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Xie Lingyun's Shanju --The literature of <Ju> (II)
Get PDFXie Lingyun's Shanju fu 山居賦 is the great fu text which succeed to Pan Yue 潘岳's Xianju fu 閑居賦, on whose features and its importance in Chinese medieval literature I explained in my former essay : The literature of Ju --a view point for Shanshui 山水/Yinyi 隱逸 literature of Six dynasties (Journal of Chinese Literature, vol. XLII). These two fu, however, are very contrastive in an essential point. While Pan Yue's Xianju is modestly settled near the capital and its fu praises the virtue of the empire, Xie Lingyun's Shanju is constructed disregarding the capital and its fu declares own superiority over the capital in beauty and magnificence. Shanju fu is a successor of Jingdu fu 京都賦, but on the other hand an usurper of it. Shanju fu is noted in detail by author himself, and his self-notes which narrate the topography of his Shanju according to his walking is contrastive to the body text which describes picturesquely the beauty of it. We must pay attention to the fact that his notes are very effective to combine the beauty of his Shanju into the real topography of it, and so Shanju fu attains being the greatest masterpiece in Shanshui literature. In addition, Xie Lingyun's poems written on his Shanju, whose titles frequently mention author's geographical position, unify these elements: picturesque beauty and real topography. Xie Lingyun tried to realize his ideal world by making full use of his literary skill, and he succeeded in it
On P'an Yueh's Tao-wang-shih
Get PDFTao-wang-shih, which mourns the death of his wife, is the most famous poem of the Hsi-Chin 西晉 poet P'an Yue. Critics has interpreted the poem as a manifestation of the poet's eternal sorrows when he laments the passing away of his wife. However, if we approach the poem without considering such extrinsic factors as the author's life, we are left with the impression that the poem is in fact a result of composing according to an exemplary model. This poem which is anthologized in Wen-hsüan 文選 consists of three stanzas, I shall begin with an analysis of the structure among these three stanzas. First, we notice that every stanza consists of three parts, all composed in different manners though. The first stanza, in which the metre proceeds consistently, can be divided into three parts by two changes of locales. On the other hand, the second and third stanzas are divided into three parts by changing its metre twice. While the backdrop to the second stanza is fixed in the interior of his deceased wife's chamber, that of the third stanza moves from indoor to outdoor, that is, from her chamber to her tomb. The whole poem sees alternative contrast in terms of its metric scheme and plot arrangement. Secondly, I shall illustrate how the chief motifs are connected structurally. The image of seasons, for example, appears in each stanza, but the ways of expression vary from the general to the detailed. While general descriptions appearing in the third stanza and the first part of the first stanza are followed by an overflow of sorrows over the irreversibility of his wife's death, concrete and elaborate descriptions appearing in the second stanza and the third part of the first stanza are accompanied by the expression of griefs over her absence. The motif of trying to drive away his grief may also be classified into two modes: the actual and the mental. In other words, the widower had decided on the one hand to resume his duty and on the other hand to adopt the philosophies of Chuang-tzu 莊子. As can be expected, the former appears in the third stanza and the first part of the first stanza, whereas the later in the second stanza and the third part of the first stanza. Obviously, these motifs do not recur at random, and we can recognise that the second stanza is actually a variation of the third (and second) part of the first stanza, and that the third stanza as a variation of the first part of the first stanza. P'an Yüeh has also composed other works which mourn his wife's death: Tao-wang-fu 悼亡賦 and Ai-yung-shih-wen 哀永逝文. These two works represent his grief upon the funeral ceremony realistically, while Tao-wang-shih depicts his grief after the funeral in a much more abstract literary mode. This distinction corresponds to the difference in the style employed: Fu 賦, Wen 文, or Shih 詩. This proves to be important when we examine the relation between these three works and Kua-fu-fu 寡婦賦 written by the same writer on the death of his friend on behalf of the widow. The composition of Kua-fu-fu is similar to that of Tao-wang-fu and Ai-yung-shih-wen but different from that of Tao-wang-shih in that the description centres on the process of the funeral ceremony. Many of the expressions and motifs are common in these three works, the chief motifs of Tao-wang-shih, for example, are found in Kua-fu-fu. We