Conventional wisdom has it that Chinese modernism arose as part of the May Fourth literary reform, a movement purportedly predicated on radical anti-traditionalism. The fact that Du Fu is the “author” worshiped by multiple modern Chinese poets during the past century prods us to reconsider the motivations of Chinese literary modernity. Their “search” for the ancient “sage of poetry” not only points to a unique dialogical relationship between the moderns and a premodern “author” but also offers an important clue to the genealogy of Chinese literary modernity. The way in which Chinese modernists have continually treated Du Fu as a source of inspiration, finding in him a kindred spirit, is a highly intriguing phenomenon. This essay introduces six modernist Chinese and Sinophone poets in search of Du Fu—Huang Canran 黃燦然, Xi Chuan 西川, Wai-lim Yip 葉維廉, Xiao Kaiyu 蕭開愚, Luo Fu 洛夫, and Luo Qing 羅青—along with their aspirations and conjurations, appropriations and revisions.
{"title":"Six Modernist Poets in Search of Du Fu","authors":"D. D. Wang","doi":"10.2307/j.ctv18b5c09.15","DOIUrl":"https://doi.org/10.2307/j.ctv18b5c09.15","url":null,"abstract":"Conventional wisdom has it that Chinese modernism arose as part of the May Fourth literary reform, a movement purportedly predicated on radical anti-traditionalism. The fact that Du Fu is the “author” worshiped by multiple modern Chinese poets during the past century prods us to reconsider the motivations of Chinese literary modernity. Their “search” for the ancient “sage of poetry” not only points to a unique dialogical relationship between the moderns and a premodern “author” but also offers an important clue to the genealogy of Chinese literary modernity. The way in which Chinese modernists have continually treated Du Fu as a source of inspiration, finding in him a kindred spirit, is a highly intriguing phenomenon. This essay introduces six modernist Chinese and Sinophone poets in search of Du Fu—Huang Canran 黃燦然, Xi Chuan 西川, Wai-lim Yip 葉維廉, Xiao Kaiyu 蕭開愚, Luo Fu 洛夫, and Luo Qing 羅青—along with their aspirations and conjurations, appropriations and revisions.","PeriodicalId":151166,"journal":{"name":"Reading Du Fu","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131016627","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
“Thinking through poetry” refers to an associative process of poetic structure, through which Du Fu explores a basic issue. In “Getting Rid of the Blues” the poet addresses the question of empire as circulation, “that which goes far.” The antithetical term is the local, “that which cannot go far.” Poetry is something that circulates throughout the empire, but it often carries the image of the local and, through the image, a desire for what even the emperor cannot have: fresh, ripe lychees.
{"title":"Thinking through Poetry","authors":"Stephen Owen","doi":"10.2307/j.ctv18b5c09.7","DOIUrl":"https://doi.org/10.2307/j.ctv18b5c09.7","url":null,"abstract":"“Thinking through poetry” refers to an associative process of poetic structure, through which Du Fu explores a basic issue. In “Getting Rid of the Blues” the poet addresses the question of empire as circulation, “that which goes far.” The antithetical term is the local, “that which cannot go far.” Poetry is something that circulates throughout the empire, but it often carries the image of the local and, through the image, a desire for what even the emperor cannot have: fresh, ripe lychees.","PeriodicalId":151166,"journal":{"name":"Reading Du Fu","volume":"73 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121492794","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ming-Qing painters who engaged in the increasingly widespread practice of inscribing lines from Tang and Song poems on their paintings were especially drawn to Du Fu. It was not only Du Fu’s fame but also the intrinsic qualities of his lines that appealed to and challenged the artists as they rendered Du Fu’s couplets in a different medium. This chapter looks at the interaction between the new paintings and old poetic lines that the artists themselves added to their paintings, focusing on two albums of Du Fu’s Poetic Thoughts by the seventeenth-century painters Wang Shimin and Shitao. The styles of these two artists diverge sharply, but so too do the ways they adapted their paintings to Du Fu’s lines. Their creative and divergent representations of the Tang poet’s lines may be viewed as another component of Du Fu’s legacy. It is one that, to be sure, lies outside of literary history but is very much a part of aesthetics and cultural history.
{"title":"Ming-Qing Paintings Inscribed with Du Fu’s Poetic Lines","authors":"Ronald Egan","doi":"10.2307/j.ctv18b5c09.13","DOIUrl":"https://doi.org/10.2307/j.ctv18b5c09.13","url":null,"abstract":"Ming-Qing painters who engaged in the increasingly widespread practice of inscribing lines from Tang and Song poems on their paintings were especially drawn to Du Fu. It was not only Du Fu’s fame but also the intrinsic qualities of his lines that appealed to and challenged the artists as they rendered Du Fu’s couplets in a different medium. This chapter looks at the interaction between the new paintings and old poetic lines that the artists themselves added to their paintings, focusing on two albums of Du Fu’s Poetic Thoughts by the seventeenth-century painters Wang Shimin and Shitao. The styles of these two artists diverge sharply, but so too do the ways they adapted their paintings to Du Fu’s lines. Their creative and divergent representations of the Tang poet’s lines may be viewed as another component of Du Fu’s legacy. It is one that, to be sure, lies outside of literary history but is very much a part of aesthetics and cultural history.","PeriodicalId":151166,"journal":{"name":"Reading Du Fu","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125568103","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Refuges and Refugees:","authors":"Paul F. Rouzer","doi":"10.2307/j.ctv18b5c09.10","DOIUrl":"https://doi.org/10.2307/j.ctv18b5c09.10","url":null,"abstract":"","PeriodicalId":151166,"journal":{"name":"Reading Du Fu","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121962068","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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