The Subtle Connection Between Text and Music in a Daoist 詞 Ci Written
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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. -
The Study on Translation of Chai Tou Feng by Lu You Based on House's
Advances in Intelligent Systems Research, volume 163 8th International Conference on Management, Education and Information (MEICI 2018) The Study on Translation of Chai Tou Feng by Lu You Based on House’s Translation Quality Assessment Mode Xiaoyan Wu Secondary Vocational and Technical School, Yingcheng, Hubei [email protected] Keywords: House’s Model of Translation Quality Assessment; Chai Tou Feng; Applicability Abstract. Song Ci is a kind of unique literary form in the history of Chinese culture, so it is difficult to translate it into English. This thesis applies House’s model of translation quality assessment to evaluate the English version of Chai Tou Feng by Lu You, which demonstrates its applicability and is helpful to future research of Tang poetry and Song Ci. Introduction Translation Quality Assessment Model, which was put forward by Juliane House in A Model of Translation Quality Assessment and Translation Quality Assessment: A Model Revisited, is considered as the first completely theoretical and practical translation quality assessment model in the field of international translation criticism. It is common to find out that a number of Chinese proses and novels were assessed by some theories, such as Transformational Generative Grammar and Equivalence Theory and so on. However, it is rare to follow House’s Translation Quality Assessment Model to assess literary works, especially Tang poetry and Song Ci, which occupy important positions in the ancient Chinese literature. Therefore, this thesis applies House’s Translation Quality Assessment Model to analyzing Chai Tou Feng by Lu You and its English version. On one hand, it helps us to apply abstract translation theories to analyzing literary works, films and Tv series; on the other hand, it contributes to spreading Chinese culture to the world, which enables the world to learn China better. -
How Could Phenological Records from the Chinese Poems of the Tang and Song Dynasties
https://doi.org/10.5194/cp-2020-122 Preprint. Discussion started: 28 September 2020 c Author(s) 2020. CC BY 4.0 License. How could phenological records from the Chinese poems of the Tang and Song Dynasties (618-1260 AD) be reliable evidence of past climate changes? Yachen Liu1, Xiuqi Fang2, Junhu Dai3, Huanjiong Wang3, Zexing Tao3 5 1School of Biological and Environmental Engineering, Xi’an University, Xi’an, 710065, China 2Faculty of Geographical Science, Key Laboratory of Environment Change and Natural Disaster MOE, Beijing Normal University, Beijing, 100875, China 3Key Laboratory of Land Surface Pattern and Simulation, Institute of Geographic Sciences and Natural Resources Research, Chinese Academy of Science (CAS), Beijing, 100101, China 10 Correspondence to: Zexing Tao ([email protected]) Abstract. Phenological records in historical documents have been proved to be of unique value for reconstructing past climate changes. As a literary genre, poetry reached its peak period in the Tang and Song Dynasties (618-1260 AD) in China, which could provide abundant phenological records in this period when lacking phenological observations. However, the reliability of phenological records from 15 poems as well as their processing methods remains to be comprehensively summarized and discussed. In this paper, after introducing the certainties and uncertainties of phenological information in poems, the key processing steps and methods for deriving phenological records from poems and using them in past climate change studies were discussed: -
UC Berkeley Berkeley Undergraduate Journal
UC Berkeley Berkeley Undergraduate Journal Title Tales from the Cinnamon Sea: Literary Appropriation and the Creation of Paradise in the works of Fan Chengda Permalink https://escholarship.org/uc/item/36n4t98z Journal Berkeley Undergraduate Journal, 29(1) ISSN 1099-5331 Author Merlo, Phillip Edward Publication Date 2016 DOI 10.5070/B3291030167 Peer reviewed|Undergraduate eScholarship.org Powered by the California Digital Library University of California Tales from the Cinnamon Sea TALES FROM THE CINNAMON SEA: Literary Appropriation and the Creation of Paradise in the Works of Fan Chengda By Phillip Merlo his paper introduces the reader to China’s Southern Song dynasty (1127-1279), and specif- cally the diplomat, court ofcial, and poet Fan Chengda (1127-1279). During his years in government bureaucracy Fan Chengda traveled widely throughout the Southern Song Em- Tpire. During his travels he wrote several travel diaries, encyclopedias, and geographical treatises, in addition to thousands of extant travel poems. Tis paper investigates two of his works in particular: the Canluan lu and the Guihai yuheng zhi (both circa 1171-1174), both written during his travels to Guilin in the far South of the empire. Canluan lu, or the Register of Mounting a Simurgh is a travel diary of his trip to Guilin, and Guihai yuheng zhi is a geographical encyclopedia of Guilin and its surroundings. Comparative analysis of the two texts shows that in an apparent attempt to validate his self-image as an ideal Song scholar-ofcial, Fan Chengda appropriated historical descriptions of Guilin from past scholars. His in-text statements as well as his descriptive style suggest that Fan Chengda wished to identify and commune with scholars from other eras of Chinese dynastic his- tory. -