may say that Kua-fu-fu serves as an exemplary for these three works. No doubt there are differences between the feelings of a widower and a widow, and between poems written for oneself and for the others, but the striking similarities show that such difference are not essential for these works. The act of composing according to a prior model easily crosses the border of the 'real' and the 'unreal'. In addition, as the author himself remarks, Kua-fu-fu can be traced to works written in the Chien-An 建安 period. Thus the model itself is also a work written in imitation. To conclude, we can see how a work which is supposed to be a spontaneous overflow of the writer's personal griefs has been written as a result of the influence from a work written for the others according to an exemplary model
Trace to the Source of "Pingdian"
Get PDFPingdian criticism is one of the most inportant critical forms in the history of Chinese literary criticism. "Pingdian" literally means criticizing (Ping) and marking (dian). Since middle twelfth century it become increasingly popular. The Pingdian critic worked on given text, using dots and circles to indicate individual lines or extended passages which he admired or disapproved of, and writing critical comments in the top margin, between the lines, or at the end of a piece of writing. However it's absent of deep and system research about tracing to the source of the pingdian. The present paper tries to discuss it from four directions in synthesis, and gained such conclusions : "Zhangju" 章句----punctuation and annotation----which since Han Dynasty provided the use dots and format for reference of the pingdian, the evolvement of former literary criticism choosing its center of gravity, the imperial examination of Song Dynasty bring on the requirement for it, the "pingchang" 評唱----one of the Zen works genre----gave its writing model
La litterature du <Ju> --Un point de vue sur la litterature du Shanshui/Yinyi a l'epoque des Six Dynasties--
Get PDFDans la littérature chinoise, il y a beaucoup de fu touchant au thème de la retraite. En effet, l'un des motifs des Chuci, qui reprèsente une des origines des fu, est le ressentiment contre l'exil de la cour, c'est-à-dire, contre la retraite forcée. Les fu qui succèdent aux Chuci ont pour thème "le sage dans l'adversité 賢人失志", et sont aussi représentatifs dans la littérature de l'époque des Han que les fu épiques sur la chasse et la métropole. Mais, c'est depuis l'époque des Han postérieurs que sont apparus les fu qui dépeignent la vie à la retraite sans ressentiment. On peut considérer le Wei zhi fu 慰志賦 écrit par Cui Zhuan 崔篆, qui vécu à l'époque de Wang Mang 王莽, comme la première œuvre qui essaie de représenter la vie à la retraite dans une douce quiétude. On remarquera, en outre, que cette œuvre suggère le printemps comme la saison de la retraite d'après une citation du Lunyu. Zhang Heng 張衡 (78-139), poète des Han postérieurs, a composé deux fu sur la retraite, le Si xuan fu 思玄賦 et le Gui tian fu 歸田賦 Bien qu'ils soient tous les deux classés dans la catégorie des fu sur "les vœux 志" dans le Wenxuan, il y a cependant une grande différence entre ces deux fu. Le dernier se distingue par la peinture nostalgique d'un paysage au printemps, qui entoure l'ermitage dans le style épique, sans utiliser le caractère "xi 兮", tandis que le premier décrit un monde idéal d'après le thème du fu sur "le sage dans l'adversité" et dans le style des Chuci. On découvre ici le contraste entre la retraite satisfaite et la retraite isolée. A la suite du Gui tian fu de Zhang Heng, Zhong-chang Tong 仲長統 (180-220) a exprimé concrètement la vie champêtre sans souci dans le Le zhi lun 樂志論, puis, Zhang Hua 張華 (232-300) composa également un Gui tian fu. Pan Yue 潘岳 (247-300), poète des Jin Occidentaux, a, pour sa part, rédigé deux fu sur le thème de la retraite, le Qiu xing fu 秋興賦 et le Xian ju fu 閑居賦. Si le premier insiste sur la tristesse de l'automne et sur le vœu de se retirer de la cour dans le style des Chuci, le dernier décrit la vie satisfaite de la retraite dans un style imitant les fu sur la métropole. On peut affirmer, dès lors, que les fu sur le thème de la retraite satisfaite forment déjà un nouveau courant littéraire qui s'oppose à celui des oeuvres dans la tradition des Chuci. Pour les gens qui vivaient au moyen-âge chinois, la retraite signifie non seulement se retirer du monde public, mais aussi construire le monde privé, c'est-à-dire le "Ju 居". C'est dans ce "Ju" qu'ils découvrent "le paysage 山水" qui les entoure, et commencent à exprimer sa beauté. Ainsi, le concept de la littérature du "Ju" permet-il de mieux comprendre le cours de la littérature médiévale chinoise
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
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
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
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