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El. knyga: Convergence of East-West Poetics: Williams's Negotiation with the Chinese Landscape Tradition

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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

Recenzijos

Zhanghui Yangs new book points a deep-focused lens at a hitherto, largely ignored relationship between Chinese landscape poetry and Modernism. While Pounds indebtedness to the practice of Rihaku, Mei Sheng and others has already been explored intricately by scholars like Qian and Saussy, a full examination of the impress of Chinese landscape poetry on the work of William Carlos Williams is long overdue. Yangs analysis is simultaneously deft and wide-ranging, as well as highly convincing, and marks a fresh and exciting beginning in Williams scholarship.

Matthew Gibson, Associate professor, University of Macau, China

Zhangui Yangs monograph is a compelling reconceptualization of Williamss engagement with Chinese culture. Through carefully targeted but adventurous scholarship on landscape aesthetics, Yang brings a fresh perspective to the venerable theme of place in Williamss oeuvre. This tack sets the book apart from other important studies of Williams, and is supported by a wealth of contextual information on Chinese landscape tradition as well as its complex intersections with Imagism and American modernist thought. In doing so, Yang helps connect crucial moments across the arc of Williams career where the poets relentless dialectics are illuminated by his intellectual encounters with China.

Eric White, Reader in American Literature, Oxford Brookes University, UK

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.
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