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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. -
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). -
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. -
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. -
The Hanzhong Written Poetry of Tang Dynasty and Contemporary Urban Construction in Hanzhong
2019 International Conference on Social Science and Education (ICSSAE 2019) The Hanzhong Written Poetry of Tang Dynasty and Contemporary Urban Construction in Hanzhong Zhongjun Wang Xi'an Peihua University, Xi'an, Shanxi Province, China [email protected] Keywords: poetry of the Tang Dynasty; Hanzhong writing; urban construction Abstract: Hanzhong is geographically located in the center of the map of China. Its geographical feature is "strategically located and difficult to access in four stoppages". Hanshui River’s origin is through-flowed and has a long history. In the poets’ pens of the Tang Dynasty, its traffic was very convenient, the history and culture were profound, the natural environment was beautiful, and the cultural atmosphere was strong. This paper aims to explore the new findings, new ways to realize the spread of modern Hanzhong City image through the study of Hanzhong's written poetry in the Tang Dynasty in combination with the transformation of Hanzhong's City, and explore the importance of urban communication, endow Hanzhong, a historic and cultural city with a special and innovative connotation in visual form, and provide a feasible proposal and plan. Hanzhong crosses the north and south, and has two water systems of Hanshui and Jialing River. It is known as the “Jiangnan in the Northwest”. Thanks to the city’s profound historical and cultural heritage and outstanding humanities, Tang Dynasty’s countless poets stopped to enjoy them, some sang, some contemplated, some exclaimed, some were curious, some evoked memories of the past while living in the present, some indulged without scruples, all of these injected the romantic and fanatical blood of the Tang Dynasty into Hanzhong City, providing more colorful content for the spread of contemporary Hanzhong City. -
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 -
The Dreaming Mind and the End of the Ming World
The Dreaming Mind and the End of the Ming World The Dreaming Mind and the End of the Ming World • Lynn A. Struve University of Hawai‘i Press Honolulu © 2019 University of Hawai‘i Press This content is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0), which means that it may be freely downloaded and shared in digital format for non-commercial purposes, provided credit is given to the author. Commercial uses and the publication of any derivative works require permission from the publisher. For details, see https://creativecommons.org/licenses/by-nc-nd/4.0/. The Creative Commons license described above does not apply to any material that is separately copyrighted. The open-access version of this book was made possible in part by an award from the James P. Geiss and Margaret Y. Hsu Foundation. Cover art: Woodblock illustration by Chen Hongshou from the 1639 edition of Story of the Western Wing. Student Zhang lies asleep in an inn, reclining against a bed frame. His anxious dream of Oriole in the wilds, being confronted by a military commander, completely fills the balloon to the right. In memory of Professor Liu Wenying (1939–2005), an open-minded, visionary scholar and open-hearted, generous man Contents Acknowledgments • ix Introduction • 1 Chapter 1 Continuities in the Dream Lives of Ming Intellectuals • 15 Chapter 2 Sources of Special Dream Salience in Late Ming • 81 Chapter 3 Crisis Dreaming • 165 Chapter 4 Dream-Coping in the Aftermath • 199 Epilogue: Beyond the Arc • 243 Works Cited • 259 Glossary-Index • 305 vii Acknowledgments I AM MOST GRATEFUL, as ever, to Diana Wenling Liu, head of the East Asian Col- lection at Indiana University, who, over many years, has never failed to cheerfully, courteously, and diligently respond to my innumerable requests for problematic materials, puzzlements over illegible or unfindable characters, frustrations with dig- ital databases, communications with publishers and repositories in China, etcetera ad infinitum. -
Imagery Focalization and the Profiling of a Poetic World: from Semantic to Metaphorical Coherence and Beyond
135 Imagery Focalization and the Profiling of a Poetic World: From Semantic to Metaphorical Coherence and Beyond Chunshen ZHU City University of Hong Kong, Hong Kong The paper begins with a brief overview of sense and sense-making with reference to cohesion, coherence and intertextuality. Based on a word-by-word close analysis, it charts the semantic coherence of a classical Chinese poem, Ye Yu Ji Bei by Li Shangyin, followed by a mapping of the text’s metaphorical coherence in terms of ontological metaphors. Using the poem as a case example, the paper examines (1) the profiling of a poetic world sustained by both semantic and metaphorical coherence, (2) the interplay between images for the focalization of an image, and (3) the significance of a focal image for the profiling, and by extension the translation, of a poetic text. Introduction In an anecdote of “‘One’-Character-Master 一字師” (《詩人玉屑》c.1244), the master advises a poet to replace ‘several boughs’ with ‘one bough’ in his line about early plum blossoms that reads “In front of a snow-buried hamlet, last night several boughs burst into bloom (‘前村深雪裡, 昨夜數枝開’)”, so as to highlight the earliness of its blossom season.1 The moral of the story for English translators of Chinese poems is that the determination of the number status of a nominal entity can be as much a poetic issue as it is grammatical. In classical Chinese poetry, or even in Chinese discourse in general, the number of a noun can frequently remain “vague”, that is, without its singularity or plurality being spelt out grammatically. -
Metaphysical and Mid-Late Tang Poetry a Baroque Comparison
Metaphysical and Mid-Late Tang Poetry A Baroque Comparison Pengfei Wang Series in Literary Studies Copyright © 2020 Vernon Press, an imprint of Vernon Art and Science Inc, on behalf of the author. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Vernon Art and Science Inc. www.vernonpress.com In the Americas: In the rest of the world: Vernon Press Vernon Press 1000 N West Street, C/Sancti Espiritu 17, Suite 1200, Wilmington, Malaga, 29006 Delaware 19801 Spain United States Series in Literary Studies Library of Congress Control Number: 2019946406 ISBN: 978-1-62273-773-4 Cover design by Vernon Press using elements designed by starline / Freepik. Product and company names mentioned in this work are the trademarks of their respective owners. While every care has been taken in preparing this work, neither the authors nor Vernon Art and Science Inc. may be held responsible for any loss or damage caused or alleged to be caused directly or indirectly by the information contained in it. Every effort has been made to trace all copyright holders, but if any have been inadvertently overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition. To My Parents Table of Contents Preface vii Foreword by Massimo Verdicchio University of Alberta ix Introduction: Toward Redefining Chinese Baroque Poetry through Comparison