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  1. en.wikipedia.org › wiki › 白白 - Wikipedia

    may refer to: Radical 106, one of the Kangxi radicals used for indexing Chinese characters. Bai (surname), Chinese surname. Baek, Korean surname. Bai people, ethnic group in China.

  2. ja.wikipedia.org › wiki › 白白 - Wikipedia

    は、人間の網膜の3種類の錐体(:L,M,S;(RGB表色系における)R,G,B;Red,Yellowish Green,Bluish - Purple/Purplish - Blue.)の全てが「対等的、均質的」に強く刺激された場合に感じる色である。

    • #FFFFFF
    • (-°, 0%, 100%)
    • (0, 0, 0, 0)
    • (255, 255, 255)
  3. en.wiktionary.org › wiki › 白白 - Wiktionary

    12/10/2021 · • -na (adnominal (しら) な (shira na), adverbial (しら) に (shira ni)) unapplied , undecorated ; also the object that is unapplied or undecorated honest , serious ; also the person who is honest or serious

    • 陌 (113)
    • 1/1
    • 並 (3)
    • Checked (Ø)
  4. en.wikipedia.org › wiki › BaekBaek - Wikipedia

    Baek () "" has a Cantonese origin from the Yuan dynasty and Goryeo dynasty. Baek Wu Kyung (白宇經) of the Suwon Baek clan, cousin of Bai Juyi of the Tang Dynasty, is the origin of this name. Baek (苩) Some Baekje refugees from the late Silla age had this surname. Paik Ga (苩加), Mahan ruler; Paik Yong (苩龍), Silla general

  5. en.wikipedia.org › wiki › Radical_106Radical 106 - Wikipedia

    Radical 106 or radical white (白部) meaning "white" is one of the 23 Kangxi radicals (214 radicals in total) composed of 5 strokes.. In the Kangxi Dictionary, there are 109 characters (out of 49,030) to be found under this radical.

  6. ja.wikipedia.org › wiki › En caché (しろ)は、全ての色の可視光線が乱反射されたときに、その物体の表面を見た人間が知覚する色である。

  7. en.wikipedia.org › wiki › Li_BaiLi Bai - Wikipedia

    • Names
    • Life
    • Themes
    • Influence
    • Translation
    • in Popular Culture
    • References
    • Further Reading

    Li Bai's name has been romanized as Li Bai, Li Po, Li Bo (romanizations of Standard Chinese pronunciations), and Ri Haku (a romanization of the Japanese pronunciation). The varying Chinese romanizations are due to the facts that his given name (白) has two pronunciations in Standard Chinese: the literary reading bó (Wade–Giles: po2) and the colloquial reading bái; and that earlier authors used Wade–Giles while modern authors prefer pinyin. The reconstructed version of how he and others during the Tang dynasty would have pronounced this is Bhæk. His courtesy name was Taibai (太白), literally "Great White", as the planet Venus was called at the time. This has been romanized variously as Li Taibo, Li Taibai, Li Tai-po, among others. The Japanese pronunciation of his name and courtesy name may be romanized as "Ri Haku" and "Ri Taihaku" respectively. He is also known by his art name (hao) Qīnglián Jūshì (青蓮居士), meaning Householder of Azure Lotus, or by the nicknames "Immortal Poet" (Poet Tr...

    The two "Books of Tang", The Old Book of Tang and The New Book of Tang, remain the primary sources of bibliographical material on Li Bai.Other sources include internal evidence from poems by or about Li Bai, and certain other sources, such as the preface to his collected poems by his relative and literary executor, Li Yangbin.

    Critics have focused on Li Bai's strong sense of the continuity of poetic tradition, his glorification of alcoholic beverages (and, indeed, frank celebration of drunkenness), his use of persona, the fantastic extremes of some of his imagery, his mastery of formal poetic rules—and his ability to combine all of these with a seemingly effortless virtuosity to produce inimitable poetry. Other themes in Li's poetry, noted especially in the 20th century, are sympathy for the common folk and antipathy towards needless wars (even when conducted by the emperor himself).

    In the East

    Li Bai's poetry was immensely influential in his own time, as well as for subsequent generations in China. From early on, he was paired with Du Fu. The recent scholar Paula Varsano observes that "in the literary imagination they were, and remain, the two greatest poets of the Tang—or even of China". Yet she notes the persistence of "what we can rightly call the 'Li-Du debate', the terms of which became so deeply ingrained in the critical discourse surrounding these two poets that almost any c...

    In the West

    Swiss composer Volkmar Andreae set eight poems as Li-Tai-Pe: Eight Chinese songs for tenor and orchestra, op. 37. American composer Harry Partch, based his Seventeen Lyrics by Li Po for intoning voice and Adapted Viola (an instrument of Partch's own invention) on texts in The Works of Li Po, the Chinese Poet translated by Shigeyoshi Obata. In Brazil, the songwriter Beto Furquimincluded a musical setting of the poem "Jing Ye Si" in his album "Muito Prazer".

    Li Bai's poetry was introduced to Europe by Jean Joseph Marie Amiot, a Jesuit missionary in Beijing, in his Portraits des Célèbres Chinois, published in the series Mémoires concernant l'histoire, les sciences, les arts, les mœurs, les usages, &c. des Chinois, par les missionnaires de Pekin. (1776–1797). Further translations into French were published by Marquis d'Hervey de Saint-Denys in his 1862 Poésies de l'Époque des Thang. Joseph Edkins read a paper, "On Li Tai-po", to the Peking Oriental Society in 1888, which was subsequently published in that society's journal. The early sinologist Herbert Allen Giles included translations of Li Bai in his 1898 publication Chinese Poetry in English Verse, and again in his History of Chinese Literature (1901). The third early translator into English was L. Cranmer-Byng (1872–1945). His Lute of Jade: Being Selections from the Classical Poets of China (1909) and A Feast of Lanterns(1916) both featured Li's poetry. Renditions of Li Bai's poetry i...

    Portrayed by Wong Wai-leung in TVB The Legend of Lady Yang(2000).
    An actor playing Li Bai narrates the Wonders of China and Reflections of China films at the China Pavilion at Epcot
    Li Bai's poem 'Hard Roads in Shu' is sung by a Chinese singer AnAn in a Liu Bei trailer for a game Total War: THREE KINGDOMS
    He appears as a "great writer" in the game Civilization VI

    Translations into English

    1. Cooper, Arthur (1973). Li Po and Tu Fu: Poems Selected and Translated with an Introduction and Notes (Penguin Classics, 1973). ISBN 978-0-14-044272-4. 2. Hinton, David (2008). Classical Chinese Poetry: An Anthology. New York: Farrar, Straus, and Giroux. ISBN 0-374-10536-7, 978-0-374-10536-5 3. Hinton, David (1998). The Selected Poems of Li Po (Anvil Press Poetry, 1998). ISBN 978-0-85646-291-7 4. Holyoak, Keith (translator) (2007). Facing the Moon: Poems of Li Bai and Du Fu. (Durham, NH: Oy...

    Background and criticism

    1. Edkins, Joseph (1888). "Li Tai-po as a Poet", The China Review, Vol. 17 No. 1 (1888 Jul) . Retrieved from , 19 January 2011. 2. Eide, Elling (1973). "On Li Po", in Perspectives on the T'ang. New Haven, London: Yale University Press, 367–403. 3. Frankel, Hans H. (1978). The Flowering Plum and the Palace Lady. (New Haven and London: Yale University Press) ISBN 0-300-02242-5. 4. Kroll, Paul (2001). "Poetry of the T’ang Dynasty," in Victor H. Mair. ed., The Columbia History of Chinese Literatu...

    Hsieh, Chinghsuan Lily. "Chinese Poetry of Li Po Set by Four Twentieth Century British Composers: Bantock, Warlock, Bliss and Lambert" (Archive) (PhD thesis). The Ohio State University, 2004.

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