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Topic: Classical Chinese poetry

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	Classical Chinese literature - Hutchinson encyclopedia article about Classical Chinese literature
		Chinese poems, often only four lines long, and written in the ancient literary language understood throughout China, consist of rhymed lines of a fixed number of syllables, ornamented by parallel phrasing and tonal pattern.
		Until the 16th century the short story was confined to the anecdote, startling by its strangeness and written in the literary language – for example, the stories of the poetic Tuan Ch'eng-shih (died 863); but after that time the more novelistic type of short story, written in the colloquial tongue, developed by its side.
		In typical Chinese drama, the stage presentation far surpasses the text in importance (the dialogue was not even preserved in early plays), but there have been experiments in the European manner.
	encyclopedia.farlex.com /Classical+Chinese+literature (402 words)

	Classical Chinese -- Facts, Info, and Encyclopedia article (Site not responding. Last check: 2007-10-20)
		Among Chinese speakers, classical Chinese has been largely replaced by (additional info and facts about Vernacular Chinese) Vernacular Chinese (baihua), a style of writing that is much closer to modern spoken Chinese, while speakers of non-Chinese languages have largely abandoned Classical Chinese in favor of local vernaculars.
		Classical Chinese is therefore the language used in many of China's most influential books, such as the (additional info and facts about Analects of Confucius) Analects of Confucius, the (additional info and facts about Mencius) Mencius, the (additional info and facts about Daodejing) Daodejing, etc.
		Literary Chinese diverged from Classical as the languages of China became more and more disparate and as the Classical written language became less and less representative of the ((language) communication by word of mouth) spoken language.
	www.absoluteastronomy.com /encyclopedia/c/cl/classical_chinese.htm (1532 words)

	Classical Chinese
		Classical Chinese (文言 wényán, literal meaning: "literary language") is a style of writing the Chinese language that uses alternate sets of characters and grammar that resembles Chinese as it was written historically.
		According to a more scholarly definition, Classical Chinese refers specifically to the language of the later Zhou dynasty, i.e., the Spring and Autumn Period.
		Whether Classical or Literary, wenyan is in contrast to baihua, which is a writing style that tries to represent modern spoken Chinese in written form.
	www.brainyencyclopedia.com /encyclopedia/c/cl/classical_chinese.html (813 words)

	65 TOC (Site not responding. Last check: 2007-10-20)
		Never had anyone (including Chinese poets) prior to Pound recognized the distinctive structural features of Chinese characters, the special functionality of Chinese grammar, the philosophy and aesthetics as exhibited by classical Chinese poetry and these features' importance for literary creation in the modern world.
		The juxtaposition of images in classical Chinese poetry is an extension of the spatiality of the Chinese characters and the abstractness of the Chinese language.
		The tradition of classical Chinese poetry has had nothing to do with so-called "natural poetics." On the contrary, its formal design reflects an extreme artificiality--so artificial that it is usually mistaken for "naturalness." "Nature" as subject matter should not and cannot replace poetics.
	www.pbq.rutgers.edu /issues/65/LianTimeless.htm (1610 words)

	chinese poetry and du fu
		Classical Chinese poetry is well known through translations by Ezra Pound, Arthur Waley and others.
		Chinese is a compact but allusive language, and its poetry employs devices every bit as complex as European: metre, rhyme, allusion, imagery, etc. Classical Chinese poetry is emphatically not written as "free verse", and in fact has demanding rules and traditions of its own.
		Extended verse narratives or dramas are rare, and the Chinese conceive poetry as a distillation of allusions to contemporary life and past literature.
	www.poetry-portal.com /poets7.html (440 words)

	Classical Chinese Poetry (Site not responding. Last check: 2007-10-20)
		The earliest Chinese poetry begins with the Shih Ching, a collection of 305 poems of varying length, drawn from all ranks of Chinese society.
		Chinese culture, influenced by the anonymity of the Shih Ching, had a tendency to think of poems as something written by common humanity for the eyes of other humans.
		Confucius stated that this xing is the purpose of poetry, that the point of a poem was to make the mind contemplate its subject deeply.
	web.cn.edu /kwheeler/chinese_poetry.html (1015 words)

