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2008, Vol., No.16

  • 1.

    In the Shadow of Tu Fu-Yu Kwang-chung and Modern Metrics and Themes of Chinese Poetry

    梁欣榮 | 2008, (16) | pp.3~13 | number of Cited : 0
    Abstract PDF
    Although Yu Kwang-chung writes his poems in vernacular Chinese, one sees and feels a touch of the Chinese classics throughout his canon. Despite the clear absence of classical metrics and poetics, a sense of rhyme and rhythm is built into his poetry via a subtle use of half quotes and allusions, articulating powerful sentiments that conjure up classical themes of past poets. This paper also address two main issues that haunt practitioners of modern Chinese poetry but that do not seem to cast a shadow on Yu Kwang-chung’s performance:the disappearance of metrics and the unlimited expansion of themes.
  • 2.

    Tug-of-war with Lamentations of Spring :A Study of Yu Kwang-chung’s Time Consciousness

    黎活仁 | 2008, (16) | pp.15~36 | number of Cited : 3
    Abstract PDF
    Before the mid-Tang period, autumn was the most important season in the time consciousness of Chinese literature;hence the “lamentations of autumn”. From mid-Tang onwards, spring replaced autumn as the most pertinent season in the ci genre. “Lamentations of spring” and “cherishing spring” became the two most valued themes:the literati did not want spring to end so soon, as the scorching hot summer was not conducive to literary pursuits. Yu Kwang-chung’s time consciousness is slightly different from that of classical Chinese literature. Some of his poems are also lamentations of spring, but they are often accompanied with the rising sun. On the other hand, summer takes a strong presence in his poems, especially those about the lotus, which may also have Buddhist overtones.
  • 3.

    On the Superseding of the Human Body by Heavenly Bodies – A Discussion of Yu Kwang-chung’s Poetics of the Body

    蕭蕭 | 2008, (16) | pp.39~58 | number of Cited : 0
    Abstract PDF
    Given the three entities of “body, heart and soul”, poets in general would explore the “heart” and “soul” energies more, and body images less as they tend to think that the former would bring about the power of ascension, while a quest along the line of bodily images would bring about sinking and degradation due to the turbidity. When describing Man, poets prefer to depict in lyrical detail the intangible “spirit”, “energy” and “mind” over the more physically tangible limbs, trunks, internal organs, bones and sinews, blood and breath, and pulse and ligaments. By studying the body imagery in Yu Kwang-chung’s poems, this article attempts to explore his cultural and ideological outlook and takes an analytical look at his choices:when human and heavenly bodies come into contact, does he choose conflict or integration? When objects and bodies confront one another, does he choose co-existence or superseding of one over the other? And how does he resolve the question of beauty and ugliness of the body? Lastly, it will touch on the issue of possible transcendence of the body, and a cultural weighting of the intangible and the tangible.
  • 4.

    There is a Picture in the Face and Landscape in the Eyes – Facial Expressions in Yu Kwang-chung’s Poems and its Time-space Significance

    白靈 | 2008, (16) | pp.59~84 | number of Cited : 0
    Abstract PDF
    Based on an approach using the human body configurations of movements and motional totality as well as notions of time and space, this article studies how Yu Kwang-chung uses changes in the “eyes” and the “face” in a pendulum-like swing between two elements- “sentiments” and “the land”- to create a rich and diverse poetic style. The most distinct facial expressions in his poems are changes in the face and the eyes, mingled with different forms of laughter and tears. The implicit significance of time and space can be deduced as follows:there is an interchangeability of time and space when the topic is about the land he calls home;there is symbolic significance when the topic is Man and matter;there is satire when the topic involves politics and economy;and there is an intent to transcend time and space when one is faced with the unknown.
  • 5.

    Listen to the Words of the Umbrella : Lingering Sentiments and Ripples of Regrets

    葉瑞蓮 | 2008, (16) | pp.85~100 | number of Cited : 0
    Abstract PDF
    Form is the manifestation of content. The inner world of a person is often revealed through the body or clothing, evidently or in a roundabout way. This thesis analyzes Yu’s 記憶傘 Memory Umbrella and 親情傘 Umbrella of Family Love, and explores how he uses the “umbrella”, an accessory, as a medium of communication between the “individual” and the “environment”;how he uses the compound sentence structure to ply between the past, the present, and the future, and opens up a meandering, intriguing inner world formed by lingering and heartwarming thoughts and ripples of wistful laments.
  • 6.

