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As a world-renown American critic and theorist in poetry, Marjorie Perloff (1931-2024), with her in-depth exploration into western avant-garde poetry and poetics and her theoretical and methodological reconstruction by means of dialog with the 20th-century American critical theories, made great and unique achievements, which can be labelled as "the third path" in poetry criticism in terms of its transcending New Criticism and Cultural Criticism in the 20th and early 21st centuries. Since her first visit to China in 2007 and her co-founding of the Chinese/American Association for Poetry and Poetics in 2008, Perloff's critical theories and ideas have been translated or introduced into China. This paper presents an examination of Perloff's "third path" of poetry criticism, and its introduction to and influence upon China's poetry creation and criticism. [ABSTRACT FROM AUTHOR]

This paper examines how two contemporary Chinese ekphrastic poems respond to an era characterized by visual media and globalization. It analyses how the poets connect their engagement with visual art to their explorations of complex cross-cultural encounters. These inter-art-form and inter-cultural engagements question the self-other dichotomy that operates in many simplistic imaginings of the relationship between art forms, between China and the West, and between so-called cultural centres and peripheries. Building on the example of these two poetic works, I propose a networked framework as an alternative to dichotomised conceptions of world literature and as a way to rethink global cultural politics and contemporary sociohistorical experience. [ABSTRACT FROM AUTHOR]

This paper considers a rare yet meaningful case of poetry translation where one historically well-circulated piece becomes identified with a native creation with the change of time. Upon introduction to a revolutionizing China, the renowned Hungarian poet Sándor Petőfi's poetry was celebrated as an exemplar of patriotic verse and was fervently accepted and reacted to as a resounding battle call. Efforts to introduce the poet's works to Chinese readers were pioneered by the country's progressive writers and leading intellectuals of the time under the auspices of renowned publishers. Since China embarked on its modernization journey, the motive of seeking historical relevance of literary works has been receding into the background, resulting in a dwindling zeal for revolution-themed works. Petőfi's most widely memorized piece "Liberty and Love" started to receive alternative interpretations that gradually undermined its historical reading and obscured its genuine authorship, thus working to subvert and subjugate the original. Drawing from documented sources and published literature, the paper presents various Chinese translations of the famous lines and, in a comparative analysis, seeks possible explanations for the sweeping preference for a more domesticated yet less faithful version. To account for the changes in the interpretation and evaluation of the preferred translation, the paper then explores the linguistic factors that may have played a part in shaping the poem's translation and reception among Chinese readers. In summarizing the major findings of the case study, the paper further reflects on the role of language in the translation of literary works and how it may serve to shape the landscape of world literature. This focused analysis aims to help demystify the Hungarian poet's less well-understood popularity among Chinese readers. Going beyond the analysis of a particularistic case, the discussion offers implications for weaving the precious lines from minoritized languages into the rich tapestry of world literature. [ABSTRACT FROM AUTHOR]

Based on "Three Beauties" theory of Xu Yuanchong, this paper conducts an analysis on Arthur Cooper's translation of "送瘟神"(2nd poem) from three aspects: the beauty of sense, sound and form, finding that, because of his lack of empathy for the original poem, Cooper fails to convey the connotation of the original poem, the rhythm and the form of the translated poem do not match Chinese classical poetry, with three beauties having not been achieved. Thus, the author proposes that, in order to better spread the culture of Chinese classical poetry and convey China's core spirit to the world, China should focus on cultivating the domestic talents who have a deep understanding about Chinese culture, who are proficient not only in Chinese classical poetry, but also in classical poetry translation. [ABSTRACT FROM AUTHOR]

