2 Authorship in the Canon of Songs (Shi Jing)

Beecroft, Alexander

doi:10.1163/9789004279421_004

Cited by 4 publications

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“…We may then as well come to the conclusion that since the outset of literature there has certainly been evidence of a concept of authorship, albeit one that was limited in that it did not integrate the various author functions into a single source of meaning and in that it was genre-bound. Although we subscribe to Christoph Harbsmeier's "Principle of Hermeneutic Austerity" not to "attribute to texts of a certain culture, time and genre semantic features and rhetorical devices that are not a plausible part of the literary communication in that culture, at that time, and in that genre", 67 we venture to say that in the literary traditions of probably all cultures and all times there have been certain genres which depend on the fulfilment of an author function. It is likely that a genre-bound concept of authorship has always been in existence and will always be because author functions are indispensable for meaning construction or assertion of authority in certain types of texts.…”

Section: )mentioning

confidence: 87%

“…It is not possible to judge here as to whether the author of the poem intended his work to be a nature poem or a love poem. The point to bear in mind here is simply that, as Alexander Beecroft has shown for Chinese poetry in his article in this volume, 67 by the way in which they arranged the poems the compilers could have a decisive influence on the manner in which the recipients read them, thus affecting their "meaning".…”

Section: Meaningmentioning

confidence: 98%

“…times to 'author' a part of a xiaoshuo text […]." 67 Thus, a weak sense of authorship in the tradition of the vernacular novel facilitated the appropriation of the authorship role. Liangyan Ge made the point that "works in vernacular literature were often attributed to shadowy names shrouded in obscurity or with their authenticity unverifiable.…”

Section: Establishing An Authormentioning

confidence: 99%

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That Wonderful Composite Called Author

Schwermann¹,

Steineck²

2014

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23 ".. . quadruplex est modus faciendi librum. Aliquis enim scribit alienam materiam nihil addendo, vel mutando; et iste mere dicitur scriptor. Aliquis scribit aliena addendo, sed non de suo: et iste compilator dicitur. Aliquis scribit et aliena, et sua; sed aliena tanquam principalia, et sua tanquam annexa ad evidentiam; et iste dicitur commentator. Aliquis scribit et sua, et aliena; sed sua tanquam principalia, aliena tanquam annexa ad confirmationem: et talis debet dici auctor."

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Section: )mentioning

confidence: 87%

Section: Meaningmentioning

confidence: 98%

Section: Establishing An Authormentioning

confidence: 99%

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That Wonderful Composite Called Author

Schwermann¹,

Steineck²

2014

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“… I discuss the textual history of the Canon of Songs in more detail in Beecroft (, 58–97) and (2017, 153–173). …”

mentioning

confidence: 99%

“… In Beecroft (, 63), I suggest that the structure and sequence of the collection frequently drives the Mao interpretation, rather than the reverse. …”

mentioning

confidence: 99%

Anthologies and canon formation in China and the West

Beecroft

2018

Orbis Litterarum

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Anthologies and anthologizers have long played a major role in the establishment of literary canons. In the Chinese tradition, the anthology has an especially long and influential history, through such works as the Chu ci (Songs of Chu), containing poems from (perhaps) the fourth century BC through the first two centuries AD, and including later anthologizing acts such as the Wen xuan, (Selections of Refined Poetry), assembled by Xiao Tong c.530 AD, and the Yutai xinyong (New Songs from a Jade Terrace), assembled at nearly the same time. European traditions placed less emphasis on the anthology. Still, from the Hellenistic creation of a lyric canon of nine poets, through the Imperial and Late Antique anthologies of epigrams in Greek, the anthology has a significant place in our understanding of Greek literature. This paper will undertake a comparative exploration of these early processes of anthologization in both China and Europe, and will assess whether or not that comparative study reveals common patterns in anthology‐making. Do anthologies have similar causes, and consequences, in both China and Europe? And can the patterns by which anthologies are constructed yield any clues as to the works that were excluded, and why?

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The Shijing : The Beginnings of Chinese (and East Asian) Poetry

Beecroft

2019

A Companion to World Literature

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The poems of the Shijing are the earliest poems recorded in Chinese, and one of the foundations of the classical Chinese literary tradition. The Shijing is an anthology of 300 ancient Chinese poems, whose selection is traditionally attributed to Confucius. More recent scholarship suggests the poems were created from c. 900 to c. 500 bce , and compiled in their present form beginning around the late fourth century bce . The four sections of the anthology ( Airs of the States, Lesser Odes, Greater Odes , and Temple Hymns ) contain a wide variety of poems on themes ranging from love and daily life among the people to the mythology and history of the Zhou dynasty. The traditional interpretation of the collection was strongly moralizing, but modern scholars have argued that many of the poems may have had a popular, oral, and non‐political origin.

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2 Authorship in the Canon of Songs (Shi Jing)

Cited by 4 publications

References 0 publications

That Wonderful Composite Called Author

That Wonderful Composite Called Author

Anthologies and canon formation in China and the West

The Shijing : The Beginnings of Chinese (and East Asian) Poetry

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