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Han YA', (768-824), sometimes called Han Changli, was born in Nanyang, Henan, China, was a precursor of Neo-Confucianism as well as an essayist and poet, during the Tang dynasty. The Indiana Companion calls him comparable in stature to Dante, Shakespeare or Goethe for his influence on the Chinese literary tradition. He stood for strong central authority in politics and orthodoxy in cultural matters. An orphan, he went to Chang'an in 786, but needed four attempts to pass the jinshi exam, finally succeeding in 791. In the last few years of the 8th. Century, he began to form the literary circle which spread his influence so widely. He gained his first central government position in 802, but was soon exiled.
" The poetry of the Late Tang often looked backward, and many poets of the period distinguished themselves through the intensity of their retrospective gaze. Chinese poets had always looked backward to some degree, but for many Late Tang poets the echoes and the traces of the past had a singular aura. In this work, Stephen Owen resumes telling the literary history of the Tang that he began in his works on the Early and High Tang. Focusing in particular on Du Mu, Li Shangyin, and Wen Tingyun, he analyzes the redirection of poetry that followed the deaths of the major poets of the High and Mid-Tang and the rejection of their poetic styles. The Late Tang, Owen argues, forces us to change our very notion of the history of poetry. Poets had always drawn on past poetry, but in the Late Tang, the poetic past was beginning to assume the form it would have for the next millennium; it was becoming a repertoire of available choices--styles, genres, the voices of past poets. It was this repertoire that would endure. "
Jean Elizabeth Ward proudly presents this book with the poetry of Wen Feiqing, the literary name of Wen Tingyun, Chinese Tang Poet famous for his Ci Poetry, included are the poems inspired by and written by Jean Elizabeth Ward,an American Poet Laureate. Concluding with an introduction to Wei Yingwu, another Chinese Poet.
Su Chen brought the system through! The music industry, the endangered ballad he saved, he pushed rock music to its true peak! In the literary world, he was the founder of the Obscure Poetry School. He used "Winter is here, but will spring still be far away?" Shocking the entire world! In the movie business, he was the only universally recognized Chinese godfather! Not only that, but in the world of comics, medicine, and metaphysics ... His figure could be seen almost everywhere, even his legend could be seen ...
Yanagawa Seigan (1789–1858) and his wife Kōran (1804–79) were two of the great poets of nineteenth-century Japan. They practiced the art of traditional Sinitic poetry—works written in literary Sinitic, or classical Chinese, a language of enduring importance far beyond China’s borders. Together, they led itinerant lives, traveling around Japan teaching poetry and selling calligraphy. Seigan established Edo-period Japan’s largest poetry society and attained nationwide renown as a literary figure, as well as taking part in stealthy political activities in the years before the Meiji Restoration. Kōran was one of the most accomplished female composers of Sinitic poetry in Japanese history. After her husband’s death, she was arrested and imprisoned for six months as part of a crackdown on political reform. Seigan and Kōran’s works at once display mastery of a poetic tradition and depict Japan on the brink of monumental change. The Same Moon Shines on All explores the world of Seigan and Kōran, pairing an in-depth account of their lives and times with an inviting selection of their poetry. The book features eminent Sinologist Jonathan Chaves’s translations of more than 130 poems by Seigan and more than 50 by Kōran, each annotated and followed by the original Chinese text. An introduction by Matthew Fraleigh, a specialist in Japan’s Sinitic literature, offers insight into the historical and literary context as well as the poems themselves. Approachable and delightful, this book makes the riches of Japanese Sinitic poetry available to a range of readers.
“Part travelogue, part literary history, and part spiritual journey . . . His quest to find Han Shan’s cave is a delight from beginning to end.”—Chase Twichell, author of Horses Where the Answers Should Have Been In this transformative book, award-winning poet and essayist James Lenfestey makes an epic journey across the world to find the Cold Mountain Cave, a location long believed to exist only in myths and the ancient home of his idol, Han Shan, author of the Cold Mountain poems. Lenfestey’s voyage takes him from the Midwestern United States to Tokyo to a road trip across the expanse of China with frequent excursions to the country’s rich historical and cultural landmarks. As he makes his way to the cave, Lenfestey learns more than history or geography; he discovers his identity as a writer and a poet. Interspersed with poems by both the author and Han Shan, Seeking the Cave will appeal to lovers of poetry and travel narrative alike. “A lively account of Lenfestey’s trip to China . . . It unites our brief literary life with the ancient richness of Chinese culture.”—Robert Bly, New York Times bestselling author “A profound, and profoundly personal book. It’s very captivating, warm and friendly, personal, unguarded, idiosyncratic, pointed but also finally apolitical, and eminently charming.”—Gary Snyder, Pulitzer Prize-winning poet “His lighthearted approach, poet’s attention to detail and genuine passion for the poems of Han-shan bring the narrative far beyond essential archetypes of the Far East.”—Minneapolis Star Tribune “[A] poetry-infused memoir . . . The story of his outer and inner journeys is frank, charming, funny, moving and wise.”—Greenfield Recorder
During the Tang dynasty, the imperial capital of Chang’an (present-day Xi’an) was unrivaled in its monumental scale, with about one million inhabitants dwelling within its walls. It was there that one of the most enduring cultural and political institutions of the empire—the civil service examinations—took shape, bringing an unprecedented influx of literati men to the city seeking recognition and official status by demonstrating their literary talent. To these examination candidates, Chang’an was a megalopolis, career launch pad, and most importantly, cultural paradigm. As a multifaceted lived space, it captured the imaginations of Tang writers, shaped their future aspirations, and left discernible traces in the writings of this period. City of Marvel and Transformation brings this cityscape to life together with the mindscape of its sojourner-writers. By analyzing narratives of experience with a distinctive metropolitan consciousness, it retrieves lost connections between senses of the self and a sense of place. Each chapter takes up one of the powerful shaping forces of Chang’an: its siren call as a destination; the unforeseen nooks and crannies of its urban space; its potential as a “media machine” to broadcast images and reputations; its demimonde—a city within a city where both literary culture and commerce took center stage. Without being limited to any single genre, specific movement, or individual author, the texts examined in this book highlight aspects of Chang’an as a shared and contested space in the collective imagination. They bring to our attention a newly emerged interval of social, existential, and geographical mobility in the lives of educated men, who as aspirants and routine capital-bound travelers learned to negotiate urban space. Both literary study and cultural history, City of Marvel and Transformation goes beyond close readings of text; it also draws productively from research in urban history, anthropology, and studies of space and place, building upon the theoretical frameworks of scholars such as Michel de Certeau, Henri Lefebvre, and Victor Turner. It is a welcome addition to the growing body of scholarship in Chinese studies on the importance of cities and city life. Students and scholars of premodern China will find new ways to understand the collective concerns of the lettered class, as well as new ways to understand literary phenomena that would eventually influence vernacular tales and the Chinese novel. By asking larger questions about how urban sojourns shape subjectivity and perceptions, this book will also attract a wide range of readers interested in studies of personhood, spatial practice, and cities as living cultural systems in flux, both ancient and modern.
By the end of the nineteenth century, Chinese culture had fallen into a stasis, and intellectuals began to go abroad for new ideas. What emerged was an exciting musical genre that C. C. Liu terms "new music." With no direct ties to traditional Chinese music, "new music" reflects the compositional techniques and musical idioms of eighteenth- and nineteenth-century European styles. Liu traces the genesis and development of "new music" throughout the twentieth century, deftly examining the social and political forces that shaped "new music" and its uses by political activists and the government.