《朝鲜解语花史》辨误二则

文对《朝鲜解语花史》中收录的襄阳妓和史凤姬两位妓女诗人究竟是朝鲜时代妓女还是唐朝妓女进行了辨析，并引用中国古文献，证明襄阳妓的《送别》实为唐朝襄阳妓的《送武补阙》，史凤姬的《咏神鸡枕》实为唐朝妓女史凤七首同一主题系列诗中的一首，为辨认韩国妓女文学作品真伪作出了贡献。     

明万历三十七年熊化出使朝鲜研究

中朝两国山水相连,历史上有着非常密切的来往。自从明朝与朝鲜确立了朝贡关系以后,两国官方关系迅速密切起来。明与朝鲜经常互派使臣往来,朝鲜把明朝派去的使节称为天使。明早期多派宦官出使,中后期则多派遣文臣出使,两国文臣在朝鲜多有诗歌唱和。明万历三十七年(1609年),明神宗派遣进士熊化为使节,出使朝鲜。熊化给朝鲜人留下了极好的印象,其与李廷龟等朝鲜官员交游甚好,朝鲜官方选辑他与朝鲜大臣唱和诗刊刻成《皇华集》。本文即是论述熊化出使朝鲜以及与朝鲜人交游的研究。     

崔致远文学观念简析

崔致远是新罗时期一位颇有成就的大诗人，在他以后的文坛“大家”都把他推为朝鲜汉文学的鼻祖，朝鲜古代现实主义文学的奠基人。但在过去的研究中，大家的注意力基本上都集中在他的经历和诗歌创作上，很少有人注意到他的文学观。其实，在崔致远遗留下来的书、传、序、表、状、诗、文中，处处反映着他的审美意识及文学观念，而他的这些审美意识与文学观念，又显现出他所受中国魏晋南北朝文论影响的印记。 应该知道，儒教思想的传人不仅将正规的中国文学，同时也将中国儒家传统的文学观念介绍到朝鲜。众所周知，高句丽已于３７２年（小曾林王…     

朝鲜诗家论王士禛诗歌

王士禛是朝鲜文人热议的人物，其诗文集《蚕尾集》和《带经堂集》不久就传入了朝鲜。王士禛的“神韵说”既保存了汉民族文化的传统，又不对抗清朝统治，也十分符合此时朝鲜士人的心态，经过李德懋的倡导及众多文人的次韵、模仿，王士禛的“神韵说”及“神韵诗”对朝鲜诗坛产生了积极影响。朝鲜诗家承认王士禛的诗坛领袖地位，认为他是“海内诗宗”，总体诗风“清雅淹丽”，其诗歌有“守唐人声格”且“转益多师”的长处，也有体制、对仗方面的瑕疵。在朝鲜，围绕王士禛也诞生了一些诗坛佳话和趣闻。     

李白与李奎报酒诗同异试论

李白是中国唐代浪漫主义伟大诗人,李奎报为朝鲜高丽时代著名诗人,二人皆以好酒传名于世。而就酒诗看,李白与李奎报也有相同之处,如酒诗浪漫主义的风格、吟志抒怀的内容、“以气为主,以自然为宗”创作手法的运用等。但就二人酒诗相异之处而言,李奎报诗歌在浪漫主义手法之外,还采用现实主义手法,因而其作品写实内容多于李白,李奎报酒诗并有援禅入诗的创作手法。     

李箕永阶级文学与金东里生命文学的文化内涵探析

李箕永 (1895～ 1986 )和金东里 (1913～1995 )在朝鲜动荡的 2 0世纪 2 0～ 30年代崭露头角。李箕永发表长篇名著《故乡》来强调朝鲜知识分子的社会变革义务时 ,金东里却创建“诗人部落” ,高扬“生命文学”的旗帜。“6 2 5”事件以后 ,李箕永在朝鲜任作家联盟中央委员会常委等职务 ,继续发表诸多长篇巨作 ,成为朝鲜文坛的元老和最优秀的作家之一。而金东里在韩国任韩国文人协会副理事长、大韩民国艺术院院长等职务 ,发表了诸多小说、诗、评论 ,在决定韩国文学的走向方面起着举足轻重的作用。他们已成为代表朝鲜和韩国现代文学的特征和水平…     