	Jacket 23 - Eliot Weinberger: Rexroth From the Chinese
		How classical Chinese entered into American poetry is a simple story, but its effect may never be fully unraveled, for it is often impossible to determine whether the Americans found in it a revelation or merely a confirmation of what they had already discovered.
		Chinese poetry as a whole was a Balzacian human comedy from a distant place and time that ultimately didn’t seem so remote at all.
		Chinese poetry entered the American and, to a much lesser degree, English poetic consciousness at exactly the right moment to purge the rhetoric and moralizing of 19th century Romantic poetry and the even more moralistic, preachy poetry of the 90s.
	www.jacketmagazine.com /23/rex-weinb.html (2183 words)

	Paramount Magic Store. GEM OF CLASSICAL CHINESE POETRY
		As classical Chinese poetry has no general accepted interpretation, I just try to make the fullest possible use of the best expressions in the target language, for the original is the best words in the best order in the source language, as said an English poet of the 19th century.
		If Chinese students can recite classical verse not only in Chinese but also in English, then they may be said to have raised their cultural level and made a big stride toward the globalization of the new age.
		This imbalance between science and culture (in a narrow sense) may be said to be one of the causes of the tragedy of this century.
	www.paramountmagic.com /pd_gem.cfm (651 words)

	Untitled Document
		Any educated Chinese person would be ashamed to confess, ‘I don't know Ch’ien-chia-shih.’ In fact, merely to know the book would not be enough — one must have learned many poems by heart and in that way planted the rhythms of Chinese poetry deep in the soul, even before fully appreciating the poetry’s meanings.
		With this explanation, the translator immediately reveals the most important nature of Chinese poetry — it is an expression, or even an expressionist view of the internal world of the poet, rather than a reflection of the poet’s external world.
		The simple answer is that after a very long period of growth and gradual development, classical Chinese language had finally found the best means of expression, so that the structures of formalist poetry created one body that brought the language, the literature and the philosophical concepts together.
	www.poetrylondon.co.uk /reviews/issue50ii.htm (2411 words)

	ANTHOLOGY OF CLASSICAL CHINESE POETRY (Site not responding. Last check: 2007-10-20)
		Moreover, it is the first general anthology ever to consider the process of translation by presenting different versions of the same poem by various translators, as well as examples of the translators rewriting themselves.
		The collection, at once playful and instructive, serves as an excellent introduction to the art and tradition of Chinese poetry, gathering some 250 poems by nearly 40 poets, from the anonymous early poetry through the great masters of the T'ang and Sung dynasties.
		The anthology also includes previously uncollected translations by Pound, a selection of essays on Chinese poetry by all five translators, some never published before in book form, and biographical notes that are a collage of poems and comments by both the American translators and the Chinese poets themselves.
	www.wwnorton.com /nd/SPRING'03/WeinbergerCHINESEPOETRY.htm (156 words)

	jean racine and french classical poetry
		Modernism takes great liberties with expression, as with social decorum, but Racine's example may explain why the classics have never died out, placing an alternative vision before artists in the 20th century, even in the popular arena.
		Bibliographies are given in the French Poetry section of the The New Princeton Encyclopedia of Poetry and Poetics.
		French classical verse is built on the hexameter, which relies on a syllabic subtleties that escape English ears.
	www.poetry-portal.com /poets6.html (452 words)

	Arts Literature Poetry In Translation Chinese (Site not responding. Last check: 2007-10-20)
		Chinese Classic Poem - Works by Li Shangyin, Du Fu, Li Bai and others in English and in GB format.
		Chinese Poems - Poems by Du Fu, Wang Wei, Li Bai and others in traditional and simplified characters, pinyin, and literal and literary English.
		Chinese Poetry With English Translation - Poems by some of the greatest Chinese poets.
	www.iper1.com /iper1-odp/scat/id/Arts/Literature/Poetry/In_Translation/Chinese (289 words)

	Chinese Department Courses
		This course surveys Chinese literature of the contemporary period, beginning with a brief look at the literary scene of the 1950s followed by an examination of representations of the Cultural Revolution (1966-76).
		A study of vernacular Chinese poetry and poetics in the present century, from its experimental stage in the 1910s down to the post-Mao reblossoming of the '70s and '80s.
		The course examines the growth of Chinese cinema in the hands of five "generations" of filmmakers and beyond, focusing on the development of aesthetics of Chinese film and the changing role of film as social commentary and cultural critique.
	academic.reed.edu /chinese/dept/courses.html (1119 words)

