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Journal Article
“Prose within the Poem” ( Shi Zhong You Wen ): Du Fu's Creative Breakthrough in the Light of Wugu Narrative Rhythm
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Journal of Chinese Literature and Culture (2015) 2 (2): 481–514.
Published: 01 November 2015
... University Press 2016 Du Fu 杜甫 (712–770) ancient-style pentasyllabic verse single prose line narrative rhythm poetry historical poetry prose within poetry Research concerning Du Fu's 杜甫 (712–770) various poetic styles has a long history and has yielded rich results. However, in recent...
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Journal Article
Parallel Prose and Spatiotemporal Freedom: A Case for Creative Syntax in “Wucheng Fu”
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Journal of Chinese Literature and Culture (2015) 2 (2): 444–480.
Published: 01 November 2015
... prosody (four syllables per line) and prosaic prosody (six syllables per line) combine in parallel prose to form a syntax free of spatiotemporal markers, which in turn opens up an array of creative possibilities for the reader based on his or her individual subjectivity. The text used to demonstrate...
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Journal Article
The Art of Chinese Prose: A Critical Introduction
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Journal of Chinese Literature and Culture (2020) 7 (2): 339–381.
Published: 01 November 2020
... speak of any perceived interaction between natural phenomena. Consequently, Wu had to report his sense impressions of nature in an aggregative fashion—one line for one impression, using as many lines as he had impressions. Chinese prose also stands out for its symbiotic integration of form...
Journal Article
Emperor Qianlong's Literary Aggrandizement in the Eighteenth Century
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Journal of Chinese Literature and Culture (2023) 10 (2): 438–460.
Published: 01 November 2023
... could easily incorporate into his poetry, as in the twenty-line poem of 1745 in which he faults the early historical records of Sima Qian 司馬遷 (145–86? BCE) and Ban Gu 班固 (32–92 CE) as beyond common sense and sometimes fictional. 14 But when his criticism required a detailed analysis with lengthy...
Journal Article
Inward Turns, Then and Now
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Journal of Chinese Literature and Culture (2022) 9 (1): 256–272.
Published: 01 April 2022
..., the portion that is not indented in this formatting seems at first to be straight classical prose, not particularly parallel at all. On encountering the lines beginning “In this ground where there is no need for thinking and worrying” and “Amidst unrecognition and unknowing,” it seems that we have found our...
Journal Article
Defining the “Finest”: A Northern Song View of Tang Dynasty Literary Culture in the Wen cui
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Journal of Chinese Literature and Culture (2017) 4 (2): 306–335.
Published: 01 November 2017
... innovative: again, judging from Tang collection titles, the few collections of Tang prose that survived to the Song were almost exclusively composed of public or official prose, and they were largely single-genre collections, such as memorials and edicts. Bibliographical records indicate that Tang literati...
Journal Article
Visualizing Alternative Literary Canons in Ming Dynasty China (1368–1644): A Preliminary Case Study
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Journal of Chinese Literature and Culture (2018) 5 (2): 375–410.
Published: 01 November 2018
... (e.g., anthologies 0 and 1 shared a total of twenty-nine titles, or 2.1 percent of their combined titles). In figures 1 and 2 below, each dot, or node, represents a single anthology. 20 Each two anthologies that share at least one title are connected by a line, or edge. In figure 1...
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Journal Article
The Philosophical Proposition “A Piercing Glance Elevates the Mind” and the Buddhist Thought in Zong Bing's “Preface to the Painting of Landscape”
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Journal of Chinese Literature and Culture (2023) 10 (2): 297–335.
Published: 01 November 2023
..., and hence, his thought is lucid, his diction stately and elegant, but tends to suffer from a certain monotonousness. Although “Preface” mostly employs parallel constructions of four- and six-character lines, it also inserts nonparallel and ancient-style prose elements, which make it both lively and natural...
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Journal Article
Yuan-Ming Sanqu Songs as Communal Texts: Discovering Their Literary Vitality from a New Research Perspective
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Journal of Chinese Literature and Culture (2021) 8 (1): 113–138.
Published: 01 April 2021
... to sanqu songs. Such a line of inquiry is also relevant to the study of the survival of various forms of Chinese musical literature beyond their original environments. It also helps us think about the complex relationships between the musical and communal functions of ci song lyrics and sanqu songs...
Journal Article
Comparative Phonorhetorical Analyses of Speeches in the Zuo Commentary and the Discourses of the States
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Journal of Chinese Literature and Culture (2019) 6 (2): 275–330.
Published: 01 November 2019
..., with line-by-line translation below. Each speech employs a number of distinct euphonic and phonorhetorical patterns, such as regular meter (often tetrasyllabic), perfect rhyme, he yun 合韻 (consonance; i.e., homoeoteleuton), repetition and parallelism, phrase-internal rhyming and cross-rhyming...