实事求是,为民爱民——《牧民心书》中译本出版

《牧民心书》是由朝鲜时代著名的思想家、学者、诗人、朝鲜实学家丁若镛(号茶山)所著的一部政治学著作,该书探求治理国家之道,以爱民、为民为中心思想,旁征博引,叙论精微,从中可以了解朝鲜古代的历史、文化思想及中韩政治、经济、文化源远流长的交流史。     

阳光政策的出台背景

1990年代朝鲜的核危机爆发后,朝鲜、韩国、美国的三角关系,随着朝鲜“接近美国封锁韩国”的政策与美国直接进行核管理政策的吻合,形成了朝美间通过对话、协商来解决朝鲜半岛问题的框架。这样一来,韩国自然处于第三者的位置,在朝鲜、韩国与美国的三角关系中反而成了局外人。韩国     

朝鲜诗家对王昌龄边塞诗的接受

王昌龄边塞诗在我国古代诗歌中颇具特色,其创作风格深受朝鲜诗家推崇。受"诗必盛唐"的影响,朝鲜诗家热衷于从边塞诗作中找寻报国之门。因此,其主题思想符合朝鲜文人的审美倾向。盛唐以来,他们采用诸多方式接受王昌龄边塞诗,并将诗歌固定意象运用到创作中,《出塞》《箜篌引》等诗作成为他们接受的重点。同时,他们还积极接受王昌龄边塞诗中的"忠""义"等儒家思想,这种接受为中朝文学的"互识"提供了强有力的证据。     

徒手革命运动的暴发──“三一”大革命运动（1919）

徒手革命运动的暴发──“三一”大革命运动（１９１９）朝鲜民族不可侵犯的革命怒火，无时不在熊熊的燃烧着。三一运动是一九一九年三月一日，被压迫的朝鲜民族喊出反抗，怒吼的日子！一九一①年日本帝国主义吞并了朝鲜以来，由于日本帝国主义的政治经济上的抑压与掠夺，...     

A portrait of the Israeli woman as the beloved: the woman‐soldier in the poetry of Mahmüd Darwish after the 1967 war

Understandably, the treatment of the Israeli as an individual in contemporary Arabic literature has been quite limited. A significant attempt to portray an Israeli woman has been made by the Palestinian poet, Mahmüd Darwish. Over the course of three poems, written at different points in the poet's career, Darwish introduces and develops the character Rita, capturing in each poem a different facet of the personal, human tragedy inherent in the love between an Israeli woman and a Palestinian man. The conflicts of love, national suffering, and the inconstancy of human behaviour work against any hope for a lasting relationship between Rita and the poet. Beyond the narrative of this ‘Rita trilogy’, a number of points merit critical evaluation: the novelty of a compassionate portrayal of an Israeli woman in Arabic literature, and the question of whether Rita is in fact an individual or a symbol of something greater. Texts of the poems treated are provided as appendices in both English and Arabic.     

Phenomenological ecology in two occasional poems by Ben Okri

Abstract

This article begins with a brief discussion of the three terms: the poet, ontopoiesis and eco-phenomenology or phenomenological ecology. An explication of its thrust, viz. the significance of sowing/sewing ‘a quilt of harmony’ (Wild 2012: 20), in relation to the broad yet symbiotic theme of cosmic ecology follows. The discussion proceeds by presenting a close critical analysis of Ben Okri's ‘Lines in Potentis’, a poem commissioned by the then Lord Mayor of London in 2002 in commemoration of the bombing of the City of London and which is featured in Okri's most recent anthology of poetry, Wild (2012: 26-27). Both my thrust and my argument are predicated on another occasional poem from Wild, ‘A Wedding Prayer’ (2012: 20-22), which is not analysed in any detail. Axiomatic to the interpretation is the poet's own conception of ‘wild’, cited on the dust cover of the anthology, as ‘an alternative to the familiar, where energy meets freedom, where art meets the elemental, where chaos can be honed’. More precisely, for this London loving Nigerian poet, ‘the wild is our link with the stars…’. This is not aesthetic posturing. As I attempt to show in my reading of the focal poem, it has to do with mystical unrest viewed from an eco-phenomenological ‘enjoyment of literature, of beauty, of the sublime, the elevated, as well as our compassion for the miseries of humankind, [and] generosity towards others.. inspired by the subliminal passions of the human soul’ (Tymieniecka 1996). As the conclusion attempts to show, this projects some of the epistemology of Africans in Africa and the Diaspora. It does this by invoking the contentions of fellow African phenomenologist, Achile Mbembe, in comparison with Tymieniecka's argument that the soul is the ‘soil’ of life's forces and that it is thus the transmitter of life's constructive progress. Such progress is from the primeval logos of life to its annihilation in the anti-logos of man's ‘transnatural telos’ (Tymieniecka 1988: 3).     

