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The cut verse, ci and sanqu are the three categories of the Chinese metric verse; this anthology includes three hundred verses, one hundred for each of the three categories. The verses are based on Chinese culture in general, and the author’s personal life in particular. All the verses are written in Chinese, but all have English translations, in some cases with notes. The anthology is designed for readers interested in the Chinese verse, or Chinese culture at large, for those who are engaged in Chinese studies, and for Chinese courses, symposiums and libraries.
This anthology is comprised of three hundred Chinese cut verses, each followed by an English translation. The anthology consists of six parts: poems about photographs; poems about paintings; initiation and response; chanting; poems about exchanges with friends; and poems in memory of late parents, scholars and sages. All the poems revolve around the poet’s life at Beijing Geely University and his vacations in Huainan, including poems depicting the fight against the coronavirus. The poet is aware that translating a Chinese cut verse into an English verse is, in fact, writing what is said in Chinese in accordance with the English versification, and all the translations are completed accordingly.
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)
Stephen Owen is James Bryant Conant Professor of Chinese at Harvard University. --Book Jacket.
This book considers urban development in China, highlighting links between China’s history and civilization and the rapid evolution of its urban forms. It explores the early days of urban dwelling in China, progressing to an analysis of residential environments in the industrial age. It also examines China’s modern and postmodern architecture, considered as derivative or lacking spiritual meaning or personality, and showcases how China's traditional culture underpins the emergence of China’s modern cities. Focusing on the notion of “courtyard spirit” in China, it offers a study of the urban public squares central to Chinese society, and examines the disruption of the traditional Square model and the rise and growth of new architectural models.
Beginning with an essay on the history and theory of poetic argument, he traces its patterns through Romantic and Modernist literature. He divides his subject into three areas: the paradoxes of reason, language, and argument. Poetic Argument surveys the writings of the five poets in light of what has to be "proved" and identifies the characteristic styles of proof for each. For example, in the chapter on Marianne Moore, Kertzer studies two expressions of poetic argument. The first regards poetry as a waking dream, combining the powers of sleep and calculation. The second, derived from Imagism, treats poetry as a special way of seeing. Kertzer suggests that the combination of these two elements produces Moore's characteristically intricate, but inconclusive, forms of argument.
This book studies three female Chinese intellectuals in the first half of the 20th century, namely Feng Yuanjun, Lu Yin, and Cheng Junying, the first graduates of Beijing Female Higher Normal College, which was the first-ever national higher educational institution for women in modern China. Combining narrative inquiry, life history, oral history, and psychohistory methods, it comprehensively explores the specific developmental paths and mental processes of the post-May Fourth female intellectuals, and examines the complex interrelationships between various factors including social, academic, gender, and educational evolution in the first half of the 20th century, and the emergence of modern Chinese female intellectuals. The book is highly recommended for all scholars, undergraduate and graduate students of modern Chinese history, gender and women’s studies, history of education, history of higher education, etc., and for all those who are interested in female Chinese intellectuals.