Download Article
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Ming-Qing Women's Song Lyrics to the Tune Man Jiang Hong
engendering heroism: ming-qing women’s song 1 ENGENDERING HEROISM: MING-QING WOMEN’S SONG LYRICS TO THE TUNE MAN JIANG HONG* by LI XIAORONG (McGill University) Abstract The heroic lyric had long been a masculine symbolic space linked with the male so- cial world of career and achievement. However, the participation of a critical mass of Ming-Qing women lyricists, whose gendered consciousness played a role in their tex- tual production, complicated the issue. This paper examines how women crossed gen- der boundaries to appropriate masculine poetics, particularly within the dimension of the heroic lyric to the tune Man jiang hong, to voice their reflections on larger historical circumstances as well as women’s gender roles in their society. The song lyric (ci 詞), along with shi 詩 poetry, was one of the dominant genres in which late imperial Chinese women writers were active.1 The two conceptual categories in the aesthetics and poetics of the song lyric—“masculine” (haofang 豪放) and “feminine” (wanyue 婉約)—may have primarily referred to the textual performance of male authors in the tradition. However, the participation of a critical mass of Ming- Qing women lyricists, whose gendered consciousness played a role in * This paper was originally presented in the Annual Meeting of the Association for Asian Studies, New York, March 27-30, 2003. I am deeply grateful to my supervisor Grace S. Fong for her guidance and encouragement in the course of writing this pa- per. I would like to also express my sincere thanks to Professors Robin Yates, Robert Hegel, Daniel Bryant, Beata Grant, and Harriet Zurndorfer and to two anonymous readers for their valuable comments and suggestions that led me to think further on some critical issues in this paper. -
On the Divination Images of Flowers and Plants in Song Ci
Academic Journal of Humanities & Social Sciences ISSN 2616-5783 Vol.3, Issue 10: 130-135, DOI: 10.25236/AJHSS.2020.031017 On the divination images of flowers and plants in Song Ci Yi Wang1,* 1 College of Liberal Arts, Yangzhou University, Yangzhou 225002, China *Corresponding Author ABSTRACT. Flower divination is a special digital divination method that uses flowers and plants as a medium, and it has become a common cultural image in Song Ci. Flower and grass divination uses the odd and even number of petals and other body parts as hexagrams or double leaves and combined stems as auspicious signs as its test methods. The reason why the image of flower and grass divination can flourish in Song Ci is closely related to the highly developed divination culture and flower trade in the Song Dynasty. It also contains the national consciousness and national experience of number worship and number divination. KEYWORDS: flower divination, digital divination, cultural image, national consciousness 1. Introduction The Song Dynasty was a period of relatively prosperous culture, and divination was an important part of Song Dynasty culture. From the emperor to the ordinary citizens, divination penetrated into their cultural life and became a special sight in the urban life of the Song Dynasty. Take the literati as an example. Since the Jiayou period, "literati and bureaucrats have always used hexagram shadows". Flower and grass divination is a special way of divination. It uses flowers, grass, and leaves as the medium, and mostly uses odd and even numbers as hexagrams as its external manifestation. It is more common in Song Ci and became one of Song Ci. -
Exploration of Musical Aesthetic Ideas in Ci-Tune Music Composed by Jiang Kui
