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| Author | : Meow Hui Goh |
| Publisher | : |
| Total Pages | : 296 |
| Release | : 2004 |
| Genre | : Chinese poetry |
| ISBN | : |
| Author | : Meow Goh |
| Publisher | : Stanford University Press |
| Total Pages | : 207 |
| Release | : 2010-08-24 |
| Genre | : Literary Criticism |
| ISBN | : 0804775036 |
This is the first book to examine Chinese poetry and courtier culture using the concept of shengse—sound and sight—which connotes "sensual pleasure." Under the moral and political imperative to avoid or even eliminate representations of sense perception, premodern Chinese commentators treated overt displays of artistry with great suspicion, and their influence is still alive in modern and contemporary constructions of literary and cultural history. The Yongming poets, who openly extolled "sound and rhymes," have been deemed the main instigators of a poetic trend toward the sensual. Situating them within the court milieu of their day, Meow Hui Goh asks a simple question: What did shengse mean to the Yongming poets? By unraveling the aural and visual experiences encapsulated in their poems, she argues that their pursuit of "sound and sight" reveals a complex confluence of Buddhist influence, Confucian value, and new sociopolitical conditions. Her study challenges the old perception of the Yongming poets and the common practice of reading classical Chinese poems for semantic meaning only.
| Author | : Ping WANG |
| Publisher | : BRILL |
| Total Pages | : 321 |
| Release | : 2012-05-11 |
| Genre | : Literary Criticism |
| ISBN | : 9004225226 |
This book, through detailed analysis of the writings of the Liang Crown Prince Xiao Tong and his circle, will deepen and redefine our view of the court cultrue and literature of the Liang, a crucial period in Chinese literary history.
| Author | : Mark Edward Lewis |
| Publisher | : Harvard University Press |
| Total Pages | : 351 |
| Release | : 2011-04-30 |
| Genre | : History |
| ISBN | : 0674265408 |
After the collapse of the Han dynasty in the third century CE, China divided along a north-south line. Mark Lewis traces the changes that both underlay and resulted from this split in a period that saw the geographic redefinition of China, more engagement with the outside world, significant changes to family life, developments in the literary and social arenas, and the introduction of new religions. The Yangzi River valley arose as the rice-producing center of the country. Literature moved beyond the court and capital to depict local culture, and newly emerging social spaces included the garden, temple, salon, and country villa. The growth of self-defined genteel families expanded the notion of the elite, moving it away from the traditional great Han families identified mostly by material wealth. Trailing the rebel movements that toppled the Han, the new faiths of Daoism and Buddhism altered every aspect of life, including the state, kinship structures, and the economy. By the time China was reunited by the Sui dynasty in 589 ce, the elite had been drawn into the state order, and imperial power had assumed a more transcendent nature. The Chinese were incorporated into a new world system in which they exchanged goods and ideas with states that shared a common Buddhist religion. The centuries between the Han and the Tang thus had a profound and permanent impact on the Chinese world.
| Author | : |
| Publisher | : BRILL |
| Total Pages | : 680 |
| Release | : 2013-10-10 |
| Genre | : Literary Criticism |
| ISBN | : 9004201645 |
At last here is the long-awaited, first Western-language reference guide focusing exclusively on Chinese literature from ca. 700 B.C.E. to the early seventh century C.E. Alphabetically organized, it contains no less than 1095 entries on major and minor writers, literary forms and "schools," and important Chinese literary terms. In addition to providing authoritative information about each subject, the compilers have taken meticulous care to include detailed, up-to-date bibliographies and source information. The reader will find it a treasure-trove of historical accounts, especially when browsing through the biographies of authors. Indispensable for scholars and students of pre-modern Chinese literature, history, and thought. Part Two contains S to Xi.
