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Summary This is a book to help students of Chinese increase their familiarity with Chinese culture and strengthen their command of the language. The book presents, in a unique format, 28 short couplets (5 character or 7 character cut-shorts) comprising Chinese poems all very well known to Chinese nationals. Explanatory notes for each poem are provided in English, and translations are given at the end of the book. This is an ideal textbook for both students and teachers wanting to incorporate Chinese poetry into their study curriculum. Blurb This is a book that every student of Chinese will want to buy. For the first time, Chinese poems are presented in an accessible form, with the characters, their pronunciation, and their English meaning all alongside each other, together with text in English providing insight on the poet, the cultural context and historical background for each one. English versions of all the poems are at the end of the book. Poems are an important part of Chinese culture, and the ones included here are some of the best known, studied by Chinese schoolchildren from an early age. For foreign students of Chinese, these poems present a unique opportunity to get to know the culture and to strengthen their command of the language at the same time. All of the poems here are classics, and their study provides an entry into Chinese literature far more readily than immersion in weighty novels. Each poem is short and easy to assimilate; memorising the poems, both to write and to declaim, helps to embed the characters in the mind, and to build up confidence in reading, writing and speaking the language. The poems are presented in such a way that the tools are available to understand each one, but the reader has the opportunity to come to their own conclusion as to the interpretation of the poem - in exactly the same way as an established scholar of Chinese might do. Reading a Chinese poem is a bit like solving a riddle, and indeed, the information and clues provided here are sufficient to allow even someone with no previous knowledge of Chinese to appreciate the beauty of these poems.
Greg Whincup offers a varied and unique approach to Chinese translation in The Heart of Chinese Poetry. Special features of this edition include direct word-for-word translations showing the range of meaning in each Chinese character, the Chinese pronunciations, as well as biographical and historical commentary following each poem.
In this "guided" anthology, experts lead students through the major genres and eras of Chinese poetry from antiquity to the modern time. The volume is divided into 6 chronological sections and features more than 140 examples of the best shi, sao, fu, ci, and qu poems. A comprehensive introduction and extensive thematic table of contents highlight the thematic, formal, and prosodic features of Chinese poetry, and each chapter is written by a scholar who specializes in a particular period or genre. Poems are presented in Chinese and English and are accompanied by a tone-marked romanized version, an explanation of Chinese linguistic and poetic conventions, and recommended reading strategies. Sound recordings of the poems are available online free of charge. These unique features facilitate an intense engagement with Chinese poetical texts and help the reader derive aesthetic pleasure and insight from these works as one could from the original. The companion volume How to Read Chinese Poetry Workbook presents 100 famous poems (56 are new selections) in Chinese, English, and romanization, accompanied by prose translation, textual notes, commentaries, and recordings. Contributors: Robert Ashmore (Univ. of California, Berkeley); Zong-qi Cai; Charles Egan (San Francisco State); Ronald Egan (Univ. of California, Santa Barbara); Grace Fong (McGill); David R. Knechtges (Univ. of Washington); Xinda Lian (Denison); Shuen-fu Lin (Univ. of Michigan); William H. Nienhauser Jr. (Univ. of Wisconsin); Maija Bell Samei; Jui-lung Su (National Univ. of Singapore); Wendy Swartz (Columbia); Xiaofei Tian (Harvard); Paula Varsano (Univ. of California, Berkeley); Fusheng Wu (Univ. of Utah)
A new expanded edition of the classic study of translation, finally back in print
"This innovative textbook for learning classical Chinese poetry moves beyond the traditional anthology of poems translated into English and instead brings readers—including those with no knowledge of Chinese—as close as possible to the texture of the poems in their original language. The first two chapters introduce the features of classical Chinese that are important for poetry and then survey the formal and rhetorical conventions of classical poetry. The core chapters present the major poets and poems of the Chinese poetic tradition from earliest times to the lyrics of the Song Dynasty (960–1279).Each chapter begins with an overview of the historical context for the poetry of a particular period and provides a brief biography for each poet. Each of the poems appears in the original Chinese with a word-by-word translation, followed by Michael A. Fuller’s unadorned translation, and a more polished version by modern translators. A question-based study guide highlights the important issues in reading and understanding each particular text.Designed for classroom use and for self-study, the textbook’s goal is to help the reader appreciate both the distinctive voices of the major writers in the Chinese poetic tradition and the grand contours of the development of that tradition."
Drinking With the Moon is a selection of the finest Chinese poems for self-study or classroom use. Included are poems from the literary tradition of classical China, including the Tang and Song Dynasties. The text includes traditional Chinese characters, Pinyin romanization, and English vocabulary and notes. Audio cassette of poems read by native Chinese speakers is also available alone or as a set.
