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Comparative Literature in the Light of Chinese Prosody

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 2018

Summary

In the light of Chinese prosody and various mutually illuminating major cases from the original English, Chinese, French, Japanese and German classical literary texts, the book explores the possibility of discovering “a road not taken” within the road well-trodden in literature. In an approach of “what Wittgenstein calls criss-crossing,” this monographic study, the first ever of this nature, as Roger T. Ames points out in the Foreword, also emphasizes a pivotal “recognition that these Chinese values [revealed in the book] are immediately relevant to the Western narrative as well”; the book demonstrates, in other words, how such a “criss-crossing” approach would be unequivocally possible as long as our critical attention be adequately turned to or pivoted upon the “trivial” matters, a posteriori, in accordance with the live syntactic-prosodic context, such as pauses, stresses, phonemes, function words, or the at once text-enlivened and text-enlivening ambiguity of “parts of speech,” which often vary or alter simultaneously according to and against any definitive definition or set category a priori. This issue pertains to any literary text across cultures because no literary text would ever be possibleif it were not, for instance, literally enlivened by the otherwise overlooked “meaningless” function words or phonemes; the texts simultaneously also enliven these “meaningless” elements and often turn them surreptitiously into sometimes serendipitously meaningful and beautiful sea-change-effecting “les mots justes.” Through the immeasurable and yet often imperceptible influences of these exactly “right words,” our literary texts, such as a poem, could thus not simply “be” but subtly “mean” as if by mere means of its simple, rich, and naturally worded being, truly a special “word picture” of dasDing an sich. Describable metaphorically as “museum effect” and “symphonic tapestry,” a special synaesthetic impact could also likely result from such les-mots-justes-facilitated subtle and yet phenomenal sea changes in the texts.

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Bibliographic data

Copyright year
2018
ISBN-Print
978-1-4985-7338-2
ISBN-Online
978-1-4985-7339-9
Publisher
Lexington, Lanham
Language
English
Pages
254
Product type
Book Titles

Table of contents

ChapterPages
    1. Contents No access
    2. Foreword No access
    3. Acknowledgments No access
      1. The Making of “Le Mot Juste” a Posteriori No access
      2. The Inseparable Life-Making Content, Context, and Agency of a Worded World No access
      3. The Memorable Lines and Indispensable “Le Mot Juste” No access
      4. A Case of Content Word: Sound of “Coeur” No access
      5. A Case of Content Words: 推 tuī (to Push) and 敲 qiāo (to Knock) No access
      6. Hearing and Visualizing “Le Mot Juste” Live a Posteriori No access
      7. “Museum Effect” of a Worded World on “Le Mot Juste” No access
      8. Conclusion: “Museum Effect” and “Symphonic Tapestry” of “Le Mot Juste” No access
      9. Notes No access
      1. Emily Dickinson: A Case of “to Slit,” “to Swing,” and “to Hit.” No access
      2. Emily Dickinson: A Case with “to Maintain” No access
      3. Emily Dickinson: A Case of “to Stop” No access
      4. Robert Frost: Another Case of “to Stop” No access
      5. Emily Dickinson: A Case of “Still” No access
      6. T. S. Eliot and Henry James: Additional Cases of “Still” No access
      7. Conclusion: Circumferences of Meaning Tilted upon “Le Mot Just” No access
      8. Notes No access
      1. Song Qi: A Case with 鬧 nào No access
      2. Daodejing: A Case of 道 dào and 非常 fēi cháng No access
      3. Ma Zhiyuan: A Case with 在 zài No access
      4. Jiang Kui: Another Case with 在 zài and 仍 réng No access
      5. Conclusion: “Le Mot Juste” as Vital “Technique” No access
      6. Notes No access
      1. Emily Dickinson: A Case of “Like” No access
      2. Robert Frost: A Case of “By” No access
      3. Emily Dickinson: A Case of “That” No access
      4. James Wright: Another Case of “That” No access
      5. Matsuo Basho: A Case of no の ya や No access
      6. Goethe: The Case of “über,” “im,” “du,” and “auch” No access
      7. Chaucer, James, and Maupassant: A Case of “With,” “Her,” “leur,” and More No access
      8. Joseph Conrad: The Miscellaneous Cases No access
      9. Charles Baudelaire: A Case of Comme No access
      10. Emily Dickinson: A Case of “Like,” “And,” “But,” and “Without” No access
      11. Conclusion: The Magnificent of the Trivial No access
      12. Notes No access
      1. Function Words: Indispensable Presence No access
      2. Function Words: Subtle and Crucial Mediators No access
      3. Wang Anshi: A Case of 祇 zhǐ (Just) and 又 yòu (Again) No access
      4. Function Words: Irreplaceable Absence No access
      5. Jiang Kui: The Making of Colorfully Fine-Tuned Picture No access
      6. Liu Zong Yuan: An Absent Word That Makes a Colorfully Toned Worded World No access
      7. Conclusion: The Trivial That Truly Matters No access
      8. Notes No access
      1. Yijing: The Cases of 吾 wú, 與 yǔ, 爾 ěr, and 之 zhī No access
      2. Jia Dao: A Special Case of 還 hái No access
      3. Han Yu: A Special Case of 為之 wèi zhī No access
      4. Yao Nai: A Special Case of 似 si (Like, As) No access
      5. Zhuangzi: Special Cases of 者 zhě and more No access
      6. The Special Cases in Shijing and Chuci No access
      7. Dai Wangshu: A Case of the Meaningfully Meaningless 的 de, 了 le,” and 著 zhe No access
      8. Conclusion: Function Words as “Invisible” Life-Sustaining Air No access
      9. Notes No access
      1. Fei Bai and Liang Zongdai: A Case of Translation No access
      2. Bei Dao: A Case with 的 de No access
      3. Miller and Feng: A Cross-Cultural Interdisciplinary View No access
      4. The Special Cases: Matsuo Bashô No access
      5. Conclusion: Making Dead Alive through Function Words No access
      6. Notes No access
      1. The Hidden Power of the Unnoticeable of No access
      2. The Sound of a Love Song That Truly Matters No access
      3. A Worded World as Colorfully “Symphonic Tapestry” No access
      4. Conclusion: A Worded World Should Not Only “Be” but Also “Mean” No access
      5. Notes No access
  1. Bibliography No access Pages 233 - 242
  2. Index No access Pages 243 - 252
  3. About the Author No access Pages 253 - 254

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