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Ever since Karl Jasper's "axial age" paradigm, there have been a
number of influential studies comparing ancient East Asian and
Greco-Roman history and culture. Most of these have centered on the
emergence of the world's philosophical and religious traditions, or
on models of empire building. However, to date there has been no
comparative study involving literatures of multiple traditions in
the ancient East Asian and Mediterranean cultural spheres. At first
glance, it would appear that the literary cultures of early Japan
and Rome share little in common with each other. Yet both were
intimately connected with the literature of antecedent "reference
cultures," China and Greece respectively. These connections had
far-reaching legal, ethical, material, linguistic, bibliographical,
and literary consequences that made for distinctive Sino-Japanese
and Greco-Roman dynamics. Exploring writers from Otomo no Yakamochi
to Sugawara no Michizane and Sei Shonagon and from Cicero and
Virgil to Ovid and Martianus Capella, Classical World Literatures
captures the striking similarities between the ways Early Japanese
writers wrote their own literature through and against the literary
precedents of China and the ways Latin writers engaged and
contested Greek precedents. Chapters engage in issues ranging from
early narratives of literary history, cultural foundation figures,
literature of the capital and poetry of exile, to strategies of
cultural comparison in the form of parody and satire or synoptic
texts. The book also brings to light suggestive divergences that
are rooted in geopolitical, linguistic, sociohistorical, and
aesthetic differences between Early Japanese and Roman literary
cultures. Author Wiebke Denecke examines how Japanese and Latin
writers were affected by an awareness of their own belatedness, how
their strategies in telling of the origins of their own literatures
evolved, and how notions about simplicity, ornateness, and cultural
decline came to be blamed on the influence of their cultural
ancestors. Proposing an innovative methodology of "deep comparison"
for the cross-cultural comparison of premodern literary cultures
and calling for an expansion of world literature debates into the
ancient and medieval worlds, Classical World Literatures is both a
theoretical intervention and an invitation to reading and
re-reading four major literary traditions of the classical world in
an innovative and illuminating light.
This volume introduces readers to classical Chinese literature from
its beginnings (ca. 10th century BCE) to the tenth century CE. It
asks basic questions such as: How did reading and writing practices
change over these two millennia? How did concepts of literature
evolve? What were the factors that shaped literary production and
textual transmission? How do traditional bibliographic categories,
modern conceptions of genre, and literary theories shape our
understanding of classical Chinese literature? What are the
recurrent and evolving concerns of writings within the period under
purview? What are the dimensions of human experience they address?
Why is classical Chinese literature important for our understanding
of pre-modern East Asia? How does the transmission of this
literature in Japan, Korea, and Vietnam define cultural boundaries?
And what, in turn, can we learn from the Chinese-style literatures
of Japan, Korea, and Vietnam, about Chinese literature? In
addressing these questions, The Oxford Handbook of Classical
Chinese Literature departs from standard literary histories and
sourcebooks. It does not simply categorize literary works according
to periods, authors, or texts. Its goal is to offer a new
conceptual framework for thinking about classical Chinese
literature by defining a four-part structure. The first section
discusses the basics of literacy and includes topics such as
writing systems, manuscript culture, education, and loss and
preservation in textual transmission. It is followed by a second
section devoted to conceptions of genre, textual organization, and
literary signification throughout Chinese history. A third section
surveys literary tropes and themes. The final section takes us
beyond China to the surrounding cultures that adopted Chinese
culture and produced Chinese style writing adapted to their own
historical circumstances. The volume is sustained by a dual foci:
the recuperation of historical perspectives for the period it
surveys and the attempt to draw connections between past and
present, demonstrating how the viewpoints and information in this
volume yield insights into modern China and east Asia.
This volume introduces readers to classical Chinese literature from
its beginnings (ca. 10th century BCE) to the tenth century CE. It
asks basic questions such as: How did reading and writing practices
change over these two millennia? How did concepts of literature
evolve? What were the factors that shaped literary production and
textual transmission? How do traditional bibliographic categories,
modern conceptions of genre, and literary theories shape our
understanding of classical Chinese literature? What are the
recurrent and evolving concerns of writings within the period under
purview? What are the dimensions of human experience they address?
Why is classical Chinese literature important for our understanding
of pre-modern East Asia? How does the transmission of this
literature in Japan, Korea, and Vietnam define cultural boundaries?
And what, in turn, can we learn from the Chinese-style literatures
of Japan, Korea, and Vietnam, about Chinese literature? In
addressing these questions, The Oxford Handbook of Classical
Chinese Literature departs from standard literary histories and
sourcebooks. It does not simply categorize literary works according
to periods, authors, or texts. Its goal is to offer a new
conceptual framework for thinking about classical Chinese
literature by defining a four-part structure. The first section
discusses the basics of literacy and includes topics such as
writing systems, manuscript culture, education, and loss and
preservation in textual transmission. It is followed by a second
section devoted to conceptions of genre, textual organization, and
literary signification throughout Chinese history. A third section
surveys literary tropes and themes. The final section takes us
beyond China to the surrounding cultures that adopted Chinese
culture and produced Chinese style writing adapted to their own
historical circumstances. The volume is sustained by a dual foci:
the recuperation of historical perspectives for the period it
surveys and the attempt to draw connections between past and
present, demonstrating how the viewpoints and information in this
volume yield insights into modern China and east Asia.
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