POEMS syndrome is a rare paraneoplastic disorder characterized secondary to a rare plasma cell dyscrasia. Here, we aimed to analyze the clinical characteristics of large sample cases of POEMS in Chinese subjects through making a review of the Chinese literature. Four databases were electronically searched from inception until October 2016. Case reports and case series were identified. Six hundred studies with 1946 participants were identified. The first case was reported in 1986, and the number of reported cases peaked in 2009 and 2010. The top seven provinces on the number of reported cases were in the south-east area of China. The top three departments on the number of published papers and reported cases were ordinally department of Neurology, Hematology, and Endocrinology. The ratio of male to female was about 2.23. The range of age onset was from 10 to 81 years with the mean age of 46.39 (SD, 12.10 years). The initial symptoms of POEMS with peripheral neuropathy, edema and effusions, endocrinopathy, skin changes, and organomegaly accounted for 60.44, 15.72, 9.87, 8.05, and 2.13%, respectively, and subsequently acquired above symptoms as the prevalence was 99.49, 81.91, 75.56, 77.08, and 83.09%, respectively. The present study would help to understand the clinical presentations of POEMS syndrome in the Chinese population. [ABSTRACT FROM AUTHOR]

Phenological records in historical documents have been proven to be of unique value for reconstructing past climate changes. As a literary genre, poetry reached its peak in the Tang and Song dynasties (618–1279 CE) in China. Sources from this period could provide abundant phenological records in the absence of phenological observations. However, the reliability of phenological records from poems, as well as their processing methods, remains to be comprehensively summarized and discussed. In this paper, after introducing the certainties and uncertainties of phenological information in poems, the key processing steps and methods for deriving phenological records from poems and using them in past climate change studies are discussed: (1) two principles, namely the principle of conservatism and the principle of personal experience, should be followed to reduce uncertainties; (2) the phenological records in poems need to be filtered according to the types of poems, background information, rhetorical devices, spatial representations, and human influence; (3) animals and plants are identified at the species level according to their modern distributions and the sequences of different phenophases; (4) phenophases in poems are identified on the basis of modern observation criteria; (5) the dates and sites for the phenophases in poems are confirmed from background information and related studies. As a case study, 86 phenological records from poems of the Tang Dynasty in the Guanzhong region in China were extracted to reconstruct annual temperature anomalies in specific years in the period between 600 and 900 CE. Following this, the reconstruction from poems was compared with relevant reconstructions in published studies to demonstrate the validity and reliability of phenological records from poems in studies of past climate changes. This paper reveals that the phenological records from poems could be useful evidence of past climate changes after being scientifically processed. This could provide an important reference for future studies in this domain, in both principle and methodology, pursuant of extracting and applying phenological records from poems for larger areas and different periods in Chinese history. [ABSTRACT FROM AUTHOR]

This paper introduces the Generalized Argumentation Theory which takes argumentation as a locally rational socio-cultural interaction governed by social norms and carried out through discourse between the members of a socio-cultural community in order to reason things out. Then we bring in the basic structure of generalized argumentation and the localized procedure of Generalized Argumentation Theory for studying the argumentative rules (social norms). On the basis of above introduction, we use the localized procedure to analyze a case of political argumentation by reciting poems in ancient China. By doing so, it's indicated that political argumentation by reciting poems, in essence, takes cultural principle of Li of the Spring and Autumn Period as argumentative rules and uses poems to express ideas, in virtue of which arguments are accepted as locally rational by the politicians at that time. At last, the Little Red Book quotation fight, a similar political activity, is discussed briefly to show the significance that ancient Chinese political argumentation has on contemporary argumentation. [ABSTRACT FROM AUTHOR]

This study examines the Heming ji (Collection of singing in harmony), which comprises the sometimes surprisingly intimate poetic exchanges between the woman intellectual Wang Zhaoyuan (1763-1851) and her husband Hao Yixing (1757-1829), both renowned in their lifetimes as classical "evidential research" (kaozheng) scholars. The paper seeks to demonstrate the transformation of the cult of qing (romantic love) in the High Qing period. It argues that, as the centrality of courtesans in literati culture died out with the Ming-Qing dynastic transition, gentry women came to represent the positive cultural values of qing through the increasingly fashionable idea and practice of companionate marriage. In this process, the cult of qing that characterized the subversive late Ming literati culture, of which courtesan culture was an important part, was not obliterated by the High Qing classical revival as is often assumed; rather, it was domesticated, ritualized, transformed into conjugal love, and arguably, integrated into the High Qing "familistic moralism." The paper also explores how the concept of qing, in the narrow sense of love between man and woman, was expanded into this couple's shared passion and ambition to serve the state and empire. [ABSTRACT FROM AUTHOR]

