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Preliminary Material -- Introduction -- Reclusion -- "Personality" -- Literary Reception, Part I: -- Literary Reception, Part II -- Conclusion -- Selected Bibliography -- Index -- Harvard East Asian Monographs.
As medieval Chinese manuscripts were copied and recopied through the centuries, both mistakes and deliberate editorial changes were introduced. Xiaofei Tian shows how readers not only experience authors but "produce" them by shaping texts to their interpretation, focusing on the evolution over the centuries of the reclusive poet Tao Yuanming into a figure of epic stature.
"Dennis Maloney's exquisite new collection of poetry, Listening to Tao Yuan Ming, offers his superb versions (or 'visions' as he calls them) of Tao Yuan Ming's seminal Twenty Poems After Drinking Wine as well as a sequence of delicate "harmonizing" poems-before the book concludes with its title section, a lyric album of powerful personal reflections. Listening to Tao Yuan Ming is nothing less than a deeply moving conversation across history and culture, as if we were fortunate enough to overhear these two marvelous poets sharing their wine, their times, and their poetry." --David St. John
"In a formative period of Chinese culture, early medieval writers made extensive use of a diverse set of resources, in which such major philosophical classics as Laozi, Zhuangzi, and Classic of Changes featured prominently. Reading Philosophy, Writing Poetry examines how these writers understood and manipulated a shared intellectual lexicon to produce meaning. Focusing on works by some of the most important and innovative poets of the period, this book explores intertextuality—the transference, adaptation, or rewriting of signs—as a mode of reading and a condition of writing. It illuminates how a text can be seen in its full range of signifying potential within the early medieval constellation of textual connections and cultural signs.If culture is that which connects its members past, present, and future, then the past becomes an inherited and continually replenished repository of cultural patterns and signs with which the literati maintains an organic and constantly negotiated relationship of give and take. Wendy Swartz explores how early medieval writers in China developed a distinctive mosaic of ways to participate in their cultural heritage by weaving textual strands from a shared and expanding store of literary resources into new patterns and configurations."
Tao Yuanming (365?–427), although dismissed as a poet following his death, is now considered one of China’s greatest writers. Over the centuries, portrayals of his life—some focusing on his eccentricity, others on his exemplary virtue—have elevated him to iconic status. This study of the posthumous reputation of a central figure in Chinese literary history, the mechanisms at work in the reception of his works, and the canonization of Tao himself and of particular readings of his works sheds light on the transformation of literature and culture in premodern China. It focuses on readers’ interpretive negotiations with Tao’s works and on changes in hermeneutical practices, critical vocabulary, and cultural demands, as well as the intervention of interested and influential readers, in order to trace the construction of Tao Yuanming. Driven by a dialogue on categories at the very heart of literati culture—reclusion, personality, and poetry—this cumulative process spanning fifteen centuries, the author argues, helps explain the very different pictures of Tao Yuanming and the divergent ways of reading his works across time and illuminates central issues animating premodern Chinese culture.
"This book uses questions concerning address and understanding in Tao Qian's poetry as a lens through which to explore both the poet and the cultures of reading and interpretation of the Six Dynasties classicist tradition"--Provided by publisher.
T'ao Ch'ien, (365 - 427, C.E.), one of the most revered poets in classical Chinese literature, is presented in a lucid translation with an introduction. "David Hinton is one of the most impressive of the younger translators of classical Chinese poetry.... His renderings are varied and imaginative while remaining faithful to the spirit of the original."--Burton Watson
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)
Winner of a 2006 Choice Magazine Outstanding Academic Title Award As medieval Chinese manuscripts were copied and recopied through the centuries, both mistakes and deliberate editorial changes were introduced, thereby affecting readers' impressions of the author's intent. In Tao Yuanming and Manuscript Culture, Xiaofei Tian shows how readers not only experience authors but produce them by shaping texts to their interpretation. Tian examines the mechanics and history of textual transmission in China by focusing on the evolution over the centuries of the reclusive poet Tao Yuanming into a figure of epic stature. Considered emblematic of the national character, Tao Yuanming (also known as Tao Qian, 365?-427 c.e.) is admired for having turned his back on active government service and city life to live a simple rural life of voluntary poverty. The artlessness of his poetic style is held as the highest literary and moral ideal, and literary critics have taken great pains to demonstrate perfect consistency between Tao Yuanming's life and poetry. Earlier work on Tao Yuanming has tended to accept this image, interpreting the poems to confirm the image. Tao Yuanming and Manuscript Culture is a study of how this cultural icon was produced and of the elusive traces of another, historical Tao Yuanming behind the icon. By comparing four early biographies of the poet, Tian shows how these are in large measure constructed out of Tao Yuanming's self-image as projected in his poetry and prose. Drawing on work in European medieval literature, she demonstrates the fluidity of the Chinese medieval textual world and how its materials were historically reconfigured for later purposes. Tian finds in Tao's poetic corpus not one essentialized Tao Yuanming, but multiple texts continuously produced long after the author's physical demise. Her provocative look at the influence of manuscript culture on literary perceptions transcends its immediate subject and has special resonance today, when the transition from print to electronic media is shaking the literary world in a way not unlike the transition from handwritten to print media in medieval China.