Designed to work with the acclaimed course text How to Read Chinese Poetry: A Guided Anthology, the How to Read Chinese Poetry Workbook introduces classical Chinese to advanced beginners and learners at higher levels, teaching them how to appreciate Chinese poetry in its original form. Also a remarkable stand-alone resource, the volume illuminates China's major poetic genres and themes through one hundred well-known, easy-to-recite works. Each of the volume's twenty units contains four to six classical poems in Chinese, English, and tone-marked pinyin romanization, with comprehensive vocabulary notes and prose poem translations in modern Chinese. Subsequent comprehension questions and comments focus on the artistic aspects of the poems, while exercises test readers' grasp of both classical and modern Chinese words, phrases, and syntax. An extensive glossary cross-references classical and modern Chinese usage, characters and compounds, and multiple character meanings, and online sound recordings are provided for each poem and its prose translation free of charge. A list of literary issues addressed throughout completes the volume, along with phonetic transcriptions for entering-tone characters, which appear in Tang and Song–regulated shi poems and lyric songs.
Chinese prose poetry today is engaged with a series of questions that are fundamental to the modern Chinese language: What is prose? What is it good for? How should it look and sound? Millions of Chinese readers encounter prose poetry every year, both in the most official of state-sponsored magazines and in the unorthodox, experimental work of the avant-garde. Recite and Refuse makes the answers to our questions about prose legible by translating, surveying, and interpreting prose poems, and by studying the people, politics, and contexts that surround the writing of prose poetry. Author Nick Admussen argues that unlike most genres, Chinese prose poems lack a distinct size or shape. Their similarity to other prose is the result of a distinct process in which a prose form is recited with some kind of meaningful difference—an imitation that refuses to fully resemble its source. This makes prose poetry a protean, ever-changing group of works, channeling the language of science, journalism, Communist Party politics, advertisements, and much more. The poems look vastly different as products, but are made with a similar process. Focusing on the composition process allows Admussen to rewrite the standard history of prose poetry, finding its origins not in 1918 but in the obedient socialist prose poetry of the 1950s. Recite and Refuse places the work of state-sponsored writers in mutual relationship to prose poems by unorthodox and avant-garde poets, from cadre writers like Ke Lan and Guo Feng to the border-crossing intellectual and poet Liu Zaifu to experimental artists such as Ouyang Jianghe and Xi Chuan. The volume features never-before seen English translations that range from the representative to the exceptional, culminating with Ouyang Jianghe’s masterpiece “Hanging Coffin.” Reading across the spectrum enables us to see the way that artists interact with each other, how they compete and cooperate, and how their interactions, as well as their creations, continuously reinvent both poetry and prose.
This volume follows on from the first in the series, where a selection of classical Chinese poems well-known to all Chinese school children was presented in a form easy for overseas students of the Chinese language to assimilate. Here, we continue with a further selection of popular Chinese classics, chosen for the insight they provide on Chinese history and culture. Part 1 looks at history through the eyes of some of the poets of the Tang dynasty, who reference the heroes of ancient battles of the Three Kingdoms period, as well as expressing the dashed hopes and aspirations of those caught up in the current struggles against "barbarians" from the North. We even hear about the founder of the Qin dynasty, and his final battle giving way to the establishment of the Han. The importance of geography in these struggles is not forgotten, and we see how the Yellow River was the cradle of the Chinese civilization, and the Yangtse the barrier separating the three Kingdoms, as well as the major thoroughfare transporting Li Bai from exile to rehabilitation. Two other major strategic features are discussed - the Great Wall, defending the trade route, the Old Silk Road, and the Grand Canal, alleviating the threat of flood, and transporting supplies throughout the country, and playing a key rôle in its prosperity. In part 2, we look at the culture of ancient China, and although most of the poets quoted here lived in the Tang and Song eras, their works draw heavily on influences from the past. We see women in different guises - as workers cultivating silk worms, to their role as concubines - the delights and perils of that occupation - and ending with the sending away of a young girl to an arranged marriage. We look at the Imperial Examination system, a key factor in maintaining governance of the empire over two thousand years. Also examined is the expression of dissidence in the political system, of social waywardness and debauchery, and the moral character instilled in different ways with the three major religions or philosophies of China, Daoist, Confucian and Buddhist. Finally, a number of Chinese poems have made their way to the West in translation, and we go back and look at the sources for a couple of these poems. While an assortment of thirty-odd Tang dynasty poems is clearly just skimming the surface of the wealth of Chinese poetry in existence, the aim, by finding poems which link to aspects of Chinese culture, is to provide as varied a collection as possible, making the reading of these poems more accessible, and their study more rewarding.