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Poetic inspiration in cultural contexts: A comparative study of the European Romantic concept of inspiration and the Chinese Six Dynasties view of the "inspired" state of creation.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Poetic inspiration in cultural contexts: A comparative study of the European Romantic concept of inspiration and the Chinese Six Dynasties view of the "inspired" state of creation./
Author:	Ren, Yong.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 1991,
Description:	270 p.
Notes:	Source: Dissertations Abstracts International, Volume: 53-05, Section: A.
Contained By:	Dissertations Abstracts International53-05A.
標題:	Comparative literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9137156
ISBN:	9798644999873

Poetic inspiration in cultural contexts: A comparative study of the European Romantic concept of inspiration and the Chinese Six Dynasties view of the "inspired" state of creation.
Ren, Yong.

Poetic inspiration in cultural contexts: A comparative study of the European Romantic concept of inspiration and the Chinese Six Dynasties view of the "inspired" state of creation. - Ann Arbor : ProQuest Dissertations & Theses, 1991 - 270 p.

Source: Dissertations Abstracts International, Volume: 53-05, Section: A.

Thesis (Ph.D.)--University of California, Davis, 1991.

This item must not be sold to any third party vendors.

This dissertation compares cultural interpretations of poetic inspiration with a focus on the Romantic period in Europe and the Six Dynasties in China. The dissertation begins by discussing the use of "inspiration" as a general assumption of an essential unity of poetic experience in diverse cultures. A brief survey of changing concepts of inspiration in Western and Chinese intellectual traditions since Plato and Confucius follows. The second chapter treats the Romantic concept of inspiration in the English, German, and French contexts, and compares it with the view of "inspired creation" in the Six Dynasties--a period of blossoming of classical Chinese criticism. The chapter concludes by examining differences between the two approaches: the paradigmatic Six Dynasties poet/critic perceives inspiration as (1) a distinct stage or feature of the creative imagination which does not, however, claim an autonomous status of its own; (2) dialectically opposed to the condition of "non-inspiration"; and (3) a "direct" enlargement of the poet's creative capacity without a loss of the self or a replacement by an external force. The third and the fourth chapters contrast the Romantic and the Six Dynasties conceptions of inspiration as an external or an internal source of creative power, with discussion extending to the concepts of divinity, nature, genius, imagination, poetic typology, and also such key terms in the Six Dynasties criticism as gi ("spirit"), xing ("inspired impulse"), feng ("wind" or "impact"), and cai ("talent"). The fifth chapter examines inspiration in the context of the creative process. The Six Dynasties notion of "vacuity and tranquility" as a preferred condition of literary contemplation is set in the cultural milieu of Neo-Taoist metaphysics of Nonbeing, the theory and practice of pursuing longevity, and the tradition of "pure talk" (gingtan). The observation of the author's experiences of inspired creation focuses on a few major poems that convey such experiences in their own structure and imagery: Novalis's Hymnen an die Nacht, Rimbaud's Le bateau ivre, and Ruan Ji's Qing si fu (Prosepoem on Pure Thought).

ISBN: 9798644999873Subjects--Topical Terms:

570001
Comparative literature.
Subjects--Index Terms:

Arthur Rimbaud

Poetic inspiration in cultural contexts: A comparative study of the European Romantic concept of inspiration and the Chinese Six Dynasties view of the "inspired" state of creation.
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506 $a This item must not be sold to any third party vendors.
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520 $a This dissertation compares cultural interpretations of poetic inspiration with a focus on the Romantic period in Europe and the Six Dynasties in China. The dissertation begins by discussing the use of "inspiration" as a general assumption of an essential unity of poetic experience in diverse cultures. A brief survey of changing concepts of inspiration in Western and Chinese intellectual traditions since Plato and Confucius follows. The second chapter treats the Romantic concept of inspiration in the English, German, and French contexts, and compares it with the view of "inspired creation" in the Six Dynasties--a period of blossoming of classical Chinese criticism. The chapter concludes by examining differences between the two approaches: the paradigmatic Six Dynasties poet/critic perceives inspiration as (1) a distinct stage or feature of the creative imagination which does not, however, claim an autonomous status of its own; (2) dialectically opposed to the condition of "non-inspiration"; and (3) a "direct" enlargement of the poet's creative capacity without a loss of the self or a replacement by an external force. The third and the fourth chapters contrast the Romantic and the Six Dynasties conceptions of inspiration as an external or an internal source of creative power, with discussion extending to the concepts of divinity, nature, genius, imagination, poetic typology, and also such key terms in the Six Dynasties criticism as gi ("spirit"), xing ("inspired impulse"), feng ("wind" or "impact"), and cai ("talent"). The fifth chapter examines inspiration in the context of the creative process. The Six Dynasties notion of "vacuity and tranquility" as a preferred condition of literary contemplation is set in the cultural milieu of Neo-Taoist metaphysics of Nonbeing, the theory and practice of pursuing longevity, and the tradition of "pure talk" (gingtan). The observation of the author's experiences of inspired creation focuses on a few major poems that convey such experiences in their own structure and imagery: Novalis's Hymnen an die Nacht, Rimbaud's Le bateau ivre, and Ruan Ji's Qing si fu (Prosepoem on Pure Thought).
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