The present book examines Williams’s negotiation with cultural modes and systems of Chinese landscape tradition in his landscape writing. Focusing on Walliams’s landscape modes of landscape with(without) infused emotions, the book builds a linkage between their interactions with Chinese landscape aesthetics and shows how these conversations helped shape Williams’s cross-cultural landscape poetics. The exploration of Williams’s experiment with the Chinese serene interplay of self and landscape, the interfusion of scene and emotion, an idea of seeing under the perspective of Wang Guowei’s theory of jingjie, and the poetic space of frustration and completion in the context of space and human geography, expand the understanding of a cross-cultural landscape tradition developed by Williams through bringing into focus the convergence of East-West poetics.
The book explores Williams’s cross-cultural landscape poetics by situating his oscillations between the landscape traditions of China and the West in Yip’s idea of negotiation. Williams attempts to blend the Chinese landscape aesthetics such as the interfusion of scene and emotion and the idea of seeing into his landscape writing
Acknowledgments
Introduction
1. Williamss Encounter with China and the Chinese Landscape Tradition
1.1 the material I knew: Williamss Knowledge of China and Chinese
Landscape tradition
1.2 Williamss Early Engagement with Chinese Landscape Aesthetics: 1915-1923
1.3 Chinese Landscape Aesthetics in Williamss Late Works
2. Chinese Landscape Tradition and Its Journey to the American Modernism
2.1 Chinese shanshui Tradition: An Introduction
2.2 Fenollosa: the Forerunner of Introducing Chinese Landscape Aesthetics
2.3 Pound: the Inheritor Carrying Forward the Legacy of Fenollosa
2.4 Convergence of Pounds Imagist Aesthetics and Chinese Landscape Tradition
3. Inheritance and Innovation: Self and Landscape in Williams Poetry
3.1 with the material I had, I was lyrical: Landscape Aesthetics of the
West and Williamss Inheritance
3.2 The Lyrical Self in Williamss Poetry and Prose
3.3 Self and Landscape in Chinese Landscape Discourse
3.4 Landscape with Self in Williamss Early Poetry
4. The Chinese Interfusion of Emotion and Scene in Williamss Landscape
Writing
4.1 Williamss Modernist Aesthetic Stance in His Poetry and Prose
4.2 The Interfusion of Emotion and Scene in Chinese Landscape Discourse
4.3 The Interfusion of Self and Landscape in Williamss Poetry
5. Landscape and Seeing in Williamss Poetry: A Chinese Perspective
5.1 no ideas but in things and the Idea of Seeing
5.2 Williamss Blending of the Chinese Idea of Seeing into His Own Poetics
5.3 Landscape and Seeing in Chinese Critical Discourse
5.4 Williamss Experiment with the Idea of Seeing in Landscape Writing
6. Landscape and the Poetic Space in Williamss Poetry
6.1 Landscape, Seeing, and Space: a Critical Review
6.2 The Space of Frustration in Paterson
6.3 The Space of Completion in Williamss Landscape Writing
Conclusion
Bibliography
Index
Zhanghui Yang is Associate Professor of American Literature at Yunnan Normal University in China. He earned his doctorate from the University of Macau in 2021. His main research areas are China and modernism, and literature and geography, with a special focus on the interaction of Chinese classical landscape poetry and landscape writing in American modernist poetry.
Rohkem infot Taylor & Francis e-raamatute kohta