    Variations on the Theme of Body Fluids:A Study of Blood, Tears and Amniotic Fluid in Yu Kwang-chung’s Poems

    溫羽貝 | 2008, (16) | pp.101~122 | number of Cited : 0
    Abstract PDF
    This article explores the imagery of blood, tears and amniotic fluid in Yu Kwang-chung’s poems. These three kinds of imagery bring to light one of the poet’s themes - that of “separateness” and “togetherness”. The poet is loath to be separated and longs for togetherness. His longing for “togetherness” forges his memory and imagination of his mother, his childhood and scenes of his home and country, shaping a characteristic “maternal nostalgia”. When the poet yearns for his home and country through these images, he simultaneously seeks intensely the roots of life, revealing the many threads of thought within the individual reaching out for a higher philosophical level.
  • 7.

    Olfactory Descriptions and Reverie about the Land in Yu Kwang-chung’s Poems

    史言 | 2008, (16) | pp.123~144 | number of Cited : 0
    Abstract PDF
    Albeit being close to the tip of the tongue, the sense of smell is alien to language and often defies description. Yet olfactory descriptions are a much more power tool to conjure up images and emotions than descriptions of the other senses. The topic of olfaction in Yu Kwang-chung’s poems is a whole new area of research on the sensual qualities of his poems, and calls for the need, in interpreting his poems, to extract oneself from the confines of “the erotic body”, “power body”, and to correct the notions of “the lower part of the body”, “eroticized” and “grotesque”. Based on Bachelard’s poetic theory, this article analyses the positive imagery of smell in Yu’s poems centred round Scent of Earth, and explores the reverie of a tender world that reveals itself in his poems.
  • 8.

    Memories and Mapping of the Land – A Socio-psychological Look at Yu Kwang-chung’s Poetry

    沈玲 | 方環海 | 2008, (16) | pp.147~170 | number of Cited : 0
    Abstract PDF
    Yu Kwan-chung’s poems are a quest for “the history of the land on which he stands”. From a socio- psychological perspective of artistic expression, this article attempts to analyze Yu’s memories of the “land” and its “mapping”, and the images of such memories, in order to reveal how the poet reconstructs the cultural and geographical forms of a land from its dissected memories. It can be said that place names as signs of memories of the land have become important codes for the poet’s construction of a personal local identity and the quest for cultural roots.
  • 9.

    The Historical and Cultural Dimensions of Tangible Nostalgia – An Exposition of Yu Kwang-chung’s Nostalgic and Historical Poem

    田崇雪 | 2008, (16) | pp.171~190 | number of Cited : 0
    Abstract PDF
    Nostalgia is three-dimensional, so says Yu Kwang-chung about nostalgia for home. In the historical and cultural context of three-dimensional nostalgia, poems with themes about history and nostalgic yearnings form the mainstream. They are also the staple and strengths of Chinese poets. Just as higher order and classical historical and nostalgic poems should be an organic merging of the poet’s traditional sentiments and modern consciousness, so distinguished poets and literary giants should also embody a perfect harmony between historical depth and open spirit. For Yu who is blessed with talent, erudition and knowledge, his poems with themes about history and nostalgic yearnings show three distinct characteristics:they are overflowing with emotive themes, lamenting and full of pathos and rich with embedded allusions.
  • 10.

    Yu Guangzhong’s Poetic Imagination from Fruit

    鄭振偉 | 2008, (16) | pp.191~204 | number of Cited : 0
    Abstract PDF
    This article is a study of ten “fruit poems” collected in Pomegranate, written by Yu Guangzhong. The sense of taste is not an inferior bodily experience or merely a sensation of pleasure;it often involves personal feelings. This article begins with a discussion of food and the sense of taste, in which Gaston Bachelard’s concept of material imagination and Erich Neumann’s notion of depth psychology are employed for reading these fruit poems. For analysis, these ten poems with an expression of praise for fruit are regarded as a unity. Beneath Yu’s poetic imagination from fruits borne by the earth, while uniting in the richness of fruit the sense of taste, memory, childhood, inner feeling, happiness, fecundity, femininity, the universe and regression, the poet reveals his passion for the soil of Taiwan and identifies himself with this soil.
  • 11.

    A Discussion on the Idea of Reality and its Boundary that Emerge in Yu Kwang-chung’s Dreams and Geography

    金尙浩 | 2008, (16) | pp.205~220 | number of Cited : 0
    Abstract PDF
    Yu Kwang-chung shifted his subject from mainland China to Taiwan during his Kaohsiung period. He showed his great concern for matters in Kaohsiung in a conscious move to use social phenomena and social problems in Taiwan as the subject matter of his poetry. His anthology Dreams and Geography published in 1990 falls into this period, with most of the content having Taiwan as its theme. “Geography” also represents “reality”, and shows the relationship between time and space, with the poems touching on the many realities in Taiwanese society. Yu’s poetry is varied in style, showing distinct differences for the various periods. This article investigates the ideas of reality and its boundary based mainly on Dreams and Geography published by the poet upon his return to Taiwan.
  • 12.

