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For example, in the Yaoling dialect the colloquial reading of 物 'things' is [væʔ], [11] which is very similar to its pronunciation of Ba-Shu Chinese in the Song dynasty (960–1279). [12] Meanwhile, its literary reading, [ voʔ ], is relatively similar to the standard Mandarin pronunciation [ u ].
His mystical life and death remain an important topic of Chinese literature and society. A cult of Hai Zi involves young people from all over China since the 1990s, though he is still not entirely accepted by older experts. Hai Zi's poems have a strong influence on the popular culture in Mainland China. Some of his poems have been set to songs.
The first two known history books about Chinese literature were published by Japanese authors in the Japanese language. [80] Kojō Tandō wrote the 700 page Shina bungakushi (支那文学史; "History of Chinese Literature"), published in 1897. Sasakawa Rinpū wrote the second ever such book in 1898, also called Shina bungakushi. [81]
Referring to fictions written in the Tang dynasty as chuanqi is established by usage. [3]: 7 In the early 1920s the prominent author and scholar Lu Xun prepared an anthology of Tang and Song chuanqi which was the first modern critical edition of the texts and helped to establish chuanqi as the term by which they are known.
Chinese literature during the Song period contained a range of many different genres and was enriched by the social complexity of the period. Although the earlier Tang dynasty is viewed as the zenith era for Chinese poetry (particularly the shi style poetry of Du Fu, Li Bai, Bai Juyi), there were important poetic developments by famous poets of the Song era, with the flourishing of the ci form ...
According to the Chinese contemporary female writer Zhang Yueran (Simplified Chinese: 张悦然, born 7 November 1982, at the end of "Red Rose, White Rose", Tong Zhenbao meets Wang Jiaorui again on the bus. Through the rearview mirror of the car, he sees himself crying and feels surprise and shame.
The term "fu", when applied to Chinese literature, first appears in the Zhou dynasty (c. 1046–221 BC), where it meant "to present", as in poetic recitations. [3]It was also one of the three literary devices traditionally assigned to the songs of the Classic of Poetry (). [3]
Xu Zhimo (徐志摩, Wu Chinese pronunciation: [ʑi tsɿ mu], Mandarin: [ɕy̌ ʈʂî mwǒ], 15 January 1897 – 19 November 1931) was a Chinese romantic poet and writer of modern Chinese poetry who strove to loosen Chinese poetry from its traditional forms and to reshape it under the influences of Western poetry and the vernacular Chinese language. [1]