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The Love Poems of Li Shang-yin
Get PDFThe love poems of Li Shang-yin (813?-58) appear to derive from the Six Dynasties anthology of love poetry known as the Yü-t'ai hsinyung and the love poetry of Li Ho (791-817). But whereas earlier poems in folk song style had often pictured love as a group activity and were characterized by an air of delight and even abandon, Li Shang-yin's poetry deals exclusively with the love of the individual, often an individual who is being oppressed by the group, and dwells upon the gloom and sorrow associated with love. Yüan Chen (779-831), a poet somewhat older than Li Shang-yin, wrote love poetry that was clearly based upon his own personal experiences. The language of the poems indicates that they are addressed to a particular individual and are confessions of the poet's love for her, and the poems convey a clear picture of the place and manner in which the love affair proceeded. Li Shang-yin's love poetry, however, is quite the opposite, expressing not the love for any single individual but the generalized emotions of longing and despair, and deliberately eschewing a concrete description of the lover's surroundings in favor of the creation of an atmosphere of haziness and ambiguity. In this last respect they resemble the works of Li Ho, whom Li Shang-yin admired and took as his model, for Li Ho often employed circumlocations and substitute terms in order to avoid the names of things associated with everyday life. The deliberate haziness of Li Shang-yin's love poetry stands in marked contrast to the technique employed in his " Short Biography of Li Ho, " in which unreal events are given an air of reality through the use of concrete and detailed description. But it was some distant world of the imagination to which Li Shang-yin felt drawn, and his longing finds symbolic expression in the images of dreams, rain, and twilight which appear so often in his poetry. His love poems display the same characteristics, hovering as they do upon the border between the real and the unreal
The Use of Locative Nouns Li, Shang, and Zhong as Mandarin Language Adposition
Get PDFThe purpose of this study was to analyze locative nouns (li, shang, and zhong) that may function as postpositions and therefore Mandarin language considered to have circumposition. The collected data were sentences taken from Chinese short stories by Lu Xun and the articles in the tabloid. Because the object of this study consisted of language in texts, hence observation and documentation method were needed. The analysis of data used distribution method with dissipative technic, substitution technic, and insert technic. Through dissipative and insert technic, the distribution of the adpositional phrase could be known. Through substitution technic, the distribution of the adpositional phrase and the use of preposition related to
semantic was conducted. The study shows, in some context of adpositional phrase, locative nouns li, shang, and zhong may function as postpositions, while the use of preposition zai, is optional, and the options provide the same meaning. Based on this result, Mandarin locative nouns should be considered as postpositions
The Use of Locative Nouns Li, Shang, and Zhong as Mandarin Language Adposition
No full textThe purpose of this study was to analyze locative nouns (li, shang, and zhong) that may function as postpositions and therefore Mandarin language considered to have circumposition. The collected data were sentences taken from Chinese short stories by Lu Xun and the articles in the tabloid. Because the object of this study consisted of language in texts, hence observation and documentation method were needed. The analysis of data used distribution method with dissipative technic, substitution technic, and insert technic. Through dissipative and insert technic, the distribution of the adpositional phrase could be known. Through substitution technic, the distribution of the adpositional phrase and the use of preposition related tosemantic was conducted. The study shows, in some context of adpositional phrase, locative nouns li, shang, and zhong may function as postpositions, while the use of preposition zai, is optional, and the options provide the same meaning. Based on this result, Mandarin locative nouns should be considered as postpositions.</jats:p
CONCERNING THE WORD'DREAM, IN THE POETRY OF LI SHANG-IN AND TU MU