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On A Snowy Night: Yishan Yining (1247-1317) and the Development of Zen Calligraphy in Medieval Japan Xiaohan Du Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2021 © 2021 Xiaohan Du All Rights Reserved Abstract On A Snowy Night: Yishan Yining (1247-1317) and the Development of Zen Calligraphy in Medieval Japan Xiaohan Du This dissertation is the first monographic study of the monk-calligrapher Yishan Yining (1247- 1317), who was sent to Japan in 1299 as an imperial envoy by Emperor Chengzong (Temur, 1265-1307. r. 1294-1307), and achieved unprecedented success there. Through careful visual analysis of his extant oeuvre, this study situates Yishan’s calligraphy synchronically in the context of Chinese and Japanese calligraphy at the turn of the 14th century and diachronically in the history of the relationship between calligraphy and Buddhism. This study also examines Yishan’s prolific inscriptional practice, in particular the relationship between text and image, and its connection to the rise of ink monochrome landscape painting genre in 14th century Japan. This study fills a gap in the history of Chinese calligraphy, from which monk- calligraphers and their practices have received little attention. It also contributes to existing Japanese scholarship on bokuseki by relating Zen calligraphy to religious and political currents in Kamakura Japan. Furthermore, this study questions the validity of the “China influences Japan” model in the history of calligraphy and proposes a more fluid and nuanced model of synthesis between the wa and the kan (Japanese and Chinese) in examining cultural practices in East Asian culture. -
Sung Poetry in the Oral Tradition of the Gulf Region and the Arabian Peninsula
Oral Tradition, 4/1-2 (1989): 174-88 Sung Poetry in the Oral Tradition of the Gulf Region and the Arabian Peninsula Simon Jargy Historical Background As far back as we can go in the past history of the Arabs and Arabia, we fi nd poetry present as a huge memorial to their real and imaginary heroic exploits, as a witness to their way of life and feelings, and most of all as an expression of the deepest roots of their soul. Being essentially oral in its origins and developments, this poetry, with its rhythms, intonations, accents, and long or short syllables fi tted in quite naturally with music. In the old classical Arabic terminology, poetry (Shicr) identifi es with song (Nashīd): reciting it is synonymous with singing it (Anshada al-Shicr). This bond between Shicr (poetry) and Inshād (chant or recitative) still has the same meaning in the spoken Arabic of the Peninsula and the Gulf region where Nishīda (song) is synonymous with Giṣīda (poem). In pre-Islamic Arabia, Inshād likely had a dual function: religious and social. Both stem from the rhythmical syllables of the Arabic language (rhymed prose: Sajc, and metrical poetry: Shicr), as well as from rhythmical movements of camels. Coming from ancient times, this is the Ḥidā’ (literally “stimulating the camel’s step”) that the Bedouin sings following the steps of his camel and for his own entertainment. It has survived in the actual form we call “recitative” or “cantilena,” as the common Ḥadwā still designates, in the spoken Bedouin dialect of the Gulf, the folk songs of both the desert and the sea. -
Book Review Zong-Qi Cai, Editor. How to Read Chinese Poetry: A
Series IV, Volume 2, No. 2, October 2012 Book Review Zong-Qi Cai, Editor. How to Read Chinese Poetry: A Guided Anthology, New York: Columbia University Press, 2008. 426pp. (ISBN 0231139411) How to Read Chinese Poetry is a detailed anthology of English translation of Chinese poems with Chinese characters and pinyin. It is arranged chronologically in six parts, ranging from the Zhou Dynasty--the era of the The Book of Poetry (Shijing)--to the Qing Dynasty, ending with Gan Lirou’s (1743-1819) poetry. It covers all major poetic genres, such as poetry (shi), rhapsody (fu), lyric (ci), and song poems (qu). The fifteen contributors to this anthology are all excellent scholars in their own fields. For example, David R. Knechtges, who has translated all the rhapsodies preserved in the Selections of Refined Literature (Wen xuan) outstandingly, contributed the chapter on rhapsodies: “An Ancient-Style Rhapsody (Gufu)”; Grace S. Fong, who is well known for her works on gender and poetry in late imperial China, composed the chapter on “Shi Poetry of the Ming and Qing Dynasties”. A very useful feature of this anthology is that it not only provides English translation, but also offers Chinese characters and corresponding pinyin. I used part of this book when teaching pre- modern Chinese literature, and found that students appreciated the way that poems were presented and analyzed, because most of them were learning Chinese language at the same time. To re-enhance the learning experience, there is a web-based sound recording as a companion to this volume, which allows students to listen to native speakers reading the poems. -
In Norwegian Stev, When Sung Jacqueline Pattison Ekgren J.P
