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tonal contrast

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Journal Article
Journal of Chinese Literature and Culture (2015) 2 (2): 324–346.
Published: 01 November 2015
...Chenqing Song Abstract Some researchers, including Wang Li 王力 (1900–1986) and Xu Qing 徐青 (1934–), have claimed—based on evidence provided by cursory observations of tonal arrangement—that pre-Yongming poets also attempted to create tonal contrast effects in pentasyllabic poems. In order to assess...
FIGURES
Journal Article
Journal of Chinese Literature and Culture (2015) 2 (2): 347–379.
Published: 01 November 2015
.... It is a universal device rather than a property specific to a particular language. Thus, it makes little sense to say that the inventors of Chinese tonal prosody were unable to make use of contrast without inspiration from Sanskrit poetry. Moreover, the contents of contrast manipulated in Chinese regulated-style...
Journal Article
Journal of Chinese Literature and Culture (2015) 2 (2): 251–257.
Published: 01 November 2015
..., The Major Works , edited by Rogers Pat , 17 – 39 . Oxford World's Classics. Oxford : Oxford University Press , 2006 . Chenqing Song's article takes issue with the claim by Wang Li 王力 (1900–1986), Xu Qing 徐青, and others that pre-Yongming poets had already attempted to create tonal contrast...
Journal Article
Journal of Chinese Literature and Culture (2015) 2 (2): 545–572.
Published: 01 November 2015
... of tonal prosody, see these three articles in this special issue: Song, “Tonal Contrast” ; Zhang, “Origin of Chinese Tonal Prosody” ; and Du and E, “Formation.” 8. Pope, “Essay on Criticism,” 29 . 9. Perloff and Dworkin, “Sound of Poetry,” 755 . 10. See Ibid. 11. Collected...
Journal Article
Journal of Chinese Literature and Culture (2018) 5 (1): 66–94.
Published: 01 April 2018
... of sentiment flourished in the two capitals of Han, and thoughtful contemplation grew luxuriant during the Wei and Jin” 竊惟詩之興作,兆基邃古,唐歌虞詠,斯載典謨;商頌周雅,方陳金石。其後言志緣情,二京斯盛;含毫瀝思,魏晉彌繁. Luo, Luo Linhai ji jianzhu , 221 . 8. See Song, “Tonal Contrast in Early Pentasyllabic Poems” ; and Du and Li, “Formation...
Journal Article
Journal of Chinese Literature and Culture (2015) 2 (2): 380–418.
Published: 01 November 2015
.... 對 refers to the requirement of maximum tonal contrast between the two lines within a couplet. 粘 refers to a partial tonal correspondence between two adjacent couplets, more specifically, between the first two words in the closing line of a couplet and the first two words in the opening line...
Journal Article
Journal of Chinese Literature and Culture (2021) 8 (1): 89–112.
Published: 01 April 2021
... meanings in two parallel lines, which each consist of only ten or fourteen characters, may be considered a waste of linguistic space. Instead of repetitive use of the same words, tonal patterns create rhythm by alternating similar tones on a regular basis in regulated verse. In contrast, repetition...
Journal Article
Journal of Chinese Literature and Culture (2015) 2 (2): 286–323.
Published: 01 November 2015
....” Level and oblique tones contrast with one another, and through this it is easy to accomplish a kind of linguistic tonal balance. However, in the process of juxtaposing syllables of the same tone or different tones against each other, the rhythm derived from tonal balance is more subtle. When early...
Journal Article
Journal of Chinese Literature and Culture (2018) 5 (1): 148–178.
Published: 01 April 2018
...-century masters, but writing kanshi allowed him to express his sentiments as a twentieth-century man. See Keene, Fiction , 346–47 . 73. For a systematic introduction to the tonal patterning of regulated verse, see Cai, “Recent-Style Shi Poetry,” 169–72 . 74. For more about the rhythms...
Journal Article
Journal of Chinese Literature and Culture (2019) 6 (2): 432–460.
Published: 01 November 2019
..., pitch, tonality, music, memory, and recitation existed in conceptual parallel to systems of visual knowledge of heavenly bodies, light, color, and the written record. Masters of the former set of skills were frequently blind and entrusted with a distinct set of ritual and advisory functions, including...