2019 2nd International Conference on Cultures, Languages and Literatures, and Arts (CLLA 2019) Exploration of Musical Aesthetic Ideas in Ci-Tune Music Composed by Jiang Kui Gao Chang Sichuan University of Arts and Science 635000 Keywords: Jiang Kui; ci poetry of the Song Dynasty; music; aesthetics Abstract: Ci-tune music in tonal patterns of ci, a unique and vibrant music, once brought an utterly-new artistic aesthetic enjoyment to people with its lively rhythm and rich connotation in the combination of long and short sentence. At that time, people in accumulating numbers began to write poems and songs. As a combination of ci and music, this kind of songs became a milestone product in the Song Dynasty with high cultural and artistic value. Jiang Kui was a typical representative of ci-tune music in the Southern Song Dynasty. 1. Introduction Social economy reached an unprecedented prosperity in the Song Dynasty of China, during which the focus of social music activities was no longer the enjoyment of royal nobles. Instead, Ci and music were widely spread among ordinary people. Folk music in the Song Dynasty shows unique creativity and vitality and promotes the unprecedented prosperity of ci. The reason why it has become a classic is the irreplaceability of this language. The literary genre of "ci" was originally a kind of lyrics which was singing in tune. With the change of the times, some literati omitted the part of singing, making "ci" an independent literary genre. 2. Jiang Kui— Poet of the Southern Song Dynasty With the middle and late Southern Song Dynasty coming after earlier stability, ci of Song Dynasty ushered in the last stage of its development. -
The Lyrics of Zhou Bangyan (1056-1121): in Between Popular and Elite Cultures
THE LYRICS OF ZHOU BANGYAN (1056-1121): IN BETWEEN POPULAR AND ELITE CULTURES by Zhou Huarao A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of East Asian Studies University of Toronto © Copyright by Zhou Huarao, 2014 The Lyrics of Zhou Bangyan (1056-1121): In between Popular and Elite Cultures Huarao Zhou Doctor of Philosophy Department of East Asian Studies University of Toronto 2014 Abstract Successfully synthesizing all previous styles of the lyric, or ci, Zhou Bangyan’s (1056-1121) poems oscillate between contrasting qualities in regard to aesthetics (ya and su), generic development (zheng and bian), circulation (musicality and textuality), and literary value (assumed female voice and male voice, lyrical mode and narrative mode, and the explicit and the implicit). These qualities emerged during the evolution of the lyric genre from common songs to a specialized and elegant form of art. This evolution, promoted by the interaction of popular culture and elite tradition, paralleled the canonization of the lyric genre. Therefore, to investigate Zhou Bangyan’s lyrics, I situate them within these contrasting qualities; in doing so, I attempt to demonstrate the uniqueness and significance of Zhou Bangyan’s poems in the development and canonization of the lyric genre. This dissertation contains six chapters. Chapter One outlines the six pairs of contrasting qualities associated with popular culture and literati tradition that existed in the course of the development of the lyric genre. These contrasting qualities serve as the overall framework for discussing Zhou Bangyan’s lyrics in the following chapters. Chapter Two studies Zhou Bangyan’s life, with a focus on how biographical factors shaped his perspective about the lyric genre. -
The Hundred Surnames: a Pinyin Index
names collated:Chinese personal names and 100 surnames.qxd 29/09/2006 12:59 Page 3 The hundred surnames: a Pinyin index Pinyin Hanzi (simplified) Wade Giles Other forms Well-known names Pinyin Hanzi (simplified) Wade Giles Other forms Well-known names Ai Ai Ai Zidong Cong Ts’ung Zong Cong Zhen Ai Ai Ai Songgu Cui Ts’ui Cui Jian, Cui Yanhui An An An Lushan Da Ta Da Zhongguang Ao Ao Ao Taosun, Ao Jigong Dai Tai Dai De, Dai Zhen Ba Pa Ba Su Dang Tang Dang Jin, Dang Huaiying Bai Pai Bai Juyi, Bai Yunqian Deng Teng Tang, Deng Xiaoping, Bai Pai Bai Qian, Bai Ziting Thien Deng Shiru Baili Paili Baili Song Di Ti Di Xi Ban Pan Ban Gu, Ban Chao Diao Tiao Diao Baoming, Bao Pao Bao Zheng, Bao Shichen Diao Daigao Bao Pao Bao Jingyan, Bao Zhao Ding Ting Ding Yunpeng, Ding Qian Bao Pao Bao Xian Diwu Tiwu Diwu Tai, Diwu Juren Bei Pei Bei Yiyuan, Bei Qiong Dong Tung Dong Lianghui Ben Pen Ben Sheng