Sound and Sight: Poetry and Courtier Culture in the Yongming Era (483-493)

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Sound and sight : poetry and courtier culture in the Yongming era, (483-493)

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Find a copy in the library Finding libraries that hold this item Criticism, interpretation, etc Material Type: Internet resource Document Type: Meow Hui Goh Find more information about: Publisher Synopsis "The author's persuasively argued case-that the new poetics of Yongming-era court poetry was founded on, and in practice subtly guided by, Buddhist principles-takes up roughly the first three chapters of Sound and Sight.

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Privacy Policy Terms and Conditions. Remember me on this computer. Cancel Forgot your password? English View all editions and formats. The postpartum care meticulously analysed in the last chapter is still practised today and some of the concoctions are even globally commercialized. The invention of fuke in the Song was thus not a production of gender difference, but a new way of explaining gender differences.

Such differences were minimized in literate Ming-Qing medicine except for illnesses pertaining to childbirth. For Wu, these doctors simply saw this female body as just a variation of the infinitive body.

In other words, it was no longer a question of the androgynous or the gendered body, but that of a distinct individualized body that late imperial doctors came to be interested in. This notion of the infinitive body further liberates our imagination of the body from all possible boundaries. Poetry and Courtier Culture in the Yongming Era — By Meow Hui Goh. Sound and Sight is the latest contribution to the growing body of interpretive scholarship by means of which we have been reassessing the cultural heritage of the Six Dynasties over the last twenty years.

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Looking back over Six Dynasties literary scholarship of the past decade, one feels that a book-length treatment of these three major poets was simply waiting to be written. Mather, The Age of Eternal Brilliance: Building on these foundations, Goh has struck out in a different direction and, out of simple constituents, developed a spare and elegant new thesis. In honor of Richard B. Mather and Donald Holzman, ed.

Kroll and David R. Harvard University Asia Center, I find a remarkable concurrence between the chain of reasoning by which she arrives at this conclusion pp.

Sound and Sight: Poetry and Courtier Culture in the Yongming Era () | Meow Hui Goh

For this reason we see the rise of a dynamics of competition and one-upmanship in court poetry, especially poetry arising from public performance, in which are embodied not only the desire to do well, but to do better than others, not only to compose the most original poem, but to accomplish this with the greatest speed and the least apparent effort, of all those present. Twentieth- century scholars drew the connection between the encounter with Sanskrit and the discovery by the Chinese of the tonal nature of their own language, noting how the chanting of Buddhist sutras, with many transliterated terms, may have suggested the possibility of treating the tone of a word as a separate element to be manipulated 8 for auditory effect.

Especially in yongwu poetry, a form designed at once to challenge and to cultivate the powers of observation, Goh sees a particularizing approach to the analysis of minutiae as the distinguishing mark of the Yongming poet.

Using examples from all three poets, she shows how the aim of these poetic encounters is not so much to show the object in a refreshing new light as to discover something about it that is hidden or exists only in potential. In the remaining three chapters, she extends her study into the world outside the court, as her poets encountered it in their 12 poetic excursions. Chapter Four deals with the garden in Yongming poetry. Here, says Goh, by setting himself at a certain distance from the capital, the poet could temporarily withdraw from court life without becoming detached from it, and explore, without having to commit to, his inclination for a peaceful life in retirement.

From a suburban retreat, the logical next step is complete removal from the environs of the capital city: The Dialectics of the Strange Land and the Homeland. First, a note on the translation of the poems: When successful, the result is a fresh and arresting perspective that makes the reader feel that he is experiencing these sights and sounds and sometimes smells and tastes as never before.

Given the milieu in which these poems were being composed, however, the immediate audience of any poetic performance would have included not only the patron that one was seeking to impress but also the fellow poets that one was hoping to surpass, so that, properly managed, a given performance should succeed in evoking the appreciative resonance of the one as well as a certain amount of envious admiration from the other. Since the complex psychology of performance is necessarily encoded in the finished piece, the translation too should, in addition to being accurate, hopefully convey something of the excitement of this process, its drama and flair, as embodied in the images and gestures by means of which these poets strove to realize themselves in the act of creation.

I suggest a slightly different reading: Contrast this with a couplet by Xie Tiao from another garden poem, which the author translates: