The Chinese Written Character as a Medium for Poetry

Fenollosa, Ernest Francisco; Pound, Ezra; Stalling, Jonathan; Klein, Lucas

doi:10.1515/9780823238347

Cited by 25 publications

(13 citation statements)

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“…Because of the fact that wen in Chinese has always been viewed as both natural patterns or configurations and as human writing or literature, Chinese writing and literature are believed to be endowed with a great deal of naturalness, literal truth‐value, and basic continuity with the lived world. Moreover, these scholars call into question the appropriateness of approaching Chinese literature in terms of the Western concepts of metaphor, allegory, mimesis, and fictionality.In their argument, Chinese discourses on wen in general and Liu Xie's “Yuan Dao” chapter 原道 (Tracing the Origin of the Dao ) in his magna opus, Wenxin diaolong ( Literary Mind and the Carving of Dragons ) in particular are often cited as an eloquent proof for the idea that Chinese language and literature are natural and literal in contradistinction to the more fictional and artificial nature of Western literature generated by the more abstract and arbitrary Western phonetic writing (Fenollosa , 8–9; Jullien , 35; Owen , 20; Yu ).…”

Section: Discourses On Wen As Metaphysics Of Artmentioning

confidence: 99%

Patterns of Tao (Dao): The Birth of Chinese Writing and Aesthetics

2016

The Journal of Aesthetics and Art Criticism

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In the Chinese tradition, the relationship between art and philosophy is conceptually explored in terms of the relationship between dao (Tao) and wen, which may respectively be viewed as representing philosophy and art. Over history, discourses on dao and wen are central to studies of Chinese literature, art, culture, and civilization. But just as dao holds a range of ideas in Chinese philosophy, wen is also one of the most complex terms in Chinese tradition, whose denotations and connotations are multifaceted and open to interpretations. This article argues that the elusive nature of wen can be understood adequately from the perspective of language philosophy and aesthetics via its relationship to the metaphysical principle of the Dao. By examining the discourses on wen and dao, this article advances a thesis with three interrelated ideas: (1) wen (writing) as manifestations of the Tao is an instance of "humanized nature"; (2) the birth of wen marked the beginning of reflections on literature and art, hence inaugurating aesthetics in the Chinese tradition; and (3) the early discourses on wen have determined the distinctiveness of Chinese aesthetic consciousness.

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Section: Discourses On Wen As Metaphysics Of Artmentioning

confidence: 99%

Patterns of Tao (Dao): The Birth of Chinese Writing and Aesthetics

2016

The Journal of Aesthetics and Art Criticism

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“…Both Saussure (1915) and Fenollosa (1918), at different times and studying different languages, came to the conclusion that there is an intra‐code in poetic language that is the central thread of poetry’s ideas and, mainly, its construction. Poetic structure determines a poem’s expressiveness.…”

Section: The Transmission Of Intra‐codesmentioning

confidence: 99%

“…What is most important is the relational process in which a relational metaphor emerges. Ernest Fenollosa (1918) provides an early consistent study of Chinese ideograms. He maintains that: “The enormous interest of the Chinese language in throwing light upon our forgotten mental processes […] furnishes a new chapter in the philosophy of language” (p. 53) and “The whole delicate substance of speech is built upon substrata of metaphor” (p. 54).…”

Section: Heading Toward Alphamentioning

confidence: 99%

“…Language has become central to 20th century philosophy, and object relations theory provides a psychoanalytic perspective within a dialogue such as the one I suggest. On the other hand, linguistic advances beginning with Saussure (1915) and continuing with Fenollosa (1918) and Derrida (1998), among others, have contributed to psychoanalysis from their perspectives.…”

Section: Introductionmentioning

confidence: 99%

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On the construction of thinking

Avzaradel¹

2011

The International Journal of Psychoanalysis

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In this study the author attempts to widen our understanding of language and thought construction by using Chinese ideograms as a model. This allows us to understand how concrete internal objects can coalesce to form abstract internal objects, e.g. concepts, ideas, symbols, and metaphors. One can establish a pictorial language that antedates verbal language. This is the case in the dream work that we routinely study. Thus, this study delves into the physiology of the alpha function. To this end the author not only relies on psychoanalytic concepts but also on concepts from philosophy and from language itself. The author presents the ideograms not only for discussion but also for their visual impact. If we really want to understand pictorial images, they must be seen and not just discussed from a theoretical point of view. Based on this understanding the author advances a proposal for the technique used in treating patients who cannot establish mental representations for their affect. And the technical proposal is illustrated in two clinical cases.

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“…A oomfortable distance between two friends may be an offensive closeness to a different party. Hall continues:The concept that no two people see exactly the same thing when actively using their eyes in a natural situation is shocking to some people because it implies that not all men relate to the world around them in the same way 10. This is the nature of man; we all have different perceptual worlds, and therefore different measures of distance.…”

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confidence: 99%

Temporal translation: exploring the perspectives of East and West

Sze-Yu¹

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Your file Votre reference ISBN: Our file Notre reference ISBN: NOTICE: The author has granted a nonexclusive license allowing Library and Archives Canada to reproduce, publish, archive, preserve, conserve, communicate to the public by telecommunication or on the Internet, loan, distribute and sell theses worldwide, for commercial or noncommercial purposes, in microform, paper, electronic and/or any other formats. AVIS: L'auteur a accorde une licence non exclusive permettant a la Bibliotheque et Archives Canada de reproduire, publier, archiver, sauvegarder, conserver, transmettre au public par telecommunication ou par I'lnternet, preter, distribuer et vendre des theses partout dans le monde, a des fins commerciales ou autres, sur support microforme, papier, electronique et/ou autres formats. Notes: This thesis reguires the use of numerous Chinese words to explain its ideas. In order to merge Chinese vocabulary into the English text, all ideas are first introduced through an English translation, then the Chinese character and after in bracket the pronunciation of the character using hanyu pinyin. Better known as pinyin, i t is the most common standard Mandarin romanization system in use. Example: east is M (pinyin: dong). The pronunciation system of pinyin is the standard used in the entire body of texts, but the second system of Wade-Giles can be found whenever quotes by Needham are used. This is to ensure the proper quoting of the source. Temporal Translations v TABLE OF CONTENTS:

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The Chinese Written Character as a Medium for Poetry

Cited by 25 publications

References 0 publications

Patterns of Tao (Dao): The Birth of Chinese Writing and Aesthetics

Patterns of Tao (Dao): The Birth of Chinese Writing and Aesthetics

On the construction of thinking

Temporal translation: exploring the perspectives of East and West

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