Dong Tung Dong Zhongshu, Bi Pi Bi Sheng, Bi Ruan, Bi Zhu Dong Jianhua Bian Pien Bian Hua, Bian Wenyu Dongfang Tungfang Dongfang Shuo Bian Pien Bian Gong Dongguo Tungkuo Dongguo Yannian Bie Pieh Bie Zhijie Dongmen Tungmen Dongmen Guifu Bing Ping Bing Yu, Bing Yuan Dou Tou Dou Tao Bo Po Bo Lin Dou Tou Dou Wei, Dou Mo, Bo Po Bo Yu, Bo Shaozhi Dou Xian Bu Pu Bu Tianzhang, Bu Shang Du Tu Du Shi, Du Fu, Du Mu Bu Pu Bu Liang Du Tu Du Yu Cai Ts’ai Chai, Cai Lun, Cai Wenji, Cai Ze Du Tu Du Xia Chua, Du Tu Du Qiong Choy Duan Tuan Duan Yucai Cang Ts’ang Cang Xie Duangan Tuankan Duangan Tong Cao Ts’ao Tso, Tow Cao Cao, Cao Xueqin, Duanmu Tuanmu Duanmu Guohu Cao Kun E O E -
SIGNED, SEALED, DELIVERED Clean Sweep As Beijing Olympics Succeed on All Levels
OLYMPIC DREAM MOVES ON TO LONDON Page 12 VOL.51 NO.36 SEP. 4, 2008 Page 16 SIGNED, SEALED, DELIVERED Clean sweep as Beijing Olympics succeed on all Levels CHINESE BANKS ESCAPE GLOBAL FINANCIAL CRISIS Page 34 FIRST ANTI-MONOPOLY LAWSUIT FILED Page 33 北京周报 英文版 2008年 第36期 ISSN 1000-9140 广告许可证 0171号 北京市期刊登记证第733号 邮发代号2-922·国内统一刊号:CN11-1576/G2 国内零售价:人民币6.00元 U.S.A.......USD 1.70 AUSTRALIA......AUD 3.00 UK......GBP 1.20 CANADA......CAD 2.60 SWITZERLAND......CHF 2.60 JAPAN......JPY 188 EUROPE......EURO 1.90 TURKEY......YTL 5.00 HK......HKD 9.30 VOL. 51 NO. 36 SEPTEMBER 4, 2008 EDITOR’S DESK 22 Slam Dunking Good 36 At Full Throttle 2 Olympic Legacy U.S. basketball team gets job done Train producer lists in Shanghai and Hong Kong PEOPLE & POINTS 23 Fast Water Secrets of the Water Cube 37 A Smooth Takeoff WEEKLY WATCH 25 Asian Heroes India’s Jet Airways’ global WORLD China, ROK and Japan score big ambitions 10 Embracing the World With 26 Out of Africa 38 Market Watch Confidence African athletes shine in Beijing Hu’s Asian tour sets LIFESTYLE post-Olympic diplomacy 28 Coaches Made-in-China 40 Reinventing Culture Chinese overseas coaches also Giving the classics a musical 12 Welcome to London strike gold How will British capital fare in twist 2012? BUSINESS 42 Going for Glass 14 Play for Power 30 Right on the Money An ancient craft is resurrected Less rigid monetary policy mooted Pakistan’s political turmoil FORUM 32 Getting Down to Business OLYMPICS IN FOCUS 46 What Does Winning the Gold Nuts and bolts of Anti-Monopoly 16 Record Breakers Law Medal -
2013 Editor Lindsay Shen, Phd
Journal of the royal asiatic society china Vol. 75 no. 1, 2013 Editor Lindsay Shen, PhD. Copyright 2013 RAS China. The Journal of the Royal Asiatic Society China is published by Earnshaw Books on behalf of the Royal Asiatic Society China. Contributions The editors of the Journal invite submission of original unpublished scholarly articles and book reviews on the religion and philosophy, art and architecture, archaeology, anthropology and environment, of China. Books sent for review will be donated to the Royal Asiatic Society China Library. Contributors receive a copy of the Journal. Subscriptions Members receive a copy of the journal, with their paid annual membership fee. Individual copies will be sold to non-members, as available. Library Policy Copies and back issues of the Journal are available in the library. The library is available to members. www.royalasiaticsociety.org.cn Journal of the Royal Asiatic Society China Vol. 75 No. 1, 2013 978-988-8422-44-9 © 2013 Royal Asiatic Society China The copyright of each article rests with the author. EB086 Designed and produced for RAS China by Earnshaw Books Ltd. (Hong Kong) Room 1801, 18F, Public Bank Centre, 120 Des Voeux Road Central, Hong Kong All rights reserved. No part of this book may be reproduced in material form, by any means, whether graphic, electronic, mechanical or other, including photocopying or information storage, in whole or in part. May not be used to prepare other publications without written permission from the publisher. The Royal Asiatic Society China thanks Earnshaw -
Southern Identity and Southern Estrangement in Medieval Chinese Poetry