This paper examines the Buddhist chanting in Wei, Jin and Southern and Northern dynasties from several aspects, such as the historical position of it, the reason for its flourish, its speech way, etc. This paper also redetermines the relationship between Buddhist chanting and poetry writing in middle ancient times. The results for this research are as the following: First, The effective factor of Buddhism on Chinese phonology was not Buddhist chanting, but Sutra translation. Second, Buddhist verses were mainly translated or created by monks. However, in Yongming reign's period of the Southern Qi dynasty, more and more verses were written by the literati. Third, the new type of Buddhist chanting had the same principle with poetry in Yongming reign's period, and they were two major cultural movements keeping pace with each other in the same time. Fourth, the influence of the new type of Buddhist chanting on Yongming poetry was displayed on verbal expression. It made the way of Buddhist chanting in Wu region official, and pushed forward the establishment of a new way of poetry intoning which also based on the accent of Wu. [ABSTRACT FROM AUTHOR]

Few Tibetan figures have left an impression on the Himalayan landscape, both literary and geographic, as indelibly as Mi la ras pa (ca. 1028–1111), whose career as meditator and poet was punctuated by travel across the borderlands of southern Tibet. This essay will begin to address the defining role of place in Tibetan biographical literature by examining the intersections of text and terrain in the recording of an individual's life. In particular, this study examines sites of transformation in Mi la ras pa's biographical narratives, arguing for what might be called a geographic biography by examining the dialogical relationship between a life story recorded on paper and a life imprinted on the ground. It first considers the broad paradigms for landscaping the environment witnessed in Tibetan literature. It then examines ways in which the yogin's early biographical tradition treated the category of sacred place, creating increasingly detailed maps of the yogin's life, and how those maps were understood and reinterpreted. The paper concludes by addressing two specific modes of transformation in the life story — contested place and re-imagined place — exploring new geographies of consecration, dominion, and praxis. [ABSTRACT FROM AUTHOR]

Copyright of Frontiers of Literary Studies in China is the property of Higher Education Press Limited Company and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

How did itinerant poets in the Southern Song Dynasty make a living? This is still a question yet to be further explored. People used to think that itinerant poets made a living primarily by calling on noble and influential people and appealing to them for help. However, this presumption is not without its flaws. Based upon a large quantity of historical data, this paper reveals some of the means of support by which the itinerant poets made a living, while further probing into their livelihoods during this time period. [ABSTRACT FROM AUTHOR]

The Yuan dynasty is the first non-Han unified dynasty in ancient China. It is subtle to tell the similarities and differences between the classic Chinese poems in the Yuan dynasty written by the writers of Han nationality and non-Han minority nationalities. By graph theory and statistics, this article establishes a novel method for quantifying the similarity between the Han's and non-Han's Yuan poetry. First, we formulate the character co-occurrence networks (CCONs) of the Han's and non-Han's Yuan poem databases collected from 'Database of Ancient Chinese Classics'. The resistance distance, a graph theory concept, is introduced to describe the lexical relation between a pair of characters in the CCONs. Then, we propose the similarity index as the coefficient of variation for the ratios of resistance distances in the CCONs of Han's and non-Han's poem databases, which measures the consistency between the usages of characters in the Han's and non-Han's poems. The calculation results indicate that the Han's and non-Han's poems share a high percentage of common high-frequency characters and there do not exist significantly different lexical features in terms of the usage of these high-frequency characters. The obtained results offer new insights into the quantitative features of this long-debated issue. [ABSTRACT FROM AUTHOR]

There is wide consensus that Islam is an important rallying point for the Uyghurs and an essential component of their national identity. Yet despite its centrality in Uyghur culture, there is only marginal reference to religion in modern Uyghur poetry. In this article, I argue that poets such as Adil Tuniyaz, Tahir Hamut Izgil, and others, most of whom are secular and urban, choose to relate to religion through mysticism and nostalgia in reaction to the Chinese state's characterization of Islam as identified with violent fundamentalism and terrorism. By avoiding the use of separatist symbols, these poets contribute to a broad national ethos that strengthens contemporary Uyghur identity. [ABSTRACT FROM AUTHOR]