Critics and Rebels: Older Arab Intellectuals Reflect on the Uprisings

Most Arabs, including intellectuals, agree that the recent uprisings have profoundly changed the realities they have known for decades since the independence of their states. The historical character of the moment, and the emergence of a youth capable of producing unprecedented changes, have together forced an older generation of Arab intellectuals, born roughly between the 1930s and the 1950s, to acknowledge the coming of a new generation of critics and rebels. This article looks at how thinkers of the older generation have written about the uprisings and its actors, by examining their public statements in the form of articles or interviews on television channels, in newspapers and journals, some of them newly launched. I focus on Lebanese poet Abbas Baydoun, Syrian philosopher Sadeq Jalal al-Azm, Lebanese novelist Elias Khoury, Egyptian novelist Baha' Taher, Bahraini thinker Muhammad Jaber al-Ansari, Syrian poet Adonis and Tunisian sociologist Taher Labib. While most of them value the importance of intellectual work in the struggle for human dignity and freedom, they also admit its limitations. They reflect on the significance of the popular and youth participation in advancing the causes they militated for in previous decades.     

Yarmouk minors: their situation and displacement… their agency through cultural forms,psychosocial activities and through daily life actions

ABSTRACT

This paper focuses on exiled minors from Yarmouk Palestinian refugee camp. It elucidates how the trauma of Yarmouk, resulting from the Syrian con?ict, evokes the Nakba of 1948 and the loss of Palestine. It explains generally how this trauma has a?ected minors of Yarmouk, but on the other hand how they are able to engage positively in such situations. Therefore, it focuses on the agency of Yarmouk minors, and explores it through investigating their cultural forms such as poem reciting and singing, as well as through focusing on their engagement both in psychosocial activities and daily life actions. Poems that emphasize the displacement from Palestine and Yarmouk as well as illustrate the imagination of the lost land. Daily activities and psychosocial that stress the pursuit for a normal life. Theoretical concepts borrowed from Anderson, Chatterjee and Hage are employed in order to enable us understand in which ways minors demonstrate their agency in order to maintain the daily survival. The data analysed in this paper stems from interviews with Yarmouk residents, both adults and minors, along with visual materials such as videos and photos provided by relief workers and activists.     

Barukoku bararage: A prayer for rain a play about Miyazawa Kenji by Hatayama Hiroshi

Abstract

Barukoku bararage—words created by Japanese agronomist, poet, and writer of tales, Miyazawa Kenji (1896—1933), this alliterative phrase dances across the tongue, playing the role of a mantra, bringing us closer to an understanding of Kenji's thought and its relevance to contemporary society. The play Barukoku bararage draws us into Kenji's mind and classroom as they are evoked by novelist and critic Hatayama Hiroshi (b. 1935).     

The Glass of Life: Medieval and Modern Stories on the Struggle to Gain and Maintain Honour

The drive to gain and maintain good reputation (honour, good name) in society functions as a primary core value in Middle Eastern and Asian societies. This phenomenon is best reflected in real-life stories. This article relates stories from the Persian world, selected from medieval Persian texts, as well as from twentieth- and twenty-first-century Iranian and Afghan short stories. While the modern story is written in a different context than the medieval epic poem or romance, the theme of gaining and maintaining the good name persists throughout. Medieval texts portray this all-encompassingstruggle in the life of the legendary heroic warrior, who models the struggle for protagonists in modern stories. For the protagonist, to have reputation means that society speaks well of them. A good name is to have a public name. But much more, the good name must include the larger family and one's tribe. It is the family name. Thirdly, the protagonist who seeks to gain and maintain a good name lives beyond themselves. Indeed, they gain a greater name. The stories are frequently laced with tragedy, as protagonists engage in what are considered to be dishonourable deeds in order to maintain their honour and good name.     

