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This study analyzes how three countries of East Asia (China, Japan, and Korea) understands Yun Dong-ju (1917-1945) and recognizes his historical significance, as well as suggests the future directions in interpreting his works. In Japan, Yun is understood as a poet singing innocent sentiment, ethical existence, and universal love for all mankind. The emphasis on future values and the refusal to read his poetry located in a particular time and space, however, denies the historicity of the three nations. For ethnic Koreans in China, Yun is an originator of historical text within which their ethnicity vitally exists. This perspective also leads to overlooking historical and geopolitical characteristics of Yun's poetry. In South Korea, Yun is placed at the center of nationalism with a postcolonial view; however, there has been a recent movement to comprehend Yun without associating political ideologies. Each nation's reading of Yan seems to eliminate or simplify maltilayered traits of East Asian history and culture embedded in his poetry. This lack of historical awareness impedes the future generation's introspection of the past when recalling and regenerating Yun. Therefore, the text of Yun Dong-ju that lives in the past, present, and future of East Asian history, requires as to read it responsibly. [ABSTRACT FROM AUTHOR]

This article examines a set of four tetrasyllabic poems from the first century BCE, situating them between the ancient poetry of the Shijing and the medieval poetry that would appear two centuries later. The author outlines the emergence of a learned elite in the latter half of the Western Han and shows how the intellectual and socio-political background of this group is instantiated in the poems. As statements of a classicist mentality ascendant in the late Western Han, the poems stand firmly in their age, but as products of this newly emerging group they bear definite connection to the literati poetry of medieval China. Thus, the poems offer a viewpoint onto both the scholarly culture of the first century BCE and the poetic culture of early medieval China. [ABSTRACT FROM AUTHOR]

In volume 75 of Heidegger's Complete Works, there is an article written in 1943 in which Heidegger cited the whole of chapter 11 of the Lao Zi to illustrate his view of the uniqueness of the poet. This essay attempts to expose Heidegger's rendering and interpretation of that chapter. They contain both a deepened exegesis of his doctrine of ''Being'' and ''time'' in his earlier writing, and a methodological revealing of the guiding word ''appropriation'' in his late works. [ABSTRACT FROM AUTHOR]

Explores the contemporary poetry scene in China. Trends in contemporary avant-garde poetry; Differences between political lyricism and avant-garde poetry; Re-inventions of traditional Chinese notions of poetry and poethood; Marketization of contemporary poetry.

Profiles Chinese poet Yuan Hong. Inclusion of the works of Yuan in several publications; Background on the death of Yuan; Information on the literary career of Yuan.

T. S. Eliot famously remarked that Ezra Pound was "the inventor of Chinese poetry for our time." The nature of this invention is examined within the context of Pound's larger modernist project: his transformation of classical Chinese poetry into Imagist free verse and his projection of a vision of China as a utopian counter-image to the failure of the contemporary west. Although Pound clearly enough was consciously appropriating Chinese poetry according to his own poetic concerns, his particular solutions have had a pervasive impact in determining the look and sound of classical Oriental poetry in English ever since. The fundamental problem raised by this very influential tradition of poetic translation is the illusory desire for easy access to the foreign. In the early 1990s there began to appear the hoax texts purportedly by the previously unknown avantgarde Japanese poet Akiri Yasusada. Although a simulation rather than a translation's proper, the Yasusada text will here be considered as a forceful questioning of the usual assumptions of translation's faithfulness and obligations to the foreign original. The elaborate construction of the Yasusada texts, including their initial public presentation as a hoax and the subsequent controversy, puts the reader in a disquieting and self-reflective position with respect to the desire for the authentic foreign. [ABSTRACT FROM AUTHOR]

Deals with the reputation of Chinese poet Li Bai. Name of Li Bai to English readers; His popularity; Details on the prestige of poets and poetry in China; Analysis on the literary works and visual images of Li Bai; Cause of representation of poets in the visual arts; Discussion of the arts of Li Bai in various dynasties; Exploration on the dynamic changes in the history of China's visual culture.

The article presents a critique of Chinese poet Gu Cheng's literary prowess in the context of a passage imprinted on a plaque dedicated to him at New York's Library Walk. It mentions that the assistant professor at the University of Chicago found it challenging to separate Gu Cheng's poetry from the notion of death, a perennial feature of the writings of the Chinese poet. The Chinese poet who rose to fame in China during the 1980s, was well-remembered for committing suicide after killing his wife in New Zealand.