Проблемы литератур Дальнего Востока

3. The Trends in Chinese Literature of XX and XXI Centuries Issues of Far Eastern Literatures: Materials of the 11th International Scientific Conference. June 27–29, 2024 47 pretexts, to denote the concept that determined the selection of autobiographical material and to find out how this concept changed initial elements, shifted the semantic accents, and influenced the course of Shen Congwen’s autobiographical narrative. Keywords: Shen Congwen, autobiographism, autobiographical narrative, autobiographical motives, intertextual analysis. Leshchanka Kseniya (Belarusian State University), kseniya.leshchanka@gmail.com Poetry of the Song Era and Chinese Modern Song Culture: Continuity of Tradition As researchers note (Morozkina E. A., Romanovskaya E. V., etc.), Chinese poetry is distinguished by intertextuality, i. e. the property of the text, expressed in the inclusion of “whole other texts with a different subject of speech” or “fragments of someone else’s texts in the form of quotes, reminiscences and allusions”. In this context, Chinese philologists use the term diangu ( 典故 ) — “plots or figures of speech from ancient literature quoted in poetry or prose”. These techniques are widely used both in clas- sical Chinese poetry and in modern poetry, including song poetry. We analyze this phenomenon using the example of the poem “To the tune of “Busuanzi”: Written While Lodging at Dinghuiyuan in Huangzhou” ( 卜算子·黄州定慧院寓居作 ) by Su Shi ( 苏轼 ). We should note that the intertext is also present in the original ci: e. g., the diangu ‘lonely goose’ ( 孤鸿 ) used by Su Shi is found in the same context in the 1st shi of the cycle “Songs of my Heart: 82 poems” ( 咏怀八十二首 ·其一 ) by Ruan Ji ( 阮籍 ), in the 4th shi (“A lonely goose from the sea flies.”, 孤鸿海上来 ) from the cycle “Thoughts: 12 Poems” ( 感遇十 二 首 ) by the Tang poet Zhang Jiuling ( 张九龄 ), etc. Modern song culture inherits the centuries-old tradi- tion of quoting the classics. The poem was performed several times without making changes to the text: such a musical piece (music by Huang Zi 黄自 ) is in the repertoire of tenor Shen Yang ( 沈洋 ); in 2020, Su Shi’s ci was performed by indie singer Wang Wu ( 王兀 ) in his own way. In the song “Youth” ( 少年 , 2022; lyricist — Elgar 艾格 ) by rock musician Chen Yanjia ( 陈彦嘉 ), Su Shi’s ci appears as a refrain, and in the song “Sobered up from wine in the middle of the night” ( 中宵酒醒 , 2021) by folk singer under the pseudonym Longmensi Kuandu ( 龙猛寺宽度 ) — as a bridge. The images of a wild goose ( 鸿 ) and a lonely hermit ( 幽人独往 ) are reinterpreted by Weibo singer Zhijian Xiao ( 指尖笑 ) in the song “For You” ( 于你 , 2021), etc. Thus, the modern song culture of China demonstrates continuity with classical Chinese poetry. Keywords: diangu, intertextuality, modern song culture, Song poetry, Su Shi. Mikhailova Natalia (Laval University), nn.mikhaylova@gmail.com Pema Tseden’s Enticement as a Window to Modern Tibet Pema Tseden (Tib. pad ma tshe brtan) who recently passed away in May 2023 can be named the leading Tibetan indie filmmaker as well as one of the most widely recognized modern Tibetan writers. Born in 1969 in the north-eastern part of the Tibetan Plateau (Qinghai Province, PRC), Pema Tseden started writing his short stories during the early 1990s, while he was still an undergraduate student of the Northwest Minzu University majoring in Tibetan language and literature. Having later obtained his Master degree in Tibetan-Chinese translation, Pema Tseden became known for publishing his stories in both Tibetan and Chinese. A large part of Pema Tseden’s stories was assembled within three major collec- tions published in 2009, 2012, and 2018 and was translated into other languages such as English, French,