Journal Article
Journal of Chinese Literature and Culture (2015) 2 (2): 515–544.
Published: 01 November 2015
..., stating that “he declared that he himself had personally affiliated with the Tongcheng school but wanted to rectify some of its more troublesome flaws. That is why, in his discourse, he considered radiance and breath to be central, and tonal resonance secondary” 自稱私淑於桐城,而欲少矯其懦緩之失,故持論以光氣為主,以音響為輔. See Qian...
Journal Article
Journal of Chinese Literature and Culture (2016) 3 (2): 215–232.
Published: 01 November 2016
...有關係。 16 Ren intends to justify the prosody of traditional poetry by comparing it with our biological nature. His view stands in stark contrast to Hu Shi's emphasis that a “natural rhythm” should be devoid of any tonal requirements. Ren seeks to explain how “nature” works, particularly from...
Journal Article
Journal of Chinese Literature and Culture (2015) 2 (2): 419–443.
Published: 01 November 2015
... (official rhyme book) in Chinese history, the author argues for its more private and personal nature and brings to light a different picture of pre-Tang “tonal and rhyming” culture. Copyright © 2016 by Duke University Press 2016 yunshu 韻書 (rhyme books) Qieyun 切韻 (Spelling Rhymes) zhiyin 知音 (one...
Journal Article
Journal of Chinese Literature and Culture (2014) 1 (1-2): 186–215.
Published: 01 November 2014
.... As of the Northern Song, however, creating paired phrases according to tonal and rhyming rules for shi poems 詩 and rhapsodies ( fu 賦) had become an important component of primary education. Jingzhao fu xiaoxue gui 京兆府小學規 (Principles of Primary Schools in the Capital Prefecture), published in 1054, records...
Journal Article
Journal of Chinese Literature and Culture (2021) 8 (1): 1–11.
Published: 01 April 2021
... classics destined for modern consumption. Thus, in contrast to many other orally connected genres of middle and late imperial times, sanqu succeeded in moving, albeit in historiographically overdetermined ways, into the modern canon of traditional Chinese literature. In North American sinology, James...
Journal Article
Journal of Chinese Literature and Culture (2021) 8 (1): 163–202.
Published: 01 April 2021
... and poet Gary G. Gach, made use of line breaks, layout, and informal punctuation to capture the contrastive nature of Zhang's imagery. 8 Figure 1. Kwock and Gach, “Fifteen Yüan San-Ch’ü ,” 220 . Figure 1. Kwock and Gach, “Fifteen Yüan San-Ch’ü,” 220. Third, sanqu songs also attracted...
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Journal Article
Journal of Chinese Literature and Culture (2015) 2 (2): 481–514.
Published: 01 November 2015
... 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 years, by contrast with his regulated and ancient heptasyllabic verse, Du Fu's wugu 五古...
Journal Article
Journal of Chinese Literature and Culture (2017) 4 (2): 383–419.
Published: 01 November 2017
.... The two-character phrase kongshou , “empty-handed,” occurs twice in the initial eleven syllables. This may signal a clever play on words—a case for which is made further below—but it could also be a sign of a clumsy or rushed hand. Weijun may have been technically proficient with tonal meter...
Journal Article
Journal of Chinese Literature and Culture (2020) 7 (2): 339–381.
Published: 01 November 2020
... but seldom penetrates. 23 1. Cai, How to Read Chinese Prose (hereafter cited as HTRCProse ). 2. Poetry boasts a sophisticated taxonomy of formal differentiations based on line syllabic counts (pentasyllabic, heptasyllabic, etc.), tonal regulations (regulated quatrains, regulated verse...
Journal Article
Journal of Chinese Literature and Culture (2017) 4 (1): 180–207.
Published: 01 April 2017
... indicates the difference between mano-vijñāna 意識 from manas-vijñāna 意. Although Aśvaghoṣa called it “analytical mind,” manas-vijñāna is not all that analytical: its conception of self-ego and dichotomy of the defiled and undefiled indicates a differentiation only of the broadest kind. By contrast...