Wang Anshi's poems can be roughly divided into two parts by a demarcation line, when he resigned his position as a prime minister of the North Song Dynasty. In the later writing stage he wrote a lot of Zen poems. He expressed some complicated feelings in those poems, and a mood beyond the outside world mentality is the most attractive one which causes people to pay more attention to. This paper studies the transcendent artistic conception of. Wang An-shi's Zen poems from three different angles. [ABSTRACT FROM AUTHOR]

Among the key themes of contemporary Macao poetry, chance and luck loom large, along with their figuration in Macao life through sites such as casinos and temples, through personae such as those of the gambler, the beggar, the prostitute. Macao as dot-on-the-map is likewise conceived as a site for all kinds of portal semiotics, as paradigm for cultural crossing and cultural shift. Macao may be regarded as a work enduring (in Brechtian terms) because it is unfinished. While this is a formula that could be notionally applied to any city, this view seems particularly apt given both the extraordinary pace of change in post-handover Macao (i.e. since 1999), and the present bubble-bursting effect of the 2008 "financial tsunami". Relating Augé's conception of "non-places" to Eco's notion of open (as opposed to closed) text, this paper observes that consciousness of place in contemporary Macao poetry appears to be dominated by two kinds of space, glossed here as "Macao space" and "anywhere space". Macao space is uniquely of an historical moment and place, something culturally positioned; in anywhere space (e.g. inside of a casino or an airport) subjects are hailed by consumption-oriented reifications of putative universal value. The contemporary Macao poetry typically values Macao space and sees it as under threat from the "non-negotiable" space of culture that could be anywhere. Interested in the paradoxes, ironies and hypocrisies inherent in the present-day culture, politics and international position of Macao, the new Macao poetry reveals a place-based poetics deeply concerned with Macao identity, its evolution and potentials. [ABSTRACT FROM AUTHOR]

Copyright of T'oung Pao is the property of Brill Academic Publishers and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of T'oung Pao is the property of Brill Academic Publishers and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This is a study of the earliest poetry by the modern Chinese writer Guo Moruo (1892-1978), composed between 1904 and 1912. He became famous mostly due to his "early poetry" composed in the 1920s, such as Niishen (The Goddesses), but he was also an author of autobiographies. His autobiography Shaonian shidai (Childhood) and the poems published in the volume Guo Moruo shaonian shigao (Guo Moruo's childhood poetry), are analysed here in comparison with the traditional Tang poetry. [ABSTRACT FROM AUTHOR]

This essay proposes that we extract Wang Bo from the retrospectively formulated context of the so-called 'Four Elites of the Early Tang' and attempt instead to assess Wang Bo's poetry within other relevant contexts, foremost his own family tradition. By taking into consideration ideas and inspirations that Wang Bo drew from this tradition, an alternative approach is suggested to understanding the development of the 'new decorum' in early Tang poetry that has long been attributed to Wang Bo. In so doing, this essay argues more generally for a different literary-historical narrative of the early Tang. [ABSTRACT FROM AUTHOR]

This study aims to demonstrate a nuanced and complex version of Jin Shengtan's (1608-61) interpretation of Du Fu's (712-70) poetry and examine how he maneuvers the self into a dialogue with the hermeneutic past. As a well-known critic in the seventeenth-century China, Jin Shengtan distinguishes himself through his innovative reading strategies (especially application of the fenjie approach) as well as strong attack on a common claim in previous hermeneutics about inexplicable nature of Du Fu's poems. At the same time, however, the way Jin manifests such creativity often involves a seemingly self-effacing submission to certain canonical rules of reading Du Fu shaped by the earlier hermeneutics. To defend familiar canonical reading rules, Jin risks the very painful consequence of letting his self be engulfed in the past; but at the same time the dissociation of the self through his readiness toward 'obedience' to the past, paradoxically, powerfully reinforces the sense of self since in many cases he forces himself to be more creative in order to conform to these rules. Through successes and failures in his confrontation with the past, Jin celebrates a paradoxical self who is connecting and breaking with the past at the same time. Such hermeneutic phenomenon draws our attention to the function of hermeneutic continuity and helps us appreciate the dynamics under the surface of the historically constructed 'ahistoricity' of Du Fu. [ABSTRACT FROM AUTHOR]