Get PDFLi Shang-in 李商隱 and Tu Mu 杜牧 are two representative poets of the late T'ang 晩唐. In their poetry the word 'dream' (mêng, 夢) appears considerably more frequently than in the work of other T'ang poets or of the Liu Ch'ao poets. Their distinctive use of this word, reflecting their deep interest in the dream, serves to express their unique poetic imaginations. The notion of the dream becomes crucial to an understanding of their poetry. Li Shang-in links dreaming to contact with some other person; the words 'dream' (夢) and 'letter' (shu, 書) are quite often placed in parallel positions within a couplet. In earlier poetry, dreams are a common setting for meetings, particularly for love rendezvous. But Li Shang-in's desire to dream is basically one of escape, transcendance of the hardships of this world. For the world in which the dream-meeting will occur is wholly a different one, a world removed from sorrow, a world deeply yearned for by the poet. Tu Mu's dreams appear, in his nature poems, to be constantly associated with the natural element water (shui, 水). The dream may occur beside a spring, a mountain stream, in the rain, or on a boat in a river. Though the content of the dream often remains unclear, still, in the close relation between the dream and water lies the key to an important element of the poet's vision: the flow from a troubled daily life to a beautiful natural setting (ching, 景), through serenity (shien, 閑) to slumber (mien, 眠), which drifts in turn to the dream, and finally, in a state of profound unconsciousness, a return to the Mother (mu, 母). Yüan Chen 元稹 and Po Chu-yi 白居易 of the Middle T'ang 中唐 wrote many poems taking dreams as their title or theme, but with Li Shang-in and Tu Mu only a few are of that sort, though, again, the word 'dream' appears quite often in their work. They seem concerned more with the poetic meaning of 'the dream' than with recounting a given dream's content. It may be said that in their poetic usage of the word they take a step beyond many of their famous predecessors
Li Shang-yin's "Untitled Poems"
Get PDFIn the writer's opinion the so-called "Untitled Poems" (wu-t'ishih 無題詩) of Li Shang-yin 李商隱 (813-858) are all concerned with romantic love. But although the poems seem superficially to relate the various cares and woes of romantic love, it is extremely difficult to grasp the poet's true meaning. Indeed even the surface meaning of the poems is ambiguous and any attempt to arrive at a positive interpretation of them line by line presents great difficulty. Some scholars have maintained that all of the "Untitled Poems" are related to political events of the period and would interpret them as political satires. I have not followed this theory, but have instead attempted to interpret the poems solely on the basis of the events actually related therein. From what we find in the poems it may be surmised that Li's companion in love was either a young girl, a daughter of the aristocracy, or a singing girl or prostitute. It appears that he had known her from his youth, that they had exchanged letters and secret promises, but that someone had come between them and the girl had later married someone else. I have given an interpretation of the fifteen "Untitled Poems", along with fourteen other poems which seem to deal with the same subject, ending with the famous "Brocade Harp" (Chin-se 錦瑟). This last poem has been the subject of much controversy among commentators from the Sung period on. In my opinion it is concerned with Li's reminiscences of a young girl of the aristocracy. I cannot agree with the number of scholars who regard it as a lamentation on the death of Li's own wife
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
[[alternative]]The Logos of Art: the Unsolved Circles and the Spirits of Mind in the Poems of Li Shang-Yin
No full text[[abstract]]每位藝術家都有其獨特的「藝術之道」：藝術家是以什麼眼光在看世界？以及其深切的關懷為何？藝術家在面對相對有限的「生命」之於亙古的「宇宙」，他是怎樣進行理解？本文以晚唐詩人李商隱的作品為例，標題取為「無解的迴圈」與「心有靈犀」，是想點出李商隱詩作中透顯的某個面向，那便是宇宙和人生的處境有時不免陷入一個永恆的回繞，且幾近于「無解」？但，藝術家卻靠著心靈的「想像」而超脫其上？！「藝術心靈」作為「轉化」人間理想真實的憑藉，李商隱以穿透性的「洞察力」為我們演繹，綿延竟千年！[[abstract]]In this thesis I try to find out the logos of art. As we know each artist has his (her) unique view and philosophy about life, world, and cosmos. Usually, artist show loving care and profound grief for people. So, I wonder how they resolve and transfer the dilemma of their life. I chose the poems written by Li Shang-yin (Tang Dynasty famous poet) to show the way of art. The poems of Li Shang-yin let us realize that there maybe have no absolute solution to resolve the difficulties of life, but we can use imaginations of mind to transfer the dilemma situations. The insight of artistic mind and spirit will cheer us to overcome and get the wisdom of philosophy
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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