The Two-pulse “Dipod” in Norwegian Stev, When Sung Jacqueline Pattison Ekgren J.P. Ekgren Musikkinstitutt, Norway Introduction Norway has a wealth of traditional folk songs and a reciting-singing style called kveding that appears to go back a number of centuries, perhaps even a millennium. The reciting-singing style as found in the southern part of Norway in Telemark and Setesdal has posed a problem of rhythm so irregular as to be considered an inexplicable, unsystematic “free rhythm”. However, my research based on sung performance documented by film shows that typical of the singing style is a systematic two-pulse rhythm (with room for)(that encourages) considerable inherent flexibility. This rhythm is especially salient in the one-stanza form called stev, of which there is a “newer” type, nystev and an “older” type, gamlestev (“stev” is both singular and plural form). Unraveling the riddle of this rhythm can further our understanding of the Phenomenon of Singing and the Power of Song, Although I am a singer and musicologist, I find that the rhythmic musical idiosyncrasies of stev can be solved only by delving into intensive study of the poetry of stev: that is, the poetry as performed, sung. With the word “temper”, you have the letters of four core elements that are integrated in the approach and method of this paper: TE-M-PER for TExt, Music/Melody, PERformance, and “R” also for “rhythm”. I maintain that the text becomes “tempered” by the music and performance to such a degree that the music and performance must be considered an integral part of stev poetry. -
Oral Poetry and Performance
Dickinson College Dickinson Scholar Faculty and Staff Publications By Year Faculty and Staff Publications 2015 Canterino and Improvvisatore: Oral Poetry and Performance Blake McDowell Wilson Dickinson College Follow this and additional works at: https://scholar.dickinson.edu/faculty_publications Part of the Music Commons Recommended Citation Wilson, Blake. "Canterino and Improvvisatore: Oral Poetry and Performance." In The Cambridge History of Fifteenth-Century Music, edited by Anna Maria Busse Berger and Jesse Rodin, 292-310. Cambridge, UK: Cambridge University Press, 2015. This article is brought to you for free and open access by Dickinson Scholar. It has been accepted for inclusion by an authorized administrator. For more information, please contact [email protected]. 16 . Canterino and improvvisatore. oral poetry and performance BLAKE WILSON Fifteenth-century Italy witnessed a distinctive chapter in the ancient and global history of oral poetry. Aspects of Renaissance Italian poetic performance are clearly linked with oral practices of all times and places: the conception of poetry as a multivalent and nearly universal form of human discourse, a tendency for poetic voice to culminate in song (often instrumentally accom• panied), and the inseparability of oral poetry from the agonistic environment of performance.1 The interrelated operations of memory and improvisation, too, played essential roles: music was never notated and always improvised, while the poetry was sometimes improvised but may have been conditioned by writing. The capacity of a well-trained memory to engage in both recall and combinatorial invention meant that while "improvisation" of text or music almost always involved some element of composition in performance, it was rarely ex nihilo, but involved the refashioning (rifacimento) of preexistent materials. -
“Tonight My Gun Is Loaded”: Poetic Dueling in Arabia
Oral Tradition, 4/1-2 (1989): 151-73 “Tonight My Gun Is Loaded”: Poetic Dueling In Arabia Saad Abdullah Sowayan Introduction Although folk traditions are rapidly disappearing in Arabia as it is suddenly transformed from an illiterate society to a modern state, poetic dueling remains one of the most popular and spectacular folk performances. Oral poets are paid handsomely at weddings, festivals, and similar public occasions to entertain spectators with their verbal jousts. Encouraged by eager audiences and by an accompanying chorus that repeats their improvised verses, the competing poets can stay up singing and playing until the call to the morning prayer. Poetic dueling is part of a larger poetic tradition locally called Nabaṭī (i.e. vernacular) poetry, the direct continuation and living representative of classical Arabic poetry, the poetry of pre-Islamic and early Islamic Arabia (Sowayan 1985). It should be remembered that even though the classical poetic tradition of Arabia survives today in written form and has become the ultimate model in Arabic written literature, it was originally a popular oral tradition. In its gradual movement to become truly written literature, depending strictly on pen and paper in its composition and transmission, Arabic poetry lost its oral features. These oral features survive today in Nabaṭī poetry, which, linguistic differences apart, mirrors its classical predecessor in form, content, and function as well as in the process of its composition, transmission, and performance (ibid.). This fact offers us new possibilities for comparative research. No longer can we look at one of these poetic traditions in isolation from the other, and whatever scientifi c progress we make in our study of one will have direct bearing on our understanding of the other. -
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