When late Qing and early Republican-period Chinese reformers grappled with the challenges of creating a new poetic language and form in the early decades of the twentieth century, Zhou Zuoren （1885-1967）, one of mod...When late Qing and early Republican-period Chinese reformers grappled with the challenges of creating a new poetic language and form in the early decades of the twentieth century, Zhou Zuoren （1885-1967）, one of modern China＇s most influential intellectuals, believed that much could be learned from the experiments of modern Japanese poets who had overcome similar challenges in the decades following the Meiji restoration. Of all the verse forms Japanese poets were experimenting with, Zhou was particularly interested in modern haiku and tanka. Zhou felt that the modern haiku and tanka＇s rootedness in tradition on the one hand and their ability to express modern sensibilities on the other could offer a model for Chinese poets seeking to create a poetic voice that was at once modern, but also anchored in traditional poetics. This article will analyze some of Zhou＇s translations of modern haiku and tanka and illustrate how these translations led him to promote a new poetic form in China, typically referred to as ＂short verse＂ （xiaosh0. By further reading Zhou＇s critical essays on modern Japanese poetry against the writings of a number of Western modernist poets and translators who themselves were inspired by East Asian verse forms--Ezra Pound in particular--I will comment on the degree to which Zhou＇s promotion of short verse inspired by modern Japanese haiku and tanka challenges a perceived Western role in legitimizing East Asian forms as conducive to modernism.展开更多
The paper explores an ambiguous intersection between history and fiction in Scarlet Venice （Hi no Venezia, in original） （1988） by Japanese novelist and historiographer, Shiono Nanami （1937-）. As a prominent tran...The paper explores an ambiguous intersection between history and fiction in Scarlet Venice （Hi no Venezia, in original） （1988） by Japanese novelist and historiographer, Shiono Nanami （1937-）. As a prominent transnational writer who has worked on the Italian Renaissance and the Roman antiquity for about 40 years, Shiono fictionalizes the political culture of 16th century Venice in the context of the Eastern Mediterranean history. Based on her The Tales of the Sea Capital （1981）, historiography par excellence, the novel portrays the political maneuver of the Republic of Venice from viewpoints of diplomacy. With this thematic approach to history, the novel centers on the life and death of Alvise Gritti （1480-1534）, an illegitimate son of famed Venetian Doge, Andrea Gritti. In the metaphorical/metafictional structure of historical crime fiction, the novel unveils the austerity of Venetian polity, while contrasting it with the liberalism fostered in Sultan Suleiman＇s Ottoman court. In conclusion, the author interprets that Alvise Gritti is a victim of the political intricacy with which Venice was wrestling, implying that the republic is the metaphorical murderer. Whereas Alvise＇s death commemorates a drastic step taken by Venice for political negotiation, Shiono＇s recent writings suggest that Japan should model the rigid pragmatism in Venetian politics, along with its effective use of intelligence in diplomacy展开更多
The definition of civilization has been a major issue for Japanese modernity.Accepting European modernity as synonymous with civilization would mean defining the previous stage as barbarism,and considering how to cut ...The definition of civilization has been a major issue for Japanese modernity.Accepting European modernity as synonymous with civilization would mean defining the previous stage as barbarism,and considering how to cut out such barbarism.Since before the war,Takeuchi Yoshimi had consistently tried to consider the problem of the removal of barbarism from civilization.This article argues that Takeuchi's discussion of the problems of civilization and Japanese modernity contributes to our rethinking of a new barbarism in the midst of globalization.展开更多
文摘When late Qing and early Republican-period Chinese reformers grappled with the challenges of creating a new poetic language and form in the early decades of the twentieth century, Zhou Zuoren （1885-1967）, one of modern China＇s most influential intellectuals, believed that much could be learned from the experiments of modern Japanese poets who had overcome similar challenges in the decades following the Meiji restoration. Of all the verse forms Japanese poets were experimenting with, Zhou was particularly interested in modern haiku and tanka. Zhou felt that the modern haiku and tanka＇s rootedness in tradition on the one hand and their ability to express modern sensibilities on the other could offer a model for Chinese poets seeking to create a poetic voice that was at once modern, but also anchored in traditional poetics. This article will analyze some of Zhou＇s translations of modern haiku and tanka and illustrate how these translations led him to promote a new poetic form in China, typically referred to as ＂short verse＂ （xiaosh0. By further reading Zhou＇s critical essays on modern Japanese poetry against the writings of a number of Western modernist poets and translators who themselves were inspired by East Asian verse forms--Ezra Pound in particular--I will comment on the degree to which Zhou＇s promotion of short verse inspired by modern Japanese haiku and tanka challenges a perceived Western role in legitimizing East Asian forms as conducive to modernism.
文摘The paper explores an ambiguous intersection between history and fiction in Scarlet Venice （Hi no Venezia, in original） （1988） by Japanese novelist and historiographer, Shiono Nanami （1937-）. As a prominent transnational writer who has worked on the Italian Renaissance and the Roman antiquity for about 40 years, Shiono fictionalizes the political culture of 16th century Venice in the context of the Eastern Mediterranean history. Based on her The Tales of the Sea Capital （1981）, historiography par excellence, the novel portrays the political maneuver of the Republic of Venice from viewpoints of diplomacy. With this thematic approach to history, the novel centers on the life and death of Alvise Gritti （1480-1534）, an illegitimate son of famed Venetian Doge, Andrea Gritti. In the metaphorical/metafictional structure of historical crime fiction, the novel unveils the austerity of Venetian polity, while contrasting it with the liberalism fostered in Sultan Suleiman＇s Ottoman court. In conclusion, the author interprets that Alvise Gritti is a victim of the political intricacy with which Venice was wrestling, implying that the republic is the metaphorical murderer. Whereas Alvise＇s death commemorates a drastic step taken by Venice for political negotiation, Shiono＇s recent writings suggest that Japan should model the rigid pragmatism in Venetian politics, along with its effective use of intelligence in diplomacy
文摘The definition of civilization has been a major issue for Japanese modernity.Accepting European modernity as synonymous with civilization would mean defining the previous stage as barbarism,and considering how to cut out such barbarism.Since before the war,Takeuchi Yoshimi had consistently tried to consider the problem of the removal of barbarism from civilization.This article argues that Takeuchi's discussion of the problems of civilization and Japanese modernity contributes to our rethinking of a new barbarism in the midst of globalization.