Black music and pan-African solidarity in Keorapetse Kgositsile’s poetry

The African American revolutionary poetry outfit and purported grandfathers of rap The Last Poets coined their name from Keorapetse Kgositsile's poem “Towards a Walk in the Sun”. This is relatively common knowledge. However, no sustained academic research has been conducted on this crucial exchange in diasporic studies. In this paper, I show how Kgositsile's poem in question harvested the rich oral, aural, and literary practices of his native Setswana, which in turn enabled The Last Poets to not only draw a name from Kgositsile's poetry, but also a language and poetic. This way, I demonstrate multivalent streams of influences between black South Africa and black America, as opposed to the current one-way exchange in scholarship that almost always presents black South Africans as emulators and mimickers of Afro-American culture. I expose how Kgositsile's poetry trans/figures both Afro-American literary and musical histories. Functioning within the framework of pan-Africanism, I uncover black music's transatlantic arch in Kgositsile's poetry, which unifies Africa, the Caribbean, and black America. I offer a deep analysis of that arch, and demonstrate its dynamic and complex networks which span generations and centuries, and continues to be generative till today. I focus particularly on the evolution of orality and aurality in black expressive cultures, understood as practices that express the black cultural continuum on both sides of the Atlantic.     

The 2011 Egyptian revolution chants: a romantic-Muʿtazilī moral order

While most literature on the 2011 Egyptian Revolution chants highlights the revolutionary role of poetry, little attention has been paid to the role that theology plays within this domain. This article argues that reading Abu al-Qassim al-Shabbi’s poem, ‘Life’s Will’ (1933), which inspired the chant for the fall of the regime, through the lens of Charles Taylor’s A Secular Age (2007) sheds light on the political relevance of the theological theme within this poem. The essay re-reads al-Shabbi’s investment in the Islamic mu?tāzilī doctrine of free will in terms of the creative role that Taylor gives to romantic poetry in creating a community’s ‘moral order’. Such an analysis brings to light the contribution that a comparative theological-literary framework can have to the political deliberation on the Arab Spring revolutions, especially the 2011 Egyptian Revolution.     

Sigitas Geda: Metaphorizität als Prinzip der Textkohärenz im Poem Strazdas

Abstract

This study focuses on the cycle of poems “Strazdas”, written by the Lithuanian poet Geda (1945–1992). It shows how the understanding of the reader changes with every verse. In the centre of the analysis we find the word strazdas. On the one hand, it is the name of a Lithuanian romantic poet, on the other it means thrush. Both the poet and the bird are keys to understanding these poems. The study shows the interdependence of these lines of interpretation and connects them with a third line: Lithuania. The interpretation lines are founded on semantic and syntactic analysis, using Nekvapils' concept of compounded formations.

Die sprachliche Form ist erhaben und vermeidet das Gewöhnliche <tt>o idiotikon</tt>, wenn sie fremdartige Ausdrücke <box>enikoi</box>verwendet. … Doch wenn jemand nur derartige Wörter verwenden wollte, dann wäre das Ergebnis entweder ein Rätsel {ainigma} oder ein Barbarismus <b>arbarismos</b>: wenn das Erzeugnis aus Metaphern besteht, ein Rätsel, wenn es aus Glossen besteht, ein Barabarismus. Denn das Wesen des Rätsels besteht darin, unvereinbare Wörter miteinander zu verknüpfen und hiermit gleichwohl etwas wirklich Vorhandenes zu bezeichnen.     

Abbasid Panegyric: Badīʿ Poetry and the Invention of the Arab Golden Age

This study argues that the third AH/ninth CE century panegyrists (praise poets) of the Abbasid caliphal court at Baghdad (and briefly at Samarra) were responsible for constructing the image of a Golden Age of Arab-Islamic dominion that was subsequently adopted by the poets and thinkers of the Nah?a or ‘Arab Awakening’ of the nineteenth and twentieth centuries. Challenged to create a poetry that would serve as the linguistic correlative of the astounding and unprecedented might and dominion of the rulers of the Arab-Islamic state, the Abbasid Modernist Poets (al-shu?arā? al-mu?dathūn) invented a powerfully and radically innovative poetic style, termed badī?. The panegyric odes of poets such as Abū Tammām and al-Bu?turī were canonized so as to promote a vision of an Arab-Islamic Golden Age and, further, to serve as models for the expression of Arab-Islamic hegemony and the conferral and contestation of legitimate authority. In the Nah?a of the nineteenth and twentieth centuries, Neo-Classical poets such as A?mad Shawqī recouped the Abbasid master poets to both retroject and project a vision of an Arab-Islamic ‘Enlightenment’. Finally, this study examines the fraught relationship of the post-Naksa (1967) Arab poet, as exemplified in the modern Yemeni poet ?Abd Allāh al-Baradūnī, with the poets and poetry of the Golden Age.