	Michael Fuller (Site not responding. Last check: 2007-10-20)
		Since then, I have turned my attention to both earlier and later periods, to both the beginnings of the Chinese literati cultural traditions and to the culture of the Southern Song, which marks the beginning of late imperial Chinese culture.
		I also teach the introductory classes in classical Chinese and have become interested in problems of the linguistic analysis of wenyan, ranging from phonology, through syntax and into semantics, though I readily confess to a lack of formal training in these fields.
		"Poetry Recentered: The Weight of Philosophy in the Writings of Liu Kezhuang" paper delivered at April 13th, 1996, AAS national convention, Honolulu.
	www.humanities.uci.edu /eastasian/people/mfuller.html (354 words)

	Bookshelf - Frontier Taiwan: An Anthology of Modern Chinese Poetry Economy (Site not responding. Last check: 2007-10-20)
		According to Frontier Taiwan co-editor Michelle Yeh, in dynastic China, poetry was considered the highest artistic pursuit and occupied a central position in Chinese society.
		The acceptability of vernacular language and everyday themes-rather than the didactic Confucian themes of classical poetry-opened the field to a people from all walks of life.
		Contrasted against the pantheon of traditional (and to some, less pertinent) Chinese art forms exported to the West-such as Peking opera, religious art, jade and lacquer curios-the unrestrained musings of modern poetry at times even seem un-Chinese.
	www.taipei.org /teco/cicc/currents/54/Html/book1.htm (356 words)

	Ezra Pound and the Chinese Written Language
		The quality of Chinese poetry is exactly that quality which our poetry, in the present century, has adapted itself specifically to secure.
		The elisions may be Chinese in origin, but the effect is not particularly Chinese; instead, this is a new, lean English, the challenges of which are familiar to any student of Modern poetry.
		While it may be something of an exaggeration to trace Moore’s sentence fragments directly back to the poetry of Li Po, and while there are many, many other factors that have shaped contemporary letters, it is surprising to see the extent to which something as foreign as classical Chinese poetry has shaped modern English literature.
	www.chass.utoronto.ca /~cpercy/courses/6362Pickard2.htm (1972 words)

	XX European Seminar in Ethnomusicology (Site not responding. Last check: 2007-10-20)
		Recitation and Singing of Chinese Poetry in Japan and Taiwan.
		Chinese poetry has a very important role in Chinese literary history, especially classical Chinese poetry, which dominated literature as well as art throughout history.
		Cultural evolution is the nature of human interaction; their relationship with the environment.The immediate and long term trajectory of these interactions is how a culture adapts itself to the progress within and around it, as influenced by inherited knowledge, lifestyle and customs.
	www.cini.it /fondazione/07.manifestazioni/08.calendario/2004/eventi/esem/ab45.htm (157 words)

	Comparative Literature: Fans, silks, and ptyx: Mallarme and classical Chinese poetry
		As has often been noted, characters in Chinese poetry maintain a certain ambiguity-it is not always immediately obvious what grammatical function should be assigned to a particular character in a given poem.
		Knowing that Chinese couplets operate on principles of parallelism and antithesis, we realize that if the second character of line two is verbal, then the second character of line one is probably verbal as well.
		As is often noted, the difficulty of Stephane Mallarme's poetry, especially that of the 1880s and 1890s, stems in part from the elimination of just such connective assistance to the reader, who must therefore assume a more active engagement with the language of the poem.
	www.findarticles.com /p/articles/mi_qa3612/is_199807/ai_n8783423 (1454 words)

	Session 37: (Site not responding. Last check: 2007-10-20)
		As one of the major devices in versification peculiar to Chinese poetry, the "verse eye" refers to a key word or words in a poem that are used figuratively as semiotic catalyzers to generate expressive meaning in descriptive imagery.
		It creates an aesthetic paradox underlying a scene which is seemingly painterly and yet unpaintable and is thus associated with the traditional Chinese critical notion of "‘painting’ in poetry." The "verse eye" holds a strategic position in a poem, serving as a semiotic bridge between the surface text and the subtext in the signifying economy.
		The purpose of this research is to analyze how the Chinese writing system denotes the important natural phenomenon in quantitative differences among objects, and dimensions of degree changes of things in gradual continuum.
	www.aasianst.org /absts/1998abst/inter/i37.htm (3494 words)

