classical chinese poetry的八卦，Yahoo名人娛樂都在討論

💕「愛台灣，我的選擇」系列第16發：熱愛台灣詩的美國學者白瑞梅(Amie Parry)

「我在加州內陸地區一個叫做聖伯納迪諾的小城市長大，隨後在聖地牙哥念大學和研究所，並獲得文學博士學位。求學期間我們必須至少選修一門外語，所以我就選了中文。1987年我大學畢業之後，跟朋友來了台灣一趟，在台灣教英文和學中文六個月，接著就自己一個人當起背包客在亞洲四處旅遊。

我本來想要研究中國古典詩詞，後來因為獲得傅爾布萊特獎學金，便又再度回到台灣。當時我在討論詩詞的聚會上認識了幾位現代派詩人，所以我就將研究主題轉而聚焦在台灣60、70和80年代的現代詩。我的博士論文探討的就是，以現代主義來理解現有政治語言中難以理解的現代性。我認為歷史形塑而來的經驗，往往比語言本身還要複雜。

我研究的那些詩作沒有明確的政治性，反而是有很強的實驗性質，並帶著詭譎的神秘感。當時我認識的現代派詩人大多是跟著國民黨飄洋過海來台的外省人，他們經歷過戰爭和顛沛流離，也經歷過劇烈且痛苦的歷史創傷。每個人的經驗都不同，在那個年代，也很難說出口。後來，我寫了一本關於詩的書，並聚焦在一兩位我覺得特別有趣的詩人。我在書中問了一些類似的問題：這些詩作如何幫你思考艱難的議題？

當時的現代詩已經頗有制度，許多詩人都有投稿《現代詩》這份重要的詩刊，有些詩人則是將詩作與戲劇結合。整體而言，台灣的現代詩、表演藝術和文學都發展地如火如荼，也深深吸引了我，但我還未全盤了解。當我完成博士論文時，我便獲得交通大學的教職，讓我對台灣的學術圈感到非常驚艷。而當我出版第一本著作時，我也很訝異能在美國獲獎；我根本不知道自己獲得提名，當時我問授獎單位：「為什麼選擇我的書？」他們表示：「因為書中其中一個章節是以跨國的架構來進行整體論述，妳不是單用西方的理論和東方的詩詞，而是從東西方共同錘煉出嶄新的知識。」

我目前任教於中央大學英美語文學系，除了擔任系主任之外，我也有教授寫作課、文學課和文學文化理論課程。從我1987年第一次來台灣到現在，我覺得台灣人愈來愈能自在地與來自不同地方的人交談，就個人經驗來說，我認為台灣社會愈來愈開放。我第一次來台灣時，經歷了許多台灣社會有趣的發展，也結交了許多朋友，並認識了許多學術圈的同好。我想，這些珍貴的回憶就是呼喚我再度回台的動力；就像是，如果你覺得這個社會充滿生氣和活力，而你也能夠參與其中、做出貢獻，我想這就是像家一樣的感覺吧！」

✨白瑞梅 Amie Parry 現為中央大學英美語文學系 專任教授

💕Why I chose Taiwan #16 – Amie Parry

“I grew up in a small city in inland California called San Bernardino. I went to college and graduate school in San Diego. I got my PhD in literature. We were all expected to learn at least one language, so I did Chinese. I traveled to Taiwan with a friend right after I graduated from college in 1987. We came here to teach English and study Chinese for six months, then I traveled around Asia by myself with a backpack.

I originally wanted to study classical Chinese poetry. I got a Fulbright grant and I came back here. I started going to the poetry nights that were happening at that time. I met some of the modernist poets, and I switched my focus to the modernist poetry of the 60s, 70s, and 80s in Taiwan. I wrote my dissertation on modernism as a way of understanding the parts of modernity that are hard to know in the existing political language that we inherit. I think that experience in historical formation is always more complicated than the language.

These poems are not explicitly political; they're very experimental and strange. At the time, the modernist poets I met were mostly 外省, men who had been drafted and come over with the KMT, so they had experienced war and displacement, and a very intense and traumatic historical moment. People experienced it differently, and at that time, it was a hard thing to talk about. Later, I wrote a book about poetry, but I just focused on one or two poets I find really, really fascinating. And I was asking some of the same kinds of questions: how can these poems help you think about certain topics that are hard to think about?