    論余光中在美詩作的文化歸屬

    尹銀廷 | 2008, (16) | pp.221~232 | number of Cited : 0
    Abstract
    “A discussion on the cultural identity of Yu Guangzhong’s poems in America.”
  • 13.

    The geography in Yu Kwang-chung’s poems

    吳東晟 | 2008, (16) | pp.233~252 | number of Cited : 0
    Abstract PDF
    Yu Kwang-chung is contemporary Taiwan’s most eminent poet. The subject matter of his poems is rich and varied, with geography being a priority among his themes which became ever more distinct after he moved to Kaohsiung. Yu’s geography intends to imbue the land with poetry;through immersion in an abundance of verse, and his physical presence and living in the locality, he inscribes the poet’s radiance on the land. Using Yu’s anthologies as the subject matter, and making references to the two volumes of Selected Poems of Yu Kwang-chung, this article explores the content and cultural meaning of the geography in his poems.
  • 14.

    Let ‘Taiwan’ Begin from Southern Taiwan – The Localised Calling of Yu Kwang-chung’s Southern Taiwan Poems

    陳燕玲 | 2008, (16) | pp.253~274 | number of Cited : 0
    Abstract PDF
    After settling down in Kaohsiung, Yu Kwang-chung wrote a large number of poems relating to the topography and scenery of southern Taiwan. Using a “localisation” perspective, and based on the humanist geographer Duan Yifu’s “locality” concept and sociologist Maurice Halbwachs’ “collective memory” theory, this article attempts to explore Yu’s local experience:how the re-emergence and discovery of memory and imagination recreate themselves in a tapestry of verses that have become a literary work full of local characteristics. The author purports to position these distinctly southern Taiwan poetic compositions in a dialogue network reaching other localities around the world to establish their “local” and “Taiwanese” qualities.
  • 15.

    The Beauty of Classical Rhymes in Yu Kwang-chung’s Poems and its Transformation

    黃榮順 | 2008, (16) | pp.277~292 | number of Cited : 0
    Abstract PDF
    One of the main characteristics of Yu Kwang-chung’s poetry is the use of rhyming patterns. Not only do rhymes abound in his earlier works, the sentence structures also contain a degree of symmetry, which is highly reminiscent of classical Chinese poetry. Since the diction of vernacular Chinese is different from that of classical Chinese, the freedom of form enjoyed by free verse is hence much greater than classical poems. As such, the poet is bound to ponder a transformation in the merging process in order to achieve a form that is more versatile. Based on Vol. 1 (1949-1981) and Vol. 2 (1982-1998) of Yu’s anthology, this article examines the aspect of timing of the poet, and how he gradually transforms what appears as rigid rules of rhymes of classical poems into the flexible rhythms of free verse.
  • 16.

    Reconsidering ‘Tercet’ in Yu Kwang-chung’s Neoclassical Poetry from the Perspective of Speech-Song Artistry

    白豊碩 | 2008, (16) | pp.293~320 | number of Cited : 0
    Abstract PDF
    Associations of the Lotus is a significant collection of Yu Kwang-chung’s neoclassical poems, wherein Jiang Meng (Xiong Bing-ming, 1922-2002) in 1966 heralded the discussion of Yu’s “tercet”. This paper reconsiders the definition and characteristics of “tercet” in Yu Kwang-chung’s neoclassical poetry with the framework of speech-song artistry by reviewing the modernist and neoclassical perspectives of music in poetry, and raising several archetypal “tercerts” in Chinese classical poems as evidence, in the hope of throwing new light on the studies of Yu’s neoclassical poetics.
  • 17.

    Revelations of Unconsciousness or Religious Consciousness? Dao culture in Yu Guangzhong’s poems

    鄭煒明 | 龔敏 | 2008, (16) | pp.323~338 | number of Cited : 0
    Abstract PDF
    For the past twenty years, academia has begun research on Yu Guangzhong’s poetry. However, the efforts have remained along the lines of nostalgia, locality, relationship with classical poetry, and cultural identity, with few innovative areas of research being opened up. In view of this, this thesis introduces the Daoist dimension, discussing in depth and making references to Yu’s poems regarding the writing tradition of Daoism, celestial realms and myths, and hopefully inviting further discussion among researchers and scholars in this field.
  • 18.