A certain dispute that arose during the early Jin dynasty regarding Bai Juyi that seemed to be a coincidental occurrence was to some extent inevitable. On one hand, it foreshadowed the opposition that would later arise between followers of the Tang and Song stylistic schools; on the other, it represented both the Tang school poets' disdain for the 'ornamental avant-garde' poetry that was fashionable at the time as well as their own search for a new creative direction. The re-evaluation of Bai Juyi that occurred during that period, particularly the frequent comparison of Bai to Tao Yuanming, indicates that Bai Juyi's poetry was widely accepted at the time, which itself represented not only a challenge to traditional perspectives, but also a historical landmark in Bai Juyi's history of acceptance. Jin dynasty poets' creative imitation of Bai Juyi's carefree as well as his satirical poems spurred a maturation of Bai's spirit of concern for self and reality, which later incorporated itself into the spirit of Chinese literati in general. [ABSTRACT FROM AUTHOR]

This article explores roles poetry played in creating a discourse of Japanese imperialism through both its inherited formal poetics of allusion and its highlighting of Nativist concerns in aestheticizing and naturalizing Japanese colonial and imperial interests in the 1930s and early 1940s and in framing military aggression against China. It explores how the extreme intertextuality in classical poetic modes, revived during the period leading up to the war, helped to blind Japanese to the contradictions within their imperialist and colonialist ideology. Following examples of poetry and song reflecting the ideology of the Japanese Empire and creating a Great East Asian Sphere of Co-prosperity, this article explores in particular the articulation of a national cultural identity crisis in the writings of Yamakawa Hiroshi (1916-1945), whose work foregrounds antiquated Nativist issues of national cultural autonomy and desinicization. These issues were originally expressed by the Nativists as issues related to ancient language and poetry, and with Yamakawa, who studied Nativism, they are again used as such to provide intellectual support for his Japanist and imperialist positions. Thus the desinicization Nativist fantasy of the 18th century comes full circle in the Sino-Japanese War itself, adding to our understanding of the contradictions in Japan's Great East Asian Sphere of Co-prosperity and furthering our understanding of the historical antagonisms within Japan that led to the period of expansionism and fascism. Nativist elements of Japanese nationalism and imperialism are shown to be analogous to the Lacanian traumatic, unknowable Real (little object a) as it is predicated on the impossible recovery of a lost ancient Japanese culture and way of life which has been transformed through the embrace of Chinese language and culture. Thus the symbolic-ideological writing of poetry becomes a screen of symptoms preserving the Nativist fantasy and carrying Japan into disaster. [ABSTRACT FROM AUTHOR]

Categories of painting had a special role and significance in criticism of the ci poetry. The mutual borrowing and the mutual facilitating among the different branches of arts are the common phenomena in the history. In ancient times it was common for critics to talk about works of one kind of art in terms of the theory of another kind. In their discussion of ci poetry, the critics borrowed much from the theory of painting, including such categories as shenpin (the magical work), nanbeizong (the northern and southern schools), goule (outlining) and shese (coloring). They drew on these to convey in a subtle and graphic manner what would otherwise have been hard to put into words. Such reference to painting in ci poetry criticism is a fascinating part of critical theory in ancient China; it deepened the content of poetics with regard to the ci and played an important role in its theoretical development. [ABSTRACT FROM AUTHOR]

It is generally assumed that, throughout the Qing dynasty, there was only translated literature in the Manchu language and that, by the nineteenth century, the Manchu literati had become too "sinicized" to unleash literary creativity in their native language. Nevertheless the discovery of a midnineteenth-century manuscript of Manchu literary verse, penned by the well-known prose translator Jakdan, points to the fact that Manchu belles-lettres existed even at a time when the role of Manchu in practical arenas was much in decline within the Qing empire in China. In addition to a preliminary account of the poetic forms found in Jakdan's Manju gisun i yobo maktara sarkiyan ("Transcript of bantering in Manchu language"), a supplementary volume to the Jabduha ucuri amtanggai baita ("Leisurely delights"), two intricate poems from the collection of Manchu verse are here presented (in transcription), translated and annotated for the first time. [ABSTRACT FROM AUTHOR]

