An exciting collection of poetry inspired by life’s most engrossing themes such as love and pain, solitude and reflection, arrivals and departures, and the tenuous threads that make up everyday life, from AA Patawaran, Manila Bulletin Lifestyle editor and bestselling author of Write Here Write Now.

"A vertitable feast of concise, useful, reliable, and up-to-dateinformation (all prepared by top scholars in the field), Nienhauser's now two-volumetitle stands alone as THE standard reference work for the study of traditionalChinese literature. Nothing like it has ever been published." --Choice The second volume to The Indiana Companion to TraditionalChinese Literature is both a supplement and an update to the original volume. VolumeII includes over 60 new entries on famous writers, works, and genres of traditionalChinese literature, followed by an extensive bibliographic update (1985-1997) ofeditions, translations, and studies (primarily in English, Chinese, Japanese, French, and German) for the 500+ entries of Volume I.

The Indian Listener (fortnightly programme journal of AIR in English) published by The Indian State Broadcasting Service,Bombay ,started on 22 December, 1935 and was the successor to the Indian Radio Times in english, which was published beginning in July 16 of 1927. From 22 August ,1937 onwards, it was published by All India Radio,New Delhi.In 1950,it was turned into a weekly journal. Later,The Indian listener became "Akashvani" in January 5, 1958. It was made a fortnightly again on July 1,1983. It used to serve the listener as a bradshaw of broadcasting ,and give listener the useful information in an interesting manner about programmes,who writes them,take part in them and produce them along with photographs of performing artists. It also contains the information of major changes in the policy and service of the organisation. NAME OF THE JOURNAL: The Indian Listener LANGUAGE OF THE JOURNAL: English DATE,MONTH & YEAR OF PUBLICATION: 22-04-1946 PERIODICITY OF THE JOURNAL: Fortnightly NUMBER OF PAGES: 98 VOLUME NUMBER: Vol. XI, No. 9 BROADCAST PROGRAMME SCHEDULE PUBLISHED(PAGE NOS): 19-23, 25, 27, 31-46-90 ARTICLE: Limitation Of Sovereignty AUTHOR: W.C. Wordsworth KEYWORDS: World peace, Universal peace, Geneva, National sovereignty, Internationalism Document ID: INL-1945-46(D-J) Vol-I (09)

17-syllabet Japanese poems about human foibles, sans season (i.e., not haiku), were introduced a half-century ago by RH Blyth in two books, "Edo Satirical Verse Anthologies" and "Japanese Life and Character in Senryu." Blyth regretted having to introduce not the best senryu, but only the best that were clean enough to pass the censors. In this anthology, compiled, translated and essayed by Robin D. Gill, like Blyth, a renowned translator of thousands of haiku, we find 1,300 of the senryu (and zappai) that would once have been dangerous to publish. The book is not just an anthology of dirty poems such as Legman's classic "Limericks" or Burford's delightful "Bawdy Verse," but probing essays of thirty themes representative of the eros - both real and imaginary - of Edo, at the time, the world's largest city. Japanese themselves use senryu for historical documentation of social attitudes and cultural practices; thousands of senryu (and the related zappai), including many poems we might consider obscene, serve as examples in the Japanese equivalent of the OED (nipponkokugodaijiten). The specialized argot, obscure allusions and ellipsis that make reading dirty senryu a delightful riddle for one who knows just enough to be challenged yet not defeated, make them impenetrable to outsiders, so this educational yet entertaining resource has not been accessible to most students of Japanese (and the limited translations prove that even professors have difficulty with it). This book tries to accomplish the impossible: it includes all the information - original poems, pronunciation, explanation, glossary - needed to help specialists improve their senryu reading skills, while refraining from full citations to leave plenty of room for the curious monolingual to skip about the eclectic goodies. [Published simultaneously with two titles as an experiment.]

This is the first translation into English of all of Li Shangyin's poems (Tang Dynasty 813-858 AD). Li Shangyin is one of the most fascinating of poets and this book includes historical background on the poet as well as introductory and explanatory notes by the translator. For over 1200 years, scholars have attempted to understand, let alone translate Li Shangyin’s poems. At least four different schools of thought have developed. Firstly, his poems are reflections on political patrons and a failed career. Secondly, they are thinly veiled political satires of the Court and political factions. Thirdly, they are stories of actual affairs with Court ladies and Taoist priestesses. Finally, they are admirable vehicles of mystery and beauty. My interpretations include elements of all the above, but are also a synthesis of sentiments - the poet’s (as I see him) and my own, of which music is a core part. This is particularly appropriate with Li Shangyin. His poetry is a labyrinth of passionate images, almost musical in sound and sequencing. They are at once ebullient, sad, loving, hateful, spiteful, sneering, and religious - a cornucopia of musical words that sing across the ages.

This book focuses on the linguistic perspective of classical Chinese poetry and its changes and development in diff erent historical periods. It off ers a combination of theoretical analysis and aesthetic appreciation of exemplary poems. The author discusses the following aspects of classical Chinese poetry: the relationships between background and meaning in the interpretation of a poem; how readers can deal with the tangle of linguistic approach and intuitive perception in interpreting poems; the engagement and disengagement of the poet’s thought fl ow with and from the word order of the verse; the tonal and metrical schemes; and the three special features of classical Chinese poetry: the signifi cance and role of allusions, “Xu Zi”, and “Shi Yan”. Last, the author analyses the development of Chinese poetry from the Vernacular Song Dynasty Style to the Vernacular Modern Style. It will be a great read for students and scholars of East Asian studies, Chinese studies, linguistics, and those interested in Chinese poetry in general. The book aims to lead readers to discover a fresh and amazing world of classical Chinese poetry, a fantastic panoramic picture of its beauty and charm, and a poetic feast that the reader may not otherwise be privileged to enjoy.

This volume offers invaluable new insights into the controversial lives and history of Prince and Princess Chichibu - two high-profile members of the Japanese imperial family, both before and after the Pacific War. Their lives were lived both above and below ‘the clouds’, with the princess a commoner in an arranged marriage and the popular ‘sporting prince’, dogged by ill health and his association with the Japanese Imperial Army. At the heart of the book is a complete translation of Princess Chichibu’s original autobiography, first published in a shorter, condensed version in 1996 under the title The Silver Drum, together with a short biography of Prince Chichibu supported by important new data on his role in the war years, thanks to recent access to new studies as well as the prince’s own writings. Also included for the first time is a translation of most of Princess Chichibu’s collection of poems which formed part of the original memoir.

Beyond Representation surveys Chinese painting and calligraphy from the eighth to the fourteenth century, a period during which Chinese society and artistic expression underwent profound changes. A fourteenth-century Yuan dynasty (1279 - 1368) literati landscape painting presents a world that is totally different from that portrayed in the monumental landscape images of the early Sung dynasty (960 - 1279). To chronicle and explain the evolution from formal representation to self-expression is the purpose of this book. Wen C. Fong, one of the world's most eminent scholars of Chinese art, takes the reader through this evolution, drawing on the outstanding collection of Chinese painting and calligraphy in The Metropolitan Museum of Art, New York. Focusing on 118 works, each illustrated in full color, the book significantly augments the standard canon of images used to describe the period, enhancing our sense of the richness and complexity of artistic expression during this six-hundred-year era.