“Chinese is a nonin ec- tional language, and its words are not cast into a xed spatiotemporal-logical rela- tionship by tense, voice, and other in ectional tags” not really use how this co-exists with this “Since the publication of Ma Jianzhong’s (1845– 1900) Ma shi wen tong (Mr. Ma’s Grammar) in 1898, Chinese linguists have worked assiduously to construct a syntax-based Chinese grammar”
“an agent (subject) and the agent’s state or action (predicate) that may or may not involve a recipient (object). A complete subject + predicate construction en- acts or implies a temporal-causal sequence from an agent to its action and to the action’s recipient. In English and other Western languages, this construction is the primary framework for both poetic and common speech. But in Chinese, this construction is far less important or pervasive than in English” ugh, tell me about it
“It should be noted that a typical Chinese subject + predicate construction is far less restrictive than its English counterpart. Neither subject nor predicate is xed in time and space, as they are in Western languages by in ectional tags for tense, case, number, gender, and other aspects. Thus the reader has to contextualize, with or without the aid of grammatical function words.” Grim
“It was singled out by two prominent American critics, Ernest Fenollosa (1853–1908) and Ezra Pound (1885–1972), to support their assertions about the superiority of Chinese as a medium for poetry.” Again, how much to just not talk about Pound all the time?
“reduplicatives in the Book of Poetry primarily express a perceiver’s emotional response to external phenomena by translating it into alliterative and rhyming sounds untainted by conceptualization. This emotive use of reduplica- tives has had a lasting impact on Chinese poetry.” So how are they writing/reading ‘nonsense words’ in Chinese? Is that what’s up here?
“(“You, lovely” [yao miao, an assonant reduplicative])” where are they getting that from?
“however, these disyllabic segments are indispensable be- cause they help to create the quick and powerful rhythm of a shaman chant and dance and amplify emotional expression.” Interesting, it’d be good to get a better sense of this
verse eye again
“In traditional Chinese physiognomy, “sun-horn” denotes the hornlike protrusion on the forehead of someone who is or is destined to be an emperor.” Again, Emperor Horns
This chapter’s p clear and helpful honestly
“the “round toad,” a Chinese mythical metaphor for the moon,” ??
“reduplica- tives were continually reinvented over the millennia as a prized means of emo- tional expression.”
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Ch 18, A Synthesis: Rhythm, Syntax, and Vision of Chinese Poetry
Date: 2021-11-04 09:21 pm (UTC)“an agent (subject) and the agent’s state or action (predicate) that may or may not involve a recipient (object). A complete subject + predicate construction en- acts or implies a temporal-causal sequence from an agent to its action and to the action’s recipient. In English and other Western languages, this construction is the primary framework for both poetic and common speech. But in Chinese, this construction is far less important or pervasive than in English” ugh, tell me about it
“It should be noted that a typical Chinese subject + predicate construction is far less restrictive than its English counterpart. Neither subject nor predicate is xed in time and space, as they are in Western languages by in ectional tags for tense, case, number, gender, and other aspects. Thus the reader has to contextualize, with or without the aid of grammatical function words.” Grim
“It was singled out by two prominent American critics, Ernest Fenollosa (1853–1908) and Ezra Pound (1885–1972), to support their assertions about the superiority of Chinese as a medium for poetry.” Again, how much to just not talk about Pound all the time?
“reduplicatives in the Book of Poetry primarily express a perceiver’s emotional response to external phenomena by translating it into alliterative and rhyming sounds untainted by conceptualization. This emotive use of reduplica- tives has had a lasting impact on Chinese poetry.” So how are they writing/reading ‘nonsense words’ in Chinese? Is that what’s up here?
“(“You, lovely” [yao miao, an assonant reduplicative])” where are they getting that from?
“however, these disyllabic segments are indispensable be- cause they help to create the quick and powerful rhythm of a shaman chant and dance and amplify emotional expression.” Interesting, it’d be good to get a better sense of this
verse eye again
“In traditional Chinese physiognomy, “sun-horn” denotes the hornlike protrusion on the forehead of someone who is or is destined to be an emperor.” Again, Emperor Horns
This chapter’s p clear and helpful honestly
“the “round toad,” a Chinese mythical metaphor for the moon,” ??
“reduplica- tives were continually reinvented over the millennia as a prized means of emo- tional expression.”