Download e-book for iPad: Basic Cantonese: A Grammar and Workbook by Karl Friedrich Siburg

By Karl Friedrich Siburg

ISBN-10: 3540219447

ISBN-13: 9783540219446

Easy Cantonese introduces the necessities of Cantonese grammar in a simple and systematic manner. all of the 28 devices bargains with a grammatical element and gives linked routines, devised to excellent conversation talents. designated recognition is paid to issues which vary from English and eu language constructions. beneficial properties contain: transparent, obtainable layout; vigorous examples to demonstrate every one grammar element; complete key to workouts; and thesaurus of grammatical phrases.

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Extra resources for Basic Cantonese: A Grammar and Workbook

Sample text

With Mandarin institutionalized as the National Language by the early 1920s and effectively integrated into the modern educational system, Modern Poetry gained legitimacy in a relatively short period of time. Although poetry written in traditional forms has continued to be written, at least until recently it is predominantly Modern Poetry that is the requisite form for poetry prizes and appears in most newspapers, literary journals, and poetry anthologies. If Modern Poetry is legitimized in institutional terms, its validity and value in the cultural sphere has been questioned since its inception in 1916–17.

In the early 1920s to the late 1930s, a variety of foreign forms was introduced into China. Lu Zhiwei 陸志韋 (1894–1970) and Zhu Xiang 朱湘 (1904–33) were among the pioneers to experiment with them. Wen Yiduo advanced the ideal of “tailoring the clothes to the body” 相體裁衣, meaning to give a poem a clear sense of structure while simultaneously relating it organically to the content. Besides the Crescent School 新月派 of which Wen was a leader, other poets such as Wu Xinghua 吳興華 (1921–66) and Bian Zhilin 卞之琳 (1910–2000) also experimented with regular forms of their own making.

Once we understand the fetishization of Classical Poetry as a superior embodiment of cultural identity and national pride, the question of Chineseness seems misplaced, even irrelevant, and the obsession with Chineseness stands as a barrier to a full appreciation of Modern Poetry. After all, we do not question the “Americanness” of American poetry or the “Frenchness” of French poetry. Moreover, we do not question their identity just because they have been influenced by literary traditions other than their own.

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Basic Cantonese: A Grammar and Workbook by Karl Friedrich Siburg

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