    A Discussion on Yu Kwang-chung’s poems in Selected Poems of mainland China, Hong Kong and Taiwan

    龔敏 | 鄭煒明 | 2008, (16) | pp.339~354 | number of Cited : 0
    Abstract PDF
    For more than a decade, academics and poets in mainland China, Hong Kong and Taiwan have made continual efforts to create editions of free verse. Of these works, three in particular have received critical acclaim from academia for their editorial rigour and discipline as well as depth and extent in selection:Three Hundred Works of Free Verse (Taiwan), Selected Free Verse Written in the Last Fifty Years in Hong Kong (Hong Kong), and Classics of Contemporary Chinese Literature 1917-2000 (IV) (Mainland China). It is no coincidence that Yu Kwang-chung’s poems have been selected in all three anthologies- the significance of his works is evident. This thesis discusses the selected poems of Yu in the three “Selected Poems” in the context of their form and concepts.
  • 19.

    Understanding Yu Kwang-chung Through His Love Poems:Designing Modules for the New Curriculum

    楊慧思 | 2008, (16) | pp.355~370 | number of Cited : 0
    Abstract PDF
    Since its shift from a British colony to a special administrative region of China, Hong Kong has seen changes in its political, economic and cultural landscapes. With changes in the economy, progress in educational psychology and innovations in technology, changes in traditional teaching methods and skills, and changes in teachers’ role and their relationships with students, learning functions have been obliged to undergo adjustments to keep pace with the world. New directions and reforms in education are necessary. Education will have to facilitate the development of students, the raising of their quality of life in future, and society’s progress and sustainable development. Hence education has to come face-to-face with students, life and society, and this is where educational reform should be heading in the 21st Century. To espouse new directions in education, this article shows how Yu Guangzhong’s free verse love poems can be used as teaching material in module form. Through flexible and diverse learning activities, students will be led to understand and appreciate Yu’s love poems, and to create their own free verse.
  • 20.

    Yu Kwang-chung’s Poems and Childhood Dreams : An Analysis Based on Bachelard’s Anima Poetics

    黃珠華 | 2008, (16) | pp.373~398 | number of Cited : 0
    Abstract PDF
    Children’s imagination fade as they grow older, but poets never fail to retain an inner peace in their hearts, where they can continue to roam freely in the universe of dreams like children. The French philosopher Gaston Bachelard studies the poet’s yearning for childhood dreams, using C. G. Jung’s analysis of the inner psyche. This paper attempts to apply Bachelard’s anima poetics to the themes of loneliness, seasons, lighting and water in Yu Kwang-chung’s poems, in order to explain the continuity between childhood dreams and dreams of the poet.
  • 21.

    Yu Guangzhong’s Poems and His Imagination about Water:An analysis Based on Bachelard’s Four-element Poetics

    徐偉志 | 2008, (16) | pp.399~430 | number of Cited : 0
    Abstract
    Imagination related to water in Yu Guangzhong’s (1928- ) poetry is dazzlingly brilliant. This article attempts to demonstrate Bachelard’s mutual duality poetics by citing Yu’s verses. The theme of a clear stream of water runs throughout the article, analysing the imagination related to water in Yu’s poetry. The four sections- the imagination of flowing water and death, the imagination of black water and death, the imagination of a swan, and the imagination of water, life force and nurture- analyse the relationship between matter and water in the manner of death, drowning, rebirth and nurture. Through water, eternal remembrance is expressed, and through a droplet, essential life is revealed. It is hoped that this discussion will inspire an alternative reading of Yu’s poems.
  • 22.

    The Application of Bachelard’s Discussions on the Prometheus Complex:On Yu Kwang-chung’s Poems and His “Fire” Imagination

    陳藹姍 | 2008, (16) | pp.431~458 | number of Cited : 0
    Abstract PDF
    Fire is a recurrent central theme in poetry. Yu Kwang-chung’s verse is full of the recurrent image of fire, with objects either burning or luminous firing the imagination and giving shape to verses of passion. Based on the theory of “fire” by the prominent 20th Century scientific philosopher and poetics theorist, Gaston Bachelard, this article attempts to identify the reverence for fire and the symbolic meaning of the Promethean complex in Yu’s poetry, and to explore the true feelings and sentiments of his verse.
  • 23.

    A Fantasy about Home :Bachelard’s Idea of Space and Yu Kwang-chung’s Poetry

    余素芬 | 2008, (16) | pp.459~483 | number of Cited : 0
    Abstract PDF
    Home is the destiny of the heart’s yearning, and native land is where one’s roots lie. A traveller’s nostalgia for home is also a kind of Oedipus complex deeply rooted at the back of Man’s heart. Nostalgia has been a perennial theme in literary compositions. This article will analyse Yu Kwang-chung’s poems based on Gaston Bachelard’s (1883-1963) space poetics, exploring the imaginative powers of Yu’s works through studying the image of space relating to the family home.