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traditional musical instruments

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Journal Article
Journal of Chinese Literature and Culture (1 April 2016) 3 (1): 108–136.
Published: 01 April 2016
... traditional Chinese musical instrument, the guqin . It brings to light the interconnections of ideas and images of this instrument with the expressive resources of Chinese culture, and it studies the symbolism of this music in terms of its orientations toward cosmological views of life, human comportment...
Journal Article
Journal of Chinese Literature and Culture (1 April 2018) 5 (1): 66–94.
Published: 01 April 2018
... the merit of noble men wanes, the way of poetry, too, becomes incomplete. 聞夫歌以永言,庭堅有歌虞之曲,頌以紀德,奚斯有頌魯之篇 . . .. . . 叔譽聞詩,驗同盟之成敗;延陵聽樂,知列國之典彞。王澤竭而頌聲寢,伯功衰而詩道缺。 4 For the traditional Confucian, then, poetry and music were two aspects of the same art, and that art itself was an indispensable tool in...
Journal Article
Journal of Chinese Literature and Culture (1 November 2015) 2 (2): 286–323.
Published: 01 November 2015
...Zhao Minli; Benjamin Ridgway Abstract China's earliest poetic genres formed in direct relationship with music, and pentasyllabic shi poetry is no exception. This was a new poetic genre that formed after tetrasyllabic poetry and the sao style associated with the Chuci 楚辭 (Lyrics of Chu), and it...
Journal Article
Journal of Chinese Literature and Culture (1 November 2015) 2 (2): 515–544.
Published: 01 November 2015
...Chen Yinchi; Paula Varsano Abstract While few would contest the importance of phonology and aural considerations in the study of classical Chinese poetry, the musicality of guwen (ancient-style prose essays) writing has attracted little attention thus far. This article redresses this imbalance by...
Journal Article
Journal of Chinese Literature and Culture (1 November 2018) 5 (2): 276–321.
Published: 01 November 2018
...Chao-Lin Liu; Thomas J. Mazanec; Jeffrey R. Tharsen Abstract Digital tools provide instrumental services to the study of Chinese poetry in an era of big, open data. The authors employed nine representative collections of Chinese poetry, covering the years 1046 BCE to 1644 CE, in their...
Journal Article
Journal of Chinese Literature and Culture (1 April 2016) 3 (1): 137–174.
Published: 01 April 2016
... Praise), “Jimingzheng” 稽命征 (Verifications from Investigating Destiny), “Douweiyi” 斗威儀 (The Appearance of the Authoritative Dipper); Music Apocrypha : “Dongshengyi” 動聲儀 (Impressiveness of Musical Instruments), “Jiyaojia” 稽耀嘉 (Investigating Glorious Praise), “Zhituzheng” 汁圖征 (Verification of the Harmony...
Journal Article
Journal of Chinese Literature and Culture (1 November 2016) 3 (2): 215–232.
Published: 01 November 2016
..., and music and Chen Shih-hsiang's theory of the expressive gesture found in poetry were a breath of fresh air. The views of Zhu and Chen are consistent in that they both call our attention to rhythm's mediating role. For them, rhythm is not a transparent instrument; rather, it represents a nexus that...
Journal Article
Journal of Chinese Literature and Culture (1 April 2019) 6 (1): 1–14.
Published: 01 April 2019
... with poetry making: emotion externalizes itself in patterned sounds and words, and this language patterning in turn gives rise to visual manifestations, whether in the play of music, the spectacle of dance, or an image of the external worlds of man and nature. Perhaps in no other critical tradition can...
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 April 2019) 6 (1): 56–95.
Published: 01 April 2019
... architectural decoration also suggests a more particular resistance, on the part of the family, to theatricality. In an important recent book, Jeehee Hong argues persuasively that the theatricality of the faux-architectural molded-brick tomb tradition of North China, which began during the Northern Song and...
Journal Article
Journal of Chinese Literature and Culture (1 April 2015) 2 (1): 134–172.
Published: 01 April 2015
..., enjoying herself with familiar things, such as paintings or potted plants. A similar sense of ease can be seen in the anonymous portrayal of a meiren and her male companion shown here ( figure 2 ), as the figures, seated in a garden, amuse themselves with books and a musical instrument. Tang unexpectedly...
Journal Article
Journal of Chinese Literature and Culture (1 November 2014) 1 (1-2): 241–261.
Published: 01 November 2014
... Odes , ca. 1000–ca. 600), comprising 305 poems, is a foundational text in the Chinese tradition not only because of its antiquity and the range of human experience it encompasses but also because of its significance for understanding early thought, history, rituals, and politics. In imagining contexts...
Journal Article
Journal of Chinese Literature and Culture (1 April 2017) 4 (1): 129–159.
Published: 01 April 2017
... three genres nourished the creation of the Stone in the same manner that the dirt of the scandalous Ning Mansion provides the site and foundation for the Prospect Garden, if only because the Stone is rooted in these traditions and hence needs to transcend them. Herein lies the Stone' s anxiety of...
Journal Article
Journal of Chinese Literature and Culture (1 November 2015) 2 (2): 444–480.
Published: 01 November 2015
... ascertained (as they are not taken into account metrically either). Next, the musical theme should be determined: the prominent prosody. With this as a basis, we can analyze the metrical aesthetic of the secondary (functional) elements—why are they necessary? The key to identifying the prominent prosody is...
Journal Article
Journal of Chinese Literature and Culture (1 November 2014) 1 (1-2): 1–28.
Published: 01 November 2014
... confirm the stereotype of eunuchs as low-level people who were driven by poverty and desperation. As one of Chinese history's most notorious eunuchs, Wei Zhongxian furthered the stereotype. According to the traditional notion, as Norman Kutcher writes, eunuchs were evil scourges who were “by nature...