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Journal Article
Exile, Borders, and Poetry: A Study of Fang Xiaobiao's “Miscellaneous Poems on the Eastern Journey”
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Journal of Chinese Literature and Culture (2020) 7 (1): 192–214.
Published: 01 April 2020
... in nature. 3 I continue this line of inquiry but with a different emphasis. I wish to look at “the question of exile” and the exilic condition itself and to explore the poetics and aesthetics of exile. I am interested in the human figure and voice. 4 This article is a study of the exilic writings...
Journal Article
The Divided Liang Dynasty Literary World Seen through the Liu-Dao Dispute
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Journal of Chinese Literature and Culture (2021) 8 (2): 261–286.
Published: 01 November 2021
... also indicates recognition of the popular contemporary evaluation that considered Shen Yue famous for rhymed poetry and Ren Fang for his unrhymed prose. This is in line with Liu Xiaochuo's view. Thus we conjecture that the split that occurred between Liu Xiaochuo and the Dao brothers might...
Journal Article
Guwen (Ancient-Style Prose), Sound, and the History of Chinese Poetics
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Journal of Chinese Literature and Culture (2015) 2 (2): 515–544.
Published: 01 November 2015
... paired lines, opened up the way for the meticulous attention to parallel syntax, fine phraseology, and the tonal regulation that would later characterize pianwen 駢文 (parallel prose). 10 Indeed, in the evolution from fu , to pianwen , to the four-six subcategory of pianwen , and finally to bagu...
Journal Article
Sound Over Ideograph: The Basis of Chinese Poetic Art
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Journal of Chinese Literature and Culture (2015) 2 (2): 545–572.
Published: 01 November 2015
... rhyme creates an interline rhythm, and this rhythm is particularly pronounced if the lines are of the same or similar length. For its part, meter creates an intraline rhythm arising from a regular recurrence of one or more rhythmic units within a single line. In Western and Chinese poetry alike...
Journal Article
A Study of Su Shi's Calligraphy Scroll Containing “Rhapsody on Dongting Spring Colors Wine” and “Rhapsody on Pine Wine of Zhongshan”
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Journal of Chinese Literature and Culture (2017) 4 (2): 279–305.
Published: 01 November 2017
... and was fined. Thus Su Shi's state of mind was very different from three years before, when he had been so pleased to receive a gift of the wine from Zhao Lingzhi. Therefore, when Su Shi copied out the “Spring Colors Wine Rhapsody” in 1094, the meaning he intended was much like what Du Fu meant in his line...
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Journal Article
Cultural Memory and the Epic in Early Chinese Literature: The Case of Qu Yuan 屈原 and the Lisao 離騷
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Journal of Chinese Literature and Culture (2022) 9 (1): 131–169.
Published: 01 April 2022
.... It has its recurrent themes, its relatively stable passages and line patterns, and its procedures.” 83 To adopt the terminology from biology, the different phenotexts are all variations of the same underlying genotext. This model of circumscribed poetic fluidity proves immensely productive...
Journal Article
Su Shi Renders No Emotion
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Journal of Chinese Literature and Culture (2019) 6 (1): 15–55.
Published: 01 April 2019
... and Wen were in mourning at their respective family homes. At Yongtai, Wen constructed a studio he titled Mojun Tang 墨君堂 (Ink Gentleman Hall), and he composed a short poem that begins, “Addicted to bamboo—I plant then paint” 嗜竹種復畫. With reference in the following line to Wang Huizhi 王徽之 (d. 388), who...
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Journal Article
The Pursuit of the Dao: Natsume Sōseki and His Kanshi of 1916
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Journal of Chinese Literature and Culture (2018) 5 (1): 148–178.
Published: 01 April 2018
... no. 179). It is noteworthy that lines 5 and 6 are composed in aoju 拗句, “skewed” lines in deliberate violation of the tonal patterning of recent-style poetry or, as in this case, in deliberate violation of the customary semantic rhythms within the line. If we were to reconstruct the poet's creative...
Journal Article
Some “Han” Fu on Things
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Journal of Chinese Literature and Culture (2024) 11 (2): 265–291.
Published: 01 November 2024
... autumn metal, it is hard and pure, 鎔秋金之剛精 2 In shape it is marvelously small and straight. 形微妙而直端 By nature it penetrates far and advances slowly, 性通遠而漸進 4 Threading the ample and the numerous into a single unity. 博庶物而一貫 Behold the traces of needle and thread, arranged in a line...
Journal Article
Chanting Dharanis While Dreaming of Lilacs: Buddhism and Beijing in Gong Zizhen's Poems of 1839
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Journal of Chinese Literature and Culture (2016) 3 (1): 26–56.
Published: 01 April 2016
... of the sequence returns him to the very first line of his opening poem. Both there and elsewhere he refers to the Tiantai doctrine of vipaśyanā ( guan ) or “observing” as an alternative to the act of writing that continues to consume his nights: Writing may not be as wise as observing the heart, 著書何似觀心賢...
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