At that time, Modernist poetry was a kind of an institution already. There was a journal called 現代詩, “Modern Poetry,” a really important journal that most of these poets were published in. Some of them combined poetry and theater. There's just so much going on in Taiwan in terms of poetry and performance and literature. It's just amazing. And I'm very interested in it at all, but I haven't kept up. After I finished my dissertation, I got a job offer at 交大. I thought, wow, there's something really amazing happening intellectually here. When my first book came out, it actually got an award in the U.S., and I was so surprised. I didn't even know it had been nominated. I asked them, ‘Why did you choose my book?’ And they said, because one of the chapters has a transnational of framework for the whole argument, so it wasn't like you used Western theories and Eastern texts, it's like the whole knowledge part is coming out of both places.

I currently teach in the English department at National Central University. I'm the chair and I teach writing classes, literature classes, and literary and cultural theory classes. Since my first visit to Taiwan in 1987, I think people are a little more comfortable talking to people from different places. In my personal interactions, I feel a difference, like a greater openness. Back then, there were so many interesting things happening here, all at one time, and that's the time that I happened to be here. And I made good friends in my personal life and in my intellectual life. And I think those are the things that made me come back: like if you feel that there's something interesting happening and there's some way that you can support it. I guess that's a way of feeling at home.” — Amie Parry

✨Amie Parry is professor of the Department of English at the National Central University

Cantonese almost became the official language😊 I PROUD TO SPEAK #CANTONESE ❤️

Putonghua is the official language on the mainland, but if history had played out differently the vast majority could have been speaking Cantonese.

In 1912, shortly after the fall of the Qing dynasty, the founding fathers of the republic met to decide which language should be spoken in the new China.

Mandarin - now known as Putonghua [the common language] - was then a northern dialect spoken by the hated Manchurian officials. While it had served as China's lingua franca for centuries, many perceived it as an 'impure form' of Chinese.

Many of the revolutionary leaders, including Sun Yat-sen, were from Guangdong - which has long been China's land of new ideas. A great debate started between the delegates and eventually led to a formal vote. Cantonese lost out by a small margin to Putonghua and the rest is history.

While historians today still argue about the authenticity of the story, it is something Guangdong people love to tell. Many Cantonese speakers feel proud of their native language, saying it has more in common with ancient classical Chinese than Putonghua - which is a mix of northern dialects heavily influenced by Manchurian and Mongolian.

Linguists agree to some extent. 'Cantonese is closer to classical Chinese in its pronunciation and some grammar,' Jiang Wenxian, a Chinese language scholar, said. 'Using Cantonese to read classical poetry is a real pleasure,' he said. 'Many ancient poems don't rhyme when you read them in Putonghua, but they do in Cantonese.

'Cantonese retains a flavour of archaic and ancient Chinese. Nowadays few people understand classical Chinese, so Cantonese should be protected as a type of language fossil helping us study ancient Chinese culture.'

Cantonese is spoken by about 70 million people in Guangdong, Hong Kong, Macau and communities abroad.

In the 17th and 18th centuries, Guangdong was the only Chinese province allowed to trade directly with foreigners. Many Westerners at the time learned Cantonese. Up till very recently, there were more Cantonese speakers in overseas Chinese communities than Putonghua speakers. In Canada, for instance, Cantonese is the third most commonly spoken language after English and French.

2018唐獎Day 4
美國學者宇文所安教授是今年2018年唐獎漢學獎其中一位得獎人。宇文所安教授對中國古典詩學貢獻卓著，其不遺餘力為西方學界與大眾引介唐詩更是功不可沒。日本學者斯波義信教授是今年漢學獎的另一位得獎人，也是國際著名的中國社會經濟史學家。

2018 Tang Prize Day 4: American scholar Stephen Owen is one of the recipients of the 2018 Tang Prize in Sinology for his scholarship on Chinese Classical poetry, particularly making Tang Dynasty poetry accessible to Western audiences. Japanese scholar Yoshinobu Shiba also received this year’s Tang Prize in Sinology for his scholarship on Chinese social-economic history.

Meng Haoran (Chinese: 孟浩然; Wade–Giles: Meng Hao-jan; 689/691–740) was a major Tang dynasty poet, and a somewhat older contemporary of Wang Wei, Li Bai and Du Fu. Despite his brief pursuit of an official career, Meng Haoran mainly lived in and wrote about the area in which he was born and raised, in what is now Hubei province, China. Meng Haoran was a major influence on other contemporary and subsequent poets of the High Tang era because of his focus on nature as a main topic for poetry. Meng Haoran was also prominently featured in the Qing dynasty (and subsequently frequently republished) poetry anthology Three Hundred Tang Poems, having the fifth largest number of his poems included, for a total of fifteen, exceeded only by Du Fu, Li Bai, Wang Wei, and Li Shangyin. These poems of Meng Haoran were available in the English translations by Witter Bynner and Kiang Kanghu, by 1920, with the publication of The Jade Mountain. The Three Hundred Tang Poems also has two poems by Li Bai addressed to Meng Haoran, one in his praise and one written in farewell on the occasion of their parting company. Meng Haoran was also influential to Japanese poetry.