	DimSumDolly: Only a Sandpiper (Site not responding. Last check: 2007-10-20)
		In order to appreciate Chinese classical poetry, it is also important to learn about the circumstances surrounding the poet when he/she wrote it.
		The reader is often given snippets of Chinese political history as it is often the situations which arise from the political happenings which are written about.
		The biggest difference between English and Chinese poetry is the subtlety of the language.
	www.dimsumdolly.com /archives/000381.html (405 words)

	Institute of Chinese Literature and Philosophy, Preparatory Office
		The Preparatory Office of the Institute of Chinese Literature and Philosophy is situated by the side of the Ssu-fen brook in Academia Sinica.
		We aim to advance the study of Chinese literature and philosophy, and to lay the groundwork for the establishment of the Institute.
		Classical Chinese poetry, tz'u, fictions, drama, and literary theory.
	www.sinica.edu.tw /as/intro/iclp.html (805 words)

	Pink Floyd's Allusions to Chinese Poetry: Sources
		Crossing over from A. Graham's translations of Chinese poetry to the original Chinese versions wasn't too painful as long as I was relying on modern Chinese sources.
		It was when I started looking at critical commentaries in Classical Chinese in an effort to understand more obscure poems that I literally started to 'get out of my depth and out of my mind'.
		Useful, but interpretations are distorted by a socialist version of the Chinese conventional view that poetry must have a moral and utilitarian purpose.
	www.cjvlang.com /Pfloyd/sources.html (278 words)

	Session 28 (Site not responding. Last check: 2007-10-20)
		For example, certain aspects of classical Chinese poetry are basically untranslatable because they are so deeply rooted in the epistemological dimension of the two cultures involved.
		The Panel’s probing of the complex differences found in Chinese and Western cultures are expected to stimulate a lively discussion.
		Because of such a difference in the view of external reality in the West, lines about external reality in Chinese poetry are frequently mistranslated as simply background scenery or merely as adverbial phrases to set off the tenor of the poem.
	www.aasianst.org /absts/1999abst/china/c-28.htm (712 words)

	UNSW Handbook Course - The Chinese Lyric Journey: Classical Poetry and Painting - CHIN2222
		Examines the interrelationship between classical Chinese poetry and painting in a broad context of Chinese poetics and aesthetics from an interdisciplinary perspective.
		A comparative approach will also be adopted to explore the similarities and differences between Chinese and European aesthetics - such as Chinese literati artists and French impressionists - paying particular attention to the philosophical and cultural milieu of their times.
		In addition to theoretical writings, the class will read and analyse classical Chinese literary and artistic works which will be treated both as artistic creations and objects of aesthetic appreciation.
	www.handbook.unsw.edu.au /undergraduate/courses/2005/CHIN2222.html (223 words)

	R A I N T A X I o n l i n e
		Kenneth Rexroth's translations attempt the opposite, and try to fit the classical Chinese rhythms to a calm American voice (Rexroth and Pound form a perfect odd couple: one was a fascist atheist Confucian who translated Li Po, the other was an anarcho-socialist Christian Buddhist who translated Tu Fu).
		Rexroth's translations are not mitigated by being so close to his own voice; a voracious translator, he lent his own mouth to the songs of classical Chinese poetry, and called translation an "act of sympathy" with the original poem.
		Just as Chinese landscape painting never developed a one-point perspective, always preferring to see the same mountain from many sides at once, this anthology presents Chinese poetry as viewed from several angles.
	www.raintaxi.com /online/2003fall/chinese.shtml (1982 words)

	CHINA BOOKS: Classical Chinese: Language & Poetry (Site not responding. Last check: 2007-10-20)*
		Intended to provide a foundation in the grammar of classical Chinese on which students - who plans to specialise in classical studies - can build, and to give students of modern Chinese sufficient knowledge of literary Chinese for their purposes.
		Classical Chinese: A Basic Reader is the most comprehensive and authoritative textbook on the language, literature, philosophy, history, and religion of premodern China.
		Suitable for both Chinese college and high school students who can deepen their appreciation of classical Chinese while learning English, and for students of Chinese as a second or foreign language who can use the texts for their simultaneous study of classical and modern Chinese.
	www.chinabooks.com.au /language/lnclass.htm (1801 words)

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