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The Beginning of Literati Poetry: Four Poems from First-century BCE China
No full textAbstractThis article examines a set of four tetrasyllabic poems from the first century BCE, situating them between the ancient poetry of the Shijing and the medieval poetry that would appear two centuries later. The author outlines the emergence of a learned elite in the latter half of the Western Han and shows how the intellectual and socio-political background of this group is instantiated in the poems. As statements of a classicist mentality ascendant in the late Western Han, the poems stand firmly in their age, but as products of this newly emerging group they bear definite connection to the literati poetry of medieval China. Thus, the poems offer a viewpoint onto both the scholarly culture of the first century BCE and the poetic culture of early medieval China.
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The Space of Separation: The Early Medieval Tradition of Four-Syllable ‘Presentation and Response’ Poetry
No full text[[sponsorship]]中國文哲研究所[[note]]已出版;有審查制度;具代表
The Beginning of Literati Poetry – Four Poems from First-century BCE China
No full text[[sponsorship]]中國文哲研究所[[note]]已出版;有審查制度;具代表
The Limits of Translation: Method in Arthur Waley's Translations from the Chinese
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Sound and Sense: A Musical Look at Chinese Poetry in 1916
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Sound and Sense – A Musical Look at Chinese Poetry in 1916
No full textThis essay examines two contributions related to “Chinese poetry” from Eunice Tietjens, an early editor of and contributor to the Chicago-based magazine Poetry. In the first, Tietjens uses western musical notation to transcribe the “tunes” of two Chinese scholars chanting a short poem. The second is a group of Tietjens’s own poetic sketches of the China she witnessed on her 1916 visit. Taken together, these projects provide a useful commentary on the translation of Chinese poetry in the early 20th century.</jats:p
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
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