An essay is presented on poetry in Macao as a multicultural and as a cross-cultural phenomenon. Macao in China is a city in southern China and is promoted is promoted as a tourist destination that offers ultramodern casinos and hotels alongside World Heritage architecture. Information about various poetries concerned with Macao is presented including "I Roll the Dice: Contemporary Macao Poetry, Tea, and I am leaving tomorrow."

Copyright of Frontiers of Literary Studies in China is the property of Higher Education Press Limited Company and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Frontiers of Literary Studies in China is the property of Higher Education Press Limited Company and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article focuses on Chinese poet and literary critic Yuan Mei and his advocacy for women's writing. Attitudes about women had begun to change among the members of society by the age of Yuan Mei. Possibly because his wife Madame Wang does not possess literary talent, Yuan Mei does not seem to have had a close marriage with her, but one poem reveals that they did not lack feelings for each other. One of the most moving parallel prose documents that he has created is his inscription on the tomb tablet of Fang Congniang. Meanwhile, the love and respect that he displayed toward the women in his household did not extend to all women and his hedonistic philosophy encouraged him to find satisfaction of his sexual desires.

Due to the marriage ethic that has been emphasized repeatedly by the rulers in the Han Dynasty and the influence of various annotations on The Book of Poetry done from the perspective of Confucian classics, the marital love and the harmonious sex life give way to friendly ties between the couple and a harmonious family life. The ethical taboos for the married couple and the collective unconsciousness that characterizes the whole age caused the poets during the Han, Wei and Six Dynasties to disregard the husband-wife relationship. During this period of time, the poems concerned with the married couple can be divided into two categories according to different ways of expression. Some poems are the self-expressions by heroes or heroines and others are written by the outsiders. In spite of the different perspectives, the loyalty and unyielding love between couples and boudoir complaints remain the most common themes for these poems, which reflect the influence of both the marriage ethic and male dominating social patterns. [ABSTRACT FROM AUTHOR]

This article presents an analysis of the work of Taiwanese poet Yang Mu. Mu's poetry is seen as standing apart from the three dominant cultural narratives that have existed in Taiwan's history, the one created by its original settlers, the struggle between Western and Chinese thought created by European colonizers, and the search for a Taiwanese identity separate from China and its influence. Yang Mu's poems are often first person statements by fictional individuals caught in the currents of Taiwan's history, from Dutch colonizers of the 17th century to a contemporary Taiwanese making his first visit to mainland China. This device allows Yang Mu to stand apart from and comment upon the dominant narratives.

Modern critics generally locate the beginning of the Chinese aesthetic tradition in the Confucian commentarial repression of the "love and marriage" poems of the "Book of Songs." This article argues that these commentators were actually using the "Songs" to engage with Han dynasty debates about desire, and in doing so formulated a new, gendered way of presenting poems as parables. [ABSTRACT FROM AUTHOR]

Compares the online poetry communities of China with the United States. Development of Web culture in China; Links between Web literature and print culture in China; Editorial and censorship functions of Web moderators; Tendency for English-language research to focus almost exclusively on questions of censorship.

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.

Focuses on the association between the poets Hu Shi in China and Ren Hongjun in China. Educational background of Hu Shi and Ren Hongjun; Types of poems written by the poets; Changes in the friendship between the poets.

The article explores the life and literary works of author Jiang Yingke. He was born in Taoyuan, Huguang province in China and attained his jinshi status in 1592. As for his civil service career, he worked as magistrate of Changzhou district in Suzhou prefecture and as Director of the Bureau of Evaluation in the Ministry of Personnel. His works include "Xuetaoge ji," a short collection of prose and poetry completed in 1600, "Huang Ming shiliuzhong xiaozhuan," a collection of biographical sketches, and "Xuetao si xiaoshu," an anthology of jottings, anecdotes, poetry criticism, and jokes.

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.