scholarly journals Consideration of Narrative Transition and Contemporary Accommodation of an Unfortunate Literary Figures in San-Yan(三言)― Focused on Li-Bai, Wang-Bo, and LIu-Yong, Historic Figures

2019 ◽  
Vol null (59) ◽  
pp. 1-21
Author(s):  
CHUN DAE JIN
Keyword(s):  
Li Bai

scholarly journals Sun Yuqi e Sérgio Capparelli: história de uma tradução

2015 ◽  
pp. 113-120
Author(s):  
Paulo de Tarso Cabrini Júnior
Keyword(s):  
Porto Alegre ◽  
Lao Tzu ◽  
Du Fu ◽  
Tao Te Ching ◽  
Li Bai ◽  
Wang Wei

Relato sentimental de uma leitura dos Poemas Clássicos Chineses, tradução de Sérgio Capparelli e Sun Yuqi. Lançado em 2012, pela editora L&PM de Porto Alegre, Brasil. O livro contém uma tradução de três poetas máximos da Literatura Chinesa, a saber: Li Bai, Du Fu e Wang Wei (todos eles da dinastia Tang, séc. VIII d. C.). O livro dos tradutores brasileiros será tratado com múltiplas referências ao clássico de Lao Tzu (老子), o Tao Te Ching (道德經, séc. VI a.C.), e ao poema do escritor português Camilo Pessanha (1867-1926), “Ao longe os barcos de flores” (1899). 

scholarly journals The Echo of ‘After-Poetry’: Hans Bethge and the Chinese Lyric

2020 ◽  
Vol 17 (2) ◽  
pp. 303-317
Author(s):  
Ben Hutchinson
Keyword(s):  
Tang Dynasty ◽  
Chinese Poetry ◽  
The West ◽  
The Tang Dynasty ◽  
Li Bai ◽  
Modern Europe ◽  
Lied Von Der Erde ◽  
Poetic Creation

The publication, in 1908, of Hans Bethge's Die chinesische Flöte marked a highpoint in the reception of Chinese poetry in modern Europe. Bethge's ‘Nachdichtungen’ (‘after-poems’) of poems from the Tang dynasty through to the late 1800s were extraordinarily popular, and were almost immediately immortalized by Gustav Mahler's decision to use a selection from them as the text for Das Lied von der Erde (1909). Yet Bethge could not read Chinese, and so based his poems on existing translations by figures including Judith Gautier, whose Livre de Jade had appeared in 1867. This article situates Bethge's reception of Chinese poetry – and in particular, that of Li-Tai-Po (Li Bai) – within the context of European chinoiserie, notably by concentrating on his engagement with a recurring imagery of lyrics and Lieder. Although he was deaf to the music of Chinese, Bethge was extremely sensitive to the ways in which Li-Tai-Po's self-conscious reflections on poetic creation underlay his ‘after-poems’ or Nachdichtungen, deriving his impetus from images of the rebirth of prose – songs, birdsong, lyrics, Lieder – as poetry. The very form of the ‘lyric’ emerges as predicated on its function as echo: the call of the Chinese flute elicits the response of the European willow. That this is necessarily a comparative process – between Asia and Europe, between China, France, and Germany – suggests its resonance as an example of the West-Eastern lyric.

A National Flower’s Symbolic Value During the Tang and Song Dynasties in China

2018 ◽  
Vol 21 (1) ◽  
pp. 46-59 ◽  
Author(s):  
Wang Ying
Keyword(s):  
Song Dynasty ◽  
Tree Peony ◽  
The Song Dynasty ◽  
Tang Poetry ◽  
Su Shi ◽  
Tang And Song Dynasties ◽  
Li Bai ◽  
Symbolic Value ◽  
Northern Climate ◽  
Plum Tree

The concept of a national flower was an important part of the culture and poetry of the imperial courts of the Tang and Song dynasties. Li Bai and other poets in the Tang period used the tree peony as an icon of the imperial concubine Yang Yuhuan’s beauty. Later Tang poetry, however, also includes undertones of disquiet, using this flower-image as a sign of unhappiness at the state of the country. With the advent of the Song dynasty, the poetic focus exalts the plum blossom, a very different kind of flower than the tree peony. I argue that this reflects the Song dynasty’s different mentality. Writers of this age emphasized refinement, rationality, and introspection. For example, Lin Bu felt wedded to his plum tree. Su Shi developed a theory of the plum blossom’s character. The shift in government from North to South may have also contributed to the shift. The tree peony suited the northern climate; the plum tree thrived in the South.

Interpretation of metaphors in Chinese poetry: Where did Li Bai place his emotions?

2020 ◽  
Author(s):  
Ciyuan Peng ◽  
Jason J Jung
Keyword(s):  
Statistical Approach ◽  
Target Object ◽  
Chinese Poetry ◽  
Emotional Understanding ◽  
Sentiment Detection ◽  
Li Bai ◽  
Metaphor Interpretation ◽  
Negative Sentiment ◽  
Metaphorical Interpretation ◽  
Emotion Mining

Abstract Recently, with an increasing number of metaphor studies being conducted, research on metaphor interpretation has set off an upsurge. Although a multitude of studies on the interpretation of metaphors exists, many are limited to the understanding of literal meanings without attempting an interpretation of hidden emotions in metaphorical expressions. There are particularly few studies on metaphorical emotions interpretation in literary studies with rich and implicit emotions, such as classical Chinese poetry. This study proposes the interpretation of the metaphorical emotions of special objects in Chinese poetry based on emotion distribution. We present a statistical approach to calculate the emotion distribution of our target objects by exploiting contextual emotion mining. According to the emotion distribution, the emotion with the highest probability is considered the metaphorical emotion of the target object. Subsequently, the metaphorical emotion can be determined as a positive or negative sentiment based on expert annotations. Using the proposed method, we have tested two representative objects, ‘月’ (moon) and ‘风’ (wind), and the accuracy performances were 84% and 83.33%, respectively, for sentiment detection and 66% and 70% for emotion-specific metaphorical interpretation. The results demonstrate that our approach can be used to assist readers with metaphorical emotional understanding in Chinese poetry.

Li Bai, His Death

2016 ◽  
Vol 29 (1) ◽  
pp. 95-96
Author(s):  
Fred Jacobs
Keyword(s):  
Li Bai
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