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monosyllabic Chinese characters
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Journal Article
Journal of Chinese Literature and Culture (2015) 2 (2): 545–572.
Published: 01 November 2015
...Zong-qi Cai Abstract The author argues that Chinese characters have shaped Chinese poetic art not through their ideographic form but through their monosyllabic sound. Specifically, the pauses in a Chinese poetic line tend to be determined by sound patterns. Since monosyllabic sound is nearly always...
Journal Article
Journal of Chinese Literature and Culture (2015) 2 (2): 286–323.
Published: 01 November 2015
... a significant part. Simultaneously, given that Chinese is, in one sense, a monosyllabic language, having one syllable for each character, the ideal poetic line must guarantee the flexible expression of monosyllabic words and create the conditions for their free musical combination. Pentasyllabic poetry...
Journal Article
Journal of Chinese Literature and Culture (2015) 2 (2): 251–257.
Published: 01 November 2015
... inquiry into how the “monosyllabicality,” namely, monosyllabic pronunciation, of Chinese characters has given rise to a unique merging of prosodic and semantic rhythms in Chinese poetry; how prosodic-semantic rhythms in turn delimit the range of possible syntactic constructions in a given genre; and how...
Journal Article
Journal of Chinese Literature and Culture (2016) 3 (2): 215–232.
Published: 01 November 2016
... of scholarly attention and developed into a quest for the relationship between the sound and meaning of each Chinese character. First, criticizing Hu's obliviousness to the very natural rhythm he himself had promoted, Zhu Zhixin 朱執信 (1885–1920) argued for the importance of the term by calling Hu's attention...
Journal Article
Journal of Chinese Literature and Culture (2015) 2 (2): 380–418.
Published: 01 November 2015
... structures, can be roughly categorized according to these three patterns. This pattern is mostly made up of a subject-predicate-object or a subject-predicate construction. The fifth characters of the lines are usually monosyllabic verbs or adjectives serving as predicates or monosyllabic nouns serving...
Journal Article
Journal of Chinese Literature and Culture (2015) 2 (2): 258–285.
Published: 01 November 2015
... particular phonetic elements of Chinese characters and specific fields of meaning, as representing a clear advance over the isolated and arbitrary-seeming examples of earlier sheng xun 聲訓 (sound glossing) traditions. To Jiang, though, the Song developments are worthy of note because they arguably...
Journal Article
Journal of Chinese Literature and Culture (2016) 3 (1): 108–136.
Published: 01 April 2016
... to promote and transmit together. The guqin 古琴 was formerly known simply as the qin . Ancient Chinese names generally consist of one monosyllabic name per item; thus there are monosyllabic names of musical instruments such as the qin , se 瑟 (like a harp), zheng 箏 (like a zither), zhong 鐘 (bells...
Journal Article
Journal of Chinese Literature and Culture (2015) 2 (2): 444–480.
Published: 01 November 2015
...” and “sentences” very much as would a modern linguist. The notion of “position” in his statement “put words within positions” refers to syntactic position. Though he did not specify what types of positions there are or what the relationship between them might be, 4 he did point out that “each Chinese character...
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Journal Article
Journal of Chinese Literature and Culture (2015) 2 (2): 324–346.
Published: 01 November 2015
... statistical testing One of the most important metrical features of Chinese poetry since the Tang 唐 dynasty (618–907) is tonal prosody—a system of rules requiring particular tones or tonal categories to be placed in particular positions in a line. The origin and development of tonal prosody remain...
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Journal Article
Journal of Chinese Literature and Culture (2022) 9 (1): 47–78.
Published: 01 April 2022
... voice, we can tell that, no matter how “peculiar” the way the poetic functions function, the ideal poetry he envisages can live only in a poet's wishful dream—unless he composes in Chinese, and unless he uses not only voice language but also character language, a verbal structure in the physical...
Journal Article
Journal of Chinese Literature and Culture (2018) 5 (1): 119–147.
Published: 01 April 2018
... childlike incompetence. 50 Louise P. Edwards argues that the seeming transgression of gender roles by women warriors in Chinese vernacular novels actually reinforces patriarchal Confucian morals, especially filial piety and loyalty. 51 Maram Epstein emphasizes the consistency of He's character...
Journal Article
Journal of Chinese Literature and Culture (2022) 9 (2): 425–457.
Published: 01 November 2022
... language, every sinogram represents a single syllable. Such monosyllabicity has been convincingly argued to enhance the intimate connection between prosody and meaning in Chinese poetry, thus explaining the aesthetic success of Chinese poetic art. 42 In a sense, the comparison between...
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Journal Article
Journal of Chinese Literature and Culture (2020) 7 (2): 339–381.
Published: 01 November 2020
... (and, to a lesser extent, six-character) lines in Han-Wei and Jin prose is a development of profound significance in the history of Chinese prose. These types of lines are often coupled, inviting prose writers to exploit morphological and semantic correspondence between them just as they did in poetry. Generally...
Journal Article
Journal of Chinese Literature and Culture (2021) 8 (1): 203–235.
Published: 01 April 2021
... into the qu -related musical corpus. 51. J. S. C. Lam, “‘There Is No Music in Chinese Music History,’” 173–74 . 52. In the calligraphy scroll, an additional nonstandard character appears that could be read as “wind” ( feng 風) or possibly “float” ( piao 飄). 53. In the calligraphy scroll...
Journal Article
Journal of Chinese Literature and Culture (2021) 8 (1): 163–202.
Published: 01 April 2021
... Cai has argued, even in the case of shi poetry, sound is much more central to Chinese poetry than has typically been acknowledged. In his view, the monosyllabicity of the Chinese language enables “a unique convergence of prosodic and semantic rhythm,” which in turn powers a “dynamic interplay...
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