from Wikipedia
https://en.wikipedia.org/wiki/Meng_Haoran

春曉 孟浩然
Spring Dawn / Mèng Hào rán

春眠不覺曉
The sleep of spring night is so comfortable that I do not notice that the dawns

處處聞啼鳥
When I wake up, I hear the birds singing from everywhere

夜來風雨聲
Last night I heard the sound of wind and rain

花落知多少
How many flowers have fallen? (Maybe many flowers have fallen)

Brush pen : Pentel XGFH (XGFH-X) Scientific Brush - Gold

http://urx.space/WPtc (Amazon US)
http://urx.space/ZXl6 (Amazon UK)

Paper : Daio Paper Corporation Black Drawing paper

https://amzn.to/2OQAi3V (Amazon JP)

Picture frame : 11041 B-F White (Sekaido / Tokyo,Japan)
https://www.sekaido.co.jp/

【BGM】

・Lau Tzu Ehru - Doug Maxwell (YouTube Audio Library)
・Haru no Kaze - Chokomint
https://dova-s.jp/bgm/play6255.html
・camellia - yukikoNISHIMURA
https://dova-s.jp/bgm/play4423.html

#JapanesecalligrapherTakumi #Chinesepoem #mènghàorán

Chinese calligraphy with a pencil | Neat and clean | Classical Chinese poetry handwriting

堺に生まれ明治･大正･昭和を短歌とともに生きた｢情熱の歌人｣与謝野晶子。｢みだれ髪｣はその代表作、甲斐町の生家跡には｢海こひし潮の遠鳴りかぞへつつ少女となりし父母の家｣の歌碑があります。

与謝野晶子は菓子商駿河屋の三女として甲斐町に生まれてから、鉄幹に出会い家を出るまで堺ですごしました。明治･大正･昭和を短歌とともに生き｢情熱の歌人｣と呼ばれ、同じ文学者鉄幹の妻であり、11人の子どもたちの母でもありました。明治34年(1901年)に出版された｢みだれ髪｣は、鉄幹へのあふれる愛と青春のみずみずしさを歌いあげ、浪漫主義の代表作となりました。
また詩、評論、古典研究などさまざまな執筆活動を展開する一方、女性の権利に焦点をあてた評論も多く著し、当時の女性の地位向上に積極的に取り組んだことでも有名です。
その生家跡には｢海こひし潮の遠鳴りかぞへつつ少女となりし父母の家｣の歌碑があり、晶子と鉄幹を引き合わせたといわれる覚応寺、二人がはじめてデートした浜寺公園など、エピソードがつたわる地と晶子歌碑巡りを楽しむことができます。最近のリニューアルで生家の様子をビジュアルに表現、外国人観光客用に英語･中国語･ハングルの説明文も加えました。歌碑周辺の石組みは碑に刻まれている歌にちなみ、海の波をイメージして高低に配し、所々の青色タイルは光る水面を表現しています。

"Poet of passion" was living with tanka the Meiji, Taisho and Showa born in Sakai Akiko Yosano. "Disheveled hair" is the masterpiece, the ruins of the town birthplace Kai has tanka inscription of "House of Ki becomes a girl while parents to Kazo distant roar of the ocean tide this sebum".

Yosano Akiko Sakai spent in town worth as a woman from birth to three candy quotient Surugaya Co., Ltd., to leave the house to Tekkan encounter. Living with the Meiji, Taisho and Showa tanka called "poet of passion", is the wife of a literary Tekkan same, there was also the mother of eleven children. Sings the freshness of youth and the love overflowing to Tekkan, "disheveled hair" was published, became a masterpiece of romanticism in 1901 (1901).
It is also famous for while activities writing a variety of poetry, criticism, and classical studies, authored many critics that focus on women's rights, but actively working to improve the status of women at the time.
Such Hamaderakoen that Odera sense, which is said to have tanka inscription of "house parents Ki and girl while to Kazo distant roar of the tide sebum can sea", on the site of the birthplace is said to have brought together the Tekkan and Akiko, two people have been dating for the first time , you can enjoy a tour of the land and tanka inscription Akiko episode is transmitted. A visual representation of the state of the birthplace in the recent renewal, also added the description of English, Chinese, Korean for foreign tourists. Rockwork around tanka inscription is named after the song, which is engraved on the monument, arranged in height with the image of the waves of the sea, blue tile places is an expression of a shiny surface.