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prosodic structure

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Journal Article
Journal of Chinese Literature and Culture (1 November 2015) 2 (2): 380–418.
Published: 01 November 2015
... verse. The increased use of 2–2–1 prosodic structure of the pentasyllabic lines of this period indicates that the fourth syllable in the line had become a defining caesural point. Furthermore, the emergence of this new regulation will be shown in relation to the growing need for semantic and aesthetic...
Journal Article
Journal of Chinese Literature and Culture (1 November 2015) 2 (2): 347–379.
Published: 01 November 2015
... line 8 ∨ ━ ∨ X Through this restructuring, Mair and Mei argue that the basic double couplet stanza pattern in Chinese regulated-style verse is a mimic of śloka 's four- pāda structure. Thus, they schematically represent the prosodic pattern in Chinese regulated-style verse below, in which...
Journal Article
Journal of Chinese Literature and Culture (1 November 2015) 2 (2): 545–572.
Published: 01 November 2015
... read or understand it. So what we have is something like sound ⇒ prosodic pattern ⇒ semantic grouping ⇒ syntax ⇒ structure. A multilayered integration of all these elements seems to represent the gestalt of Chinese poetic form, with monosyllabic sound as its foundation. At its best, this gestalt...
Journal Article
Journal of Chinese Literature and Culture (1 April 2016) 3 (1): 26–56.
Published: 01 April 2016
..., philosophical, and intellectual dimensions of the poems, this study aims to contribute to furthering the understanding of the structural and thematic coherence of the sequence as a whole. Copyright © 2016 by Duke University Press 2016 Gong Zizhen Poems of 1839 esoteric Buddhism Beijing pluralism...
Journal Article
Journal of Chinese Literature and Culture (1 November 2015) 2 (2): 444–480.
Published: 01 November 2015
... what unit within the prosody system for Chinese can serve as “a unit formed of combinations of two or three feet”? The best possibility comes from the six-syllable line of poetry. According to Lo Kwunchong, 8 the standard prosodic structure for six-syllable lines in Chinese poetry is (2 + 2 + 2...
Journal Article
Journal of Chinese Literature and Culture (1 April 2018) 5 (1): 66–94.
Published: 01 April 2018
... musical structure. 39 Conversely, then, it may not be a coincidence that “grand melody” pieces for the court and the more popular Tang singing and dance performance called ta yaoniang 踏搖娘 generally used equal line lengths, most often of seven characters per line. 40 In choosing between prosodic...
Journal Article
Journal of Chinese Literature and Culture (1 November 2015) 2 (2): 251–257.
Published: 01 November 2015
... readers to a more nuanced appreciation of ancient Chinese poetry. Zhao Minli and Benjamin Ridgway's article demonstrates a close relationship between prosodic rhythm and linguistic change in the formation of pentasyllabic shi poetry. What distinguishes the pentasyllabic shi poetry from the Book...
Journal Article
Journal of Chinese Literature and Culture (1 November 2017) 4 (2): 336–359.
Published: 01 November 2017
... In the mid-eleventh century, a Northern Song author wrote, “The composition of poetry accompanies the life of mankind. Imbued with the qi of delight and sorrow, one must express it through words. The capable [writers] turn [such feelings] into words and transmit them in prosodic forms. Therefore...
Journal Article
Journal of Chinese Literature and Culture (1 November 2016) 3 (2): 215–232.
Published: 01 November 2016
... differences between prose and poetry). On the other hand, it further explores the connection between rhythm and expression. This investigation extends beyond the relationship between language and syllabic structures as it touches on how (the body of) a person, as receptor and conveyor of feelings and senses...
Journal Article
Journal of Chinese Literature and Culture (1 November 2015) 2 (2): 324–346.
Published: 01 November 2015
... interpreted before they can provide useful information on the research topic. For example, if 60 percent of the lines in one poem collection show tonal contrast in two positions, then a researcher's task is to “translate” this number into a conclusion about the prosodic characteristics and literary ingenuity...
Journal Article
Journal of Chinese Literature and Culture (1 November 2015) 2 (2): 419–443.
Published: 01 November 2015
... suggest that the emergence of rhyme books was in part a response to the concern for poetic rhyming, tonal patterning, and other prosodic forms in poetry. While this concern surely already existed in earlier times, the new development since around the fifth century was a turn toward refinement. To gain...
Journal Article
Journal of Chinese Literature and Culture (1 November 2014) 1 (1-2): 29–64.
Published: 01 November 2014
..., the Discourse construed an inclusive song lyric tradition that spanned all social registers. In its opening remarks, the Discourse championed three famous singers of antiquity, enumerated five emperors from Chinese and conquest dynasties known for their musical and prosodic skills, identified the...
Journal Article
Journal of Chinese Literature and Culture (1 November 2015) 2 (2): 286–323.
Published: 01 November 2015
... we derive from its structure? Clearly, this is not simply a linguistic problem or an artistic problem. Put more concretely, it is a problem of musicology and poetics. What is a poem? In the words of contemporary scholar Yang Gongji 楊公驥, “to address the special characteristics of the genre, a poem...
Journal Article
Journal of Chinese Literature and Culture (1 April 2018) 5 (1): 148–178.
Published: 01 April 2018
..., Sōseki “took his major inspiration as a kanshi poet from the Gozan poets [i.e., medieval Zen poets of the ‘Five Mountains’].” 44 In form, Sōseki seems to borrow the Gozan poets' predilection for jinti shi 近體詩 (recent-style poetry), which follows strict syntactic, structural, and tonal regulations...
Journal Article
Journal of Chinese Literature and Culture (1 November 2014) 1 (1-2): 155–185.
Published: 01 November 2014
... ordinary literacy and rudimentary numeracy. “High cultural literacy” in Western and Eastern Han meant producing as well as reading manuscripts that wove together elegant phrases and classical allusions ( zhu wen 屬文 or zhui wen 綴文) taken from preexisting units via complex prosodic and semantic rules...