Southern Identity and Southern Estrangement in Medieval Chinese Poetry Edited by Ping Wang and Nicholas Morrow Williams Hong Kong University Press Th e University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2015 Hong Kong University Press ISBN 978-988-8139-26-2 All rights reserved. No portion of this publication may be reproduced or transmitt ed in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without prior permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Liang Yu Printing Factory Ltd. in Hong Kong, China Contents Acknowledgments vii List of Contributors ix 1. Southland as Symbol 1 Ping Wang and Nicholas Morrow Williams 2. Southern Metal and Feather Fan: Th e “Southern Consciousness” of Lu Ji 19 David R. Knechtges 3. Fan Writing: Lu Ji, Lu Yun and the Cultural Transactions between North and South 43 Xiaofei Tian 4. Plaint, Lyricism, and the South 79 Ping Wang 5. Farther South: Jiang Yan in Darkest Fujian 109 Paul W. Kroll 6. Th e Pity of Spring: A Southern Topos Reimagined by Wang Bo and Li Bai 137 Nicholas Morrow Williams 7. Th e Stele and the Drunkard: Two Poetic Allusions from Xiangyang 165 Jie Wu 8. Jiangnan from the Ninth Century On: Th e Routinization of Desire 189 Stephen Owen Works Cited 207 Index 219 Contributors David R. -
Chan Buddhism in Literati Culture During the Song Dynasty Qing MING Yunnan Normal University, Kunming, Yunnan, China [email protected]
2017 3rd Annual International Conference on Modern Education and Social Science (MESS 2017) ISBN: 978-1-60595-450-9 Chan Buddhism in Literati Culture During the Song Dynasty Qing MING Yunnan Normal University, Kunming, Yunnan, China [email protected] Keywords: Chan Buddhism, literati, Tea Ceremony, Calligraphy. Abstract: Chan Buddhism had become a reinvented popular Buddhist school of the Song dynasty, and it had also integrated with the indigenous culture of Song China. It had become an inseparable part of the indigenous Song culture of China and had exerted direct or indirect influence upon Chinese culture and even the mentality of most of the Chinese population.Thus, this paper taken Chan Buddhism in Song dynasty literati’s culture as its objects of research; in the paper, the research will be approached by focusing on four aspects: 1) the tea ceremony (chadao), 2) Chan poetry, 3) Chan painting, and 4) the art of calligraphy (shufa yishu). Introduction “Chan” is known as “dhyāna” in Sanskrit. It means meditation, which was the basic practice of early Buddhism and the Indian Yoga tradition. The aim of Chan is to realize the basic nature of enlightenment in sentient beings through direct experience and insight into the true nature of things. During the Song dynasty, Chan Buddhism had great influence upon the cultural activities of the literati, which included the Tea Ceremony (chadao), Chan Poetry, Chan Painting and the Art of Calligraphy (shufa yishu), etc. 1. The Tea Ceremony (Chadao) The tea ceremony’s art of drinking tea takes self-development and realizing the Chan as its purpose. -
Mirror, Dream and Shadow: Gu Taiqing's Life and Writings a Dissertation Submitted to the Graduate Division of the University O
MIRROR, DREAM AND SHADOW: GU TAIQING‘S LIFE AND WRITINGS A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‗I AT MANOĀ IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN EAST ASIAN LANGUAGES AND LITERATURES (CHINESE) May 2012 By Changqin Geng Dissertation Committee: David McCraw, Chairperson Giovanni Vitiello Hui Jiang Tao-chung Yao Roger Ames ACKNOWLEDGMENTS I would like to express my deepest gratitude to my advisor Prof. David McCraw for his excellent guidance, caring and patience towards my study and research. I really appreciate for his invaluable comments and insightful suggestions throughout this study. I also want to thank my dissertation committee members, Prof. Giovanni Vitiello, Prof. Hui Jiang, Prof. Tao-chung Yao and Prof. Roger Ames, for their intellectual instruction, thoughtful criticism and scholarly inspiration. I want to especially thank Prof. Tao-chung Yao for his guidance and support in my development as a teacher. I am also grateful to my husband, Sechyi Laiu, who helped me with