DOI: 10.6153/EXP.202006_(43).0006 Rui KUNZE, Research Fellow, Institute of Sinology, University Erlangen-Nuremberg, Germany 109 In his 1936 book My Country My People, essayist Lin Yutang (1895-1976) states: “No food is really enjoyed unless it is keenly anticipated, discussed, eaten and then commented upon” (319). This highlights culinary experience as the result of the interplay among multiple practices centering upon food: expectations and imagi- nation of the food before the act of eating, and description and evaluation after- Ex-position wards that produce a narrative of the experience. -
Li Shangyin and the Art of Poetic Ambiguity 1
MAJA LAVRAČ / LI SHANGYIN AND THE ART OF POETIC AMBIGUITY Maja Lavrač Li Shangyin and the Art of Poetic Ambiguity Keywords: Li Shangyin, classical Chinese poetry, images, symbols, allusions, ambiguity DOI: 10.4312/ars.10.2.163-177 1 Li Shangyin (813–858), one of the most respected, mysterious, ambiguous and provocative Chinese poets, lived during the late Tang period, when the glorious Tang dynasty (618–907) is beginning to decline. It was a time of social riots, political division and painful general insecurity. In order to survive, he allied himself with various political patrons and accepted every job offered to him. He was a victim of continuous conflicts the between Niu and Li factions that for forty years had been fragmenting the central bureaucracy. He had far-sighted political views and fostered great ambitions. Thus, when he no longer found favour with the ruling elite, he often travelled around the country, though he was already in poor health. He was a prisoner of factional politics and his official career in fact suffered throughout his life. Born into an aristocratic family of lower-class provincial officials in Zhengzhou in the present-day province of Henan, after his father’s death Li initially lived with his uncle. It was his uncle who introduced to him the Confucian classics. After three years of mourning, he and his family moved to Luoyang. Already early in his life he displayed a great talent for literature, and this talent earned him the favour of the most influential members of the Niu faction, i.e. of Linghu Chu (the military commander in the present-day province of Shandong) and his son Linghu Tao. -
Orwell in China: Big Brother in Every Bookshop オーウェル中国 にて ビッグブラザーがすべての書店に
Volume 11 | Issue 23 | Number 2 | Article ID 4127 | Jun 09, 2013 The Asia-Pacific Journal | Japan Focus Orwell in China: Big Brother in every bookshop オーウェル中国 にて ビッグブラザーがすべての書店に Michael Rank As I was researching Nineteen Eighty-four in Chinese, I wondered whether Orwell ever wrote about China. His interest in India, where he was born in 1903, is well known, and he served in the Burma Police after leaving school and before becoming a writer, but my guess was that China didn’t concern him greatly. But when I went to the British Library to check in his massive, 20-volume Complete Works [CW], I was surprised to discover that he wrote quite a Orwell at the BBC lot about China and its fate under Japanese occupation, in particular when he was working for the BBC’s Eastern Service during World It so happens that a neighbour of mine was a War II. close friend of the Empsons and a couple of years ago she introduced me to their son And of direct relevance to this article, it turns Jacobus, who has written a book about his out that he asked his publishers to send a copy parents’ unconventional marriage and his of Nineteen Eighty-four to his colleague, the childhood in Peking. Jake tells me that not only did at least one copy of Nineteen Eighty-four literary critic William Empson in Peking, where arrive safely in Peking, but that he remembers he was teaching English literature. When he his parents reading it so eagerly that “they had was seriously ill in a sanatorium into tear it in half so they could both read it at Gloucestershire in 1949, Orwell wrote to his once!” (J.