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Table of Contents

  1. Introduction: The Primacy of Sound in Chinese Poetry
  2. Zong-Qi Cai
  3. pp. 251-257
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Ancient-Style Poetry: Sound and Sense in Reduplicatives and Poetic Rhythms

  1. Sound Symbolism in the Reduplicative Vocabulary of the Shijing
  2. Jonathan Smith
  3. pp. 258-285
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  1. A Discussion of the Principles for the Combination of “Feet” in the Pentasyllabic Shi Genre
  2. Zhao Minli, Benjamin Ridgway
  3. pp. 286-323
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From Ancient- to Recent-Style Poetry: The Long Path toward Tonal Regulation

  1. Tonal Contrast in Early Pentasyllabic Poems: A Quantitative Study of Three Poem Collections
  2. Chenqing Song
  3. pp. 324-346
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  1. On the Origin of Chinese Tonal Prosody: Argumentation from a Case Study of Shen Yue’s Poems
  2. Hongming Zhang
  3. pp. 347-379
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  1. Formation of the Tonal Pattern and Prosodic Transformation of the Pentasyllabic Line in the Datong Reign (535–46) of the Liang
  2. Du Xiaoqin, Li E
  3. pp. 380-418
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  1. The Rhyme Book Culture of Pre-Tang China
  2. Meow Hui Goh
  3. pp. 419-443
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Poetry and Prose: Interaction and Mutual Transformation

  1. Parallel Prose and Spatiotemporal Freedom: A Case for Creative Syntax in “Wucheng fu”
  2. Shengli Feng, Ash Henson
  3. pp. 444-480
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  1. “Prose within the Poem” (Shi zhong you wen): Du Fu’s Creative Breakthrough in the Light of Wugu Narrative Rhythm
  2. Ge Xiaoyin, Jonathan Smith
  3. pp. 481-514
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  1. Guwen (Ancient-Style Prose), Sound, and the History of Chinese Poetics
  2. Chen Yinchi, Paula Varsano
  3. pp. 515-544
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Theoretical Reflections

  1. Sound over Ideograph: The Basis of Chinese Poetic Art
  2. Zong-Qi Cai
  3. pp. 545-572
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  1. Contributors
  3. pp. 573-576
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