proofreading and shared with me the pleasures and pains of writing. His patience, tolerance and encouragement helped me overcome the difficulties in finishing this dissertation. Finally, I would like to thank my parents and my little sister. They have always mentally encouraged and supported me throughout my academic endeavors. ii ABSTRACT Gu Taiqing is one of the most remarkable and prolific poetesses of the Qing dynasty. This study attempts to present critical and comprehensive research on Gu Taiqing‘s writing so to unearth and illustrate Taiqing‘s own life and mentality, in order to enrich our understanding of the role that writing has played in the lives of the pre-modern women. -
The Literary Design of Liu Yiqing's Qiantang Yishi And
THE POETICS OF MISCELLANEOUSNESS: THE LITERARY DESIGN OF LIU YIQING’S QIANTANG YISHI AND THE HISTORIOGRAPHY OF THE SOUTHERN SONG by Gang Liu A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Asian Languages and Cultures) In the University of Michigan 2010 Doctoral Committee: Professor Shuen-fu Lin, Chair Professor Yopie Prins Associate Professor David L. Rolston Assistant Professor Christian de Pee © Gang Liu 2010 To Wei and Ava ii ACKNOWLEDGEMENTS I owe my deepest gratitude to my adviser, Professor Shuen-fu Lin, whose unfailing support and incisive comments have made the writing of this dissertation such a pleasant and rewarding experience for me. Professor Lin is not only an inspiring mentor and teacher, but also an amiable person whom I have always been comfortable to work with. I am grateful to have him as my adviser during my graduate study. I also owe great debts of thanks to Professors David L. Rolston, Christian de Pee, and Yopie Prins, who are on my dissertation committee. Professors Rolston, de Pee, and Prins have all been very supportive and have helped me immeasurably throughout the entire course of this dissertation. They have been most willing to read and to offer me feedback from different perspectives (literary, historical and theoretical, etc.) on drafts of this dissertation at various stages. Without their support and insightful comments, this dissertation would never become possible. I would like to extend my thanks to Professors William Baxter, Miranda Brown, Xiaobing Tang, Jonathan Zwicker, Ken Ito, and Nancy Florida, who have showed enthusiastic interests in this dissertation and offered me invaluable suggestions on it. -
An Introduction to Chinese Poetry from the Canon of Poetry to the Lyrics of the Song Dynasty
An Introduction to Chinese Poetry From the Canon of Poetry to the Lyrics of the Song Dynasty Table of Contents Author’s Note iv Chapter One: the Classical Chinese Language 1 Classical Chinese in Historical Perspective The Basis for the Written Record: Chinese Characters The Sound Systems of Classical Chinese The Phonology of Middle Chinese The Sounds of Old Chinese Words in Classical Chinese (Morphology) The Syntax of Classical Chinese Topic-Comment Verb-Object Coordination Modification Conclusions Chapter Two: The Formal and Rhetorical Resources of Chinese Poetry 19 The Formal Structures of Chinese Poetry The Line The Couplet The Quatrain Stanza and Octave Poem Rhetorical Features of Chinese Poetic Language Rhetorical Tropes Ornamentation Allusion Summary Chapter Three: Origins of the Poetic Tradition 42 Shijing: The Canon of Poetry The Origin of the Shijing The Structure of the Canon of Poetry The Canon of Poetry and the Development of the Poetic Tradition Selections from the Canon of Poetry The Chu Ci: the Lyrics of Chu Li sao: “Encountering Sorrow” The “Nine Songs” “Nine Pieces” “Nine Transformations” “The Fisherman” i Chapter Four: Poetry in the Han, Wei, and Jin Dynasties 72 Anonymous Poetry from the Music Bureau Early Pentasyllabic Poetry Poets of the Jian’an Reign Period Cao Cao Cho Zhi Wang Can The Wei Dynasty Ruan Ji The Western Jin Pan Yue Zuo Si Lu Ji Guo Pu Appendix: Cao Pi, “A Discourse on Literature” Chapter Five: The Maturing of Convention — The Poetry of the Northern and Southern Dynasties 109 North and South Ta o Qi a