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The Art of Chinese Poetry
This concise introduction to Chinese poetry serves as a primer for English-speakers eager to expand their understanding and enjoyment of Chinese culture. James J. Y. Liu first examines the Chinese language as a medium of poetic expression and, contrary to the usual focus on the visual qualities of Chinese script, emphasizes the auditory effects of Chinese verse. He provides a succinct survey of Chinese poetry theory and concludes with his own view of poetry, based upon traditional Chinese concepts. "[This] books should be read by all those interested in Chinese poetry."—Achilles Fang, Poetry "[This is] a significant contribution to the understanding and appreciation of Chinese poetry, lucidly presented in a way that will attract a wide audience, and offering an original synthesis of Chinese and Western views that will stimulate and inspire students of poetry everywhere."—Hans H. Frankel, Harvard Journal of Asiatic Studies "This is a book which can be recommended without reservation to anyone who wants to explore the world of Chinese poetry in translation."—James R. Hightower, Journal of Asian Studies
The Chinese Knight-Errant
This book, first published in 1967, is a comprehensive study of knight-errantry in Chinese history and literature from the fourth century BC to the twentieth century. It discusses the social and intellectual backgrounds of knight-errantry, historical knights and the development of the theme in poetry, fiction and drama.
The Sage Learning of Liu Zhi
Liu Zhi (ca. 1670–1724) was one of the most important scholars of Islam in traditional China. His Tianfang xingli(Nature and Principle in Islam), the Chinese-language text translated here, focuses on the roots or principles of Islam. It was heavily influenced by several classic texts in the Sufi tradition. Liu’s approach, however, is distinguished from that of other Muslim scholars in that he addressed the basic articles of Islamic thought with Neo-Confucian terminology and categories. Besides its innate metaphysical and philosophical value, the text is invaluable for understanding how the masters of Chinese Islam straddled religious and civilizational frontiers and created harmony between two different intellectual worlds. The introductory chapters explore both the Chinese and the Islamic intellectual traditions behind Liu’s work and locate the arguments of Tianfang xingli within those systems of thought. The copious annotations to the translation explain Liu’s text and draw attention to parallels in Chinese-, Arabic-, and Persian-language works as well as differences.
Language-Paradox-Poetics
In attempting to define a "poetics of paradox" from a traditional Chinese standpoint, James Liu explores through a comparative approach linguistic, textual, and interpretive problems of relevance to Western literary criticism. Liu's study evolves from a paradoxical view--originating from early Confucian and Daoist philosophical texts--that the less is "said" in poetry, the more is "meant." Such a view implied the existence of paradox in the very use of language and led traditional Chinese hermeneutics to a study of "metaparadox"--the use of language to explicate texts the meaning of which transcends language itself. As Liu illustrates elements of traditional Chinese hermeneutics with example...
Li Shangyin
A one-of-a-kind collection of work by little-known Late Tang poetic master Li Shangyin. Li Shangyin is one of the foremost poets of the late Tang, but until now he has rarely been translated into English, perhaps because the esotericism and sensuality of his work set him apart from the austere masters of the Chinese literary canon. Li favored allusiveness over directness, and his poems unfurl through mysterious images before coalescing into an emotional whole. Combining hedonistic aestheticism with stark fatalism, Li’s poetry is an intoxicating mixture of pleasure and grief, desire and loss, everywhere imbued with a singular nostalgia for the present moment. This pioneering, bilingual edition presents Chloe Garcia Roberts’s translations of a wide selection of Li’s verse in the company of other versions by the prominent sinologist A. C. Graham and the scholar-poet Lucas Klein.
Convergence of East-West Poetics
The present book examines William Carlos Williams’s negotiation with cultural modes and systems of the Chinese landscape tradition in his landscape writing. Focusing on Walliams’s landscape modes of landscape with(out) infused emotions, the book builds a linkage between their interactions with Chinese landscape aesthetics and shows how these conversations helped shape Williams’s cross-cultural landscape poetics. The exploration of Williams’s experiment with the Chinese serene interplay of self and landscape, the interfusion of scene and emotion, an idea of seeing from the perspective of Wang Guowei’s theory of jingjie, and the poetic space of frustration and completion in the context of space and human geography, expand the understanding of a cross-cultural landscape tradition developed by Williams through bringing into focus the convergence of East-West poetics.
Shifu, Soul of Chinese Anarchism
The most comprehensive study of Shifu available, this valuable work explores the life and political milieu of a central figure in Republican China. Born in 1884, Shifu was brought down in 1915 by overwork, poverty, and tuberculosis. Yet during that short span, he became the most influential anarchist of his time. Drawing on a wealth of primary source material, Krebs provides an intellectual biography of this committed revolutionary and analyzes the importance of Shifu's thought during the New Culture-May Fourth years as his followers fought for influence with the Marxists and later over the issue of alliance with the Nationalists. Placing Shifu's life within the dynamic intellectual and poli...
The Organization of Distance
What makes a Chinese poem “Chinese”? Some call modern Chinese poetry insufficiently Chinese, saying it is so influenced by foreign texts that it has lost the essence of Chinese culture as known in premodern poetry. Yet that argument overlooks how premodern regulated verse was itself created in imitation of foreign poetics. Looking at Bian Zhilin and Yang Lian in the twentieth century alongside medieval Chinese poets such as Wang Wei, Du Fu, and Li Shangyin, The Organization of Distance applies the notions of foreignization and nativization to Chinese poetry to argue that the impression of poetic Chineseness has long been a product of translation, from forces both abroad and in the past.
Chinese Poetry
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