| Author | : Christopher M.B. Nugent |
| Publisher | : BRILL |
| Total Pages | : 360 |
| Release | : 2020-10-26 |
| Genre | : History |
| ISBN | : 1684170540 |
This study aims to engage the textual realities of medieval literature by shedding light on the material lives of poems during the Tang, from their initial oral or written instantiation through their often lengthy and twisted paths of circulation. Tang poems exist today in stable written forms assumed to reflect their creators’ original intent. Yet Tang poetic culture was based on hand-copied manuscripts and oral performance. We have almost no access to this poetry as it was experienced by contemporaries. This is no trivial matter, the author argues. If we do not understand how Tang people composed, experienced, and transmitted this poetry, we miss something fundamental about the roles of memory and copying in the circulation of poetry as well as readers’ dynamic participation in the creation of texts. We learn something different about poems when we examine them, not as literary works transcending any particular physical form, but as objects with distinct physical attributes, visual and sonic. The attitudes of the Tang audience toward the stability of texts matter as well. Understanding Tang poetry requires acknowledging that Tang literary culture accepted the conscious revision of these works by authors, readers, and transmitters. 2012 Joseph Levenson Book Prize, Pre-1900 Category, China and Inner Asia Council of the Association for Asian Studies
| Author | : Kang-i Sun Chang |
| Publisher | : Cambridge University Press |
| Total Pages | : 748 |
| Release | : 2010 |
| Genre | : Chinese literature |
| ISBN | : 9780521855587 |
Stephen Owen is James Bryant Conant Professor of Chinese at Harvard University. --Book Jacket.
| Author | : |
| Publisher | : |
| Total Pages | : 596 |
| Release | : 2005 |
| Genre | : Dissertations, Academic |
| ISBN | : |
| Author | : C-T James Huang |
| Publisher | : Springer Science & Business Media |
| Total Pages | : 408 |
| Release | : 1996 |
| Genre | : Foreign Language Study |
| ISBN | : 9780792338673 |
The past decade and a half has witnessed a great deal of renewed interest in the study of Chinese linguistics, not only in the traditional areas of philological studies and in theoretically oriented areas of syn chronic grammar and language change but also in the cultivation of new frontiers in related areas of the cognitive sciences. There is a significant increase in the number of students studying one area or another of the linguistic structure of Chinese in various linguistic programs in the United States, Europe, Australia and in China, Hong Kong, Singapore, Taiwan, and other parts of Asia. Several new academic departments devoted to the study of linguistics have been established in Taiwan and Hong Kong in the past few years. The increasing research and study activities have also resulted in a number of national and international conferences, including the North American Conference on Chinese Linguistics (NACCL), which has been held annually in the United States; the International Symposium on Chinese Languages and Linguistics (IsCLL), which has had its fourth meeting since it was launched by Academia Sinica in Taiwan in 1990; the International Association of Chinese Linguistics (lACL), created in Singapore in 1992 and now incorporated in Irvine, California, which has held its annual meetings at major institutions in Asia, Europe, and the US.
| Author | : Ben Glaser |
| Publisher | : Fordham Univ Press |
| Total Pages | : 288 |
| Release | : 2019-01-08 |
| Genre | : Literary Criticism |
| ISBN | : 0823282058 |
This book shows how rhythm constitutes an untapped resource for understanding poetry. Intervening in recent debates over formalism, historicism, and poetics, the authors show how rhythm is at once a defamiliarizing aesthetic force and an unstable concept. Distinct from the related terms to which it’s often assimilated—scansion, prosody, meter—rhythm makes legible a range of ways poetry affects us that cannot be parsed through the traditional resources of poetic theory. Rhythm has rich but also problematic roots in still-lingering nineteenth-century notions of primitive, oral, communal, and sometimes racialized poetics. But there are reasons to understand and even embrace its seductions, including its resistance to lyrical voice and even identity. Through exploration of rhythm’s genealogies and present critical debates, the essays consistently warn against taking rhythm to be a given form offering ready-made resources for interpretation. Pressing beyond poetry handbooks’ isolated descriptions of technique or inductive declarations of what rhythm “is,” the essays ask what it means to think rhythm. Rhythm, the contributors show, happens relative to the body, on the one hand, and to language, on the other—two categories that are distinct from the literary, the mode through which poetics has tended to be analyzed. Beyond articulating what rhythm does to poetry, the contributors undertake a genealogical and theoretical analysis of how rhythm as a human experience has come to be articulated through poetry and poetics. The resulting work helps us better understand poetry both on its own terms and in its continuities with other experiences and other arts. Contributors: Derek Attridge, Tom Cable, Jonathan Culler, Natalie Gerber, Ben Glaser, Virginia Jackson, Simon Jarvis, Ewan Jones, Erin Kappeler, Meredith Martin, David Nowell Smith, Yopie Prins, Haun Saussy
