East Asian Languages and Societies Commons^™

In Praise Of The Peaks: Science, Art, And Nature In Kojima Usui’S Mountain Literature, Aaron Paul Jasny

Arts & Sciences Graduate Student Theses and Dissertations

During the Meiji period (1868–1912), a newly constituted Japanese nation sought equal standing among the global powers it encountered with increasing frequency, by updating and modernizing in various fields of knowledge and cultural production. Science and technology were adopted and adapted from the nations of the West in order to bolster the economy, improve infrastructure, and ensure the health and well-being of the Japanese people. Meanwhile, literature and the arts were refashioned to make them more suitable for dealing with modernization, urbanization, empirical and rational thinking, and a regard for individual autonomy and subjectivity. Meiji Japan witnessed numerous innovations, which …

The Afterlife Of Corpses: A Social History Of Unburied Dead Bodies In Qing China (1644-1911), Joohee Suh

Arts & Sciences Graduate Student Theses and Dissertations

This dissertation began with the reading of numerous Qing-dynasty records pertaining to dead bodies that remained on the ground without proper burial. These bodies were not necessarily the victims of extraordinary events such as wars or natural disasters, but the remains of ordinary people whose families failed to arrange a burial site. A wide range of historical materials recorded the presence of these bodies, such as commentaries and critiques on popular burial customs written by the imperial government and literati elites, and Qing popular tales where these bodies were described as man-hunting zombies (jiangshi 僵屍). These sources demonstrate unburied dead …

Japanese-English Translation: Kitaōji Rosanjin—Why I Became A Potter (1933), Christopher Southward

Comparative Literature Faculty and Student Scholarship

A translation of「なぜ作陶を志したか」、北大路魯山人著、1933年

Source, Aozora Bunko (a digital archive of public-domain Japanese-language works):

General website: https://www.aozora.gr.jp

Current text: https://www.aozora.gr.jp/cards/001403/files/55082_54782.html

All rights reserved, Christopher Southward, 2019

明代王鏊佚札輯考, Yick Tan Ching

嶺南學報 Lingnan Journal of Chinese Studies

明代王鏊佚作散見各種文集、筆記、書畫題跋、書法尺牘、存世手稿中，今於點校本《王鏊集》“補遺”外，另輯得其佚札十八封，匯成一編，略爲校注，各附考釋。所輯諸札，或有資於王鏊行跡、交游之研究。

編後記, Chunhong Wang

嶺南學報 Lingnan Journal of Chinese Studies

《嶺南學報》第十一輯終於編定，審視一遍，感到沉甸甸的。本輯論文時間跨度大，從秦漢以至清代，而選題亦多有發明，可謂新穎獨到，會令讀者頗得開卷有益之樂。

“詭辭”以見義 : 論《太史公自序》的書寫策略, Sudong Cheng

嶺南學報 Lingnan Journal of Chinese Studies

司馬遷通過一系列特别的書寫策略，將恢國、致孝、繼聖與發憤這四種表達意圖同時注入《太史公自序》之中，這當中既包括對《國語·楚語》、《孝經》等援據文獻的微妙改寫，也包括對“五百年”這一神秘數字的刻意渲染，在與壺遂的對話中呈現出的前後矛盾，以及對《春秋》、《吕氏春秋》、《孤憤》等文本生成背景的時空重塑。這一書寫方式源於《春秋》公羊學所強調的“詭辭”以見義的表現方式，對於這一書寫策略的梳理，有利於我們進一步理解《太史公自序》，乃至《史記》全書的立場與語言風格。

This paper argues that Sima Qian 司馬遷, author of Shiji 史記 (Records of the Grand Historian) implanted various expressive intentions into his autobiographic writing “Taishigong zixu” 太史公自序 (The Autobiography of the Senior Archivist) by applying a series of special writing techniques, including the delicate rewriting of Guoyu 國語 (Discourses of the States) and 沿孝經 (Book of Filial Piety), deliberate rendering of the mysterious number “five hundred years”, contradictions within his dialogue with Hu Sui, and reconstructions of the temporal and spatial backgrounds of Chunqiu 春秋 (Spring and Autumn Annals), Lushi chunqiu 呂氏春秋 (Master Lü’s Spring and Autumn Annals), Gufen …

韋孟、韋玄成詩背景考及以經爲詩論, Xu Hu, Meihui Liu

嶺南學報 Lingnan Journal of Chinese Studies

韋孟和韋玄成是西漢《魯詩》學的著名代表，其傳世之作也每每體現了他們的經學家身份，研究者往往將二者互證。然考察韋孟《在鄒詩》之“我之退征，請於天子”後，容易發現這個説法與漢初諸侯國之官制多有齟齬，故該詩可能並非韋孟所作。《諷諫詩》究竟是否韋孟所作，自班固起已有懷疑，除了詩中塑造韋孟的忠謇形象與史實並不相符外，該詩與韋玄成《自劾詩》、《戒示子孫詩》某些方面的高相似度，也遠非模仿與借鑒所能解釋。尤可注意者，《自劾詩》與《諷諫詩》中多次化用《尚書》、《周易》等經典之句，可見諸經被確立崇高地位後，内部形成了一個封閉的體系。詩人的目的並非單純地言志抒情，而是要重新組合經典爲己所用。在此過程中，文本有了新的指向並獲得了新的生命力。

Wei Meng 韋孟 and Wei Xuancheng 韋玄 are well-regarded Lu shi 魯詩 scholars from the Western Han dynasty. Their poems also demonstrate their identity as classicists. In later scholarship, Wei Meng and Wei Xuancheng are often juxtaposed to highlight these achievements. An examination of “Zai zou shi” 在鄒詩 (Poem Written in Zou), a poem commonly attributed to Wei Meng, however, will reveal that Wei’s reputation of being a classicist and a poet has to do with the bureaucracy of Han dynasty principalities and consequently testifies against his authorship. Furthermore, the authorship of “Fengjian shi” 諷諫詩 (An Irony Poem), another …

情景交融與古典詩歌意象化表現範式的成立祉, Yin Jiang

嶺南學報 Lingnan Journal of Chinese Studies

“情景交融”雖爲學界所通用，但却是一個相當模糊而理解多歧的概念，除了指示一種抽象狀態的結果外，並未提供什麽可供闡發、引申的理論線索，以致學界的定義長久以來一直停留在“情與景合，景與情合”的俗套表達上。本文認爲，情景交融作爲標誌着古典詩歌抒情藝術之成熟的美學特徵，是在特定審美意識和寫作策略的主導下逐漸被許多作者共同遵循、實踐並達致理論自覺的一種詩境構成模式，其結構特徵取決於作者們共同遵循的寫作範式。相關的概念還有寓情於景、借景言情、化景物爲情思、以景結情等等，它們分别負載着不同時代的詩論家對情景問題的關注。對這些命題的全面梳理，也就是對古典詩歌中情景關係的歷時性考察。本文从考察“情景交融”概念的由來入手，試圖通過對中古詩歌中情景關係的歷時性分析，説明“情景交融”的意象結構方式是在中唐詩歌意象化表現逐渐定型的背景下形成的。

Qing jing jiaorong 情景交融 (fusion of scene and emotion) has been widely used in the area of Chinese studies, but it is an extremely ambiguous concept that has been understood in various ways. Aside from indicating the effect of an abstract condition, it does not provide any clues for interpretation or theoretical extension, insofar as its definition has stagnated at trite expressions such as “feeing merging with the scene” or vice versa. This paper postulates the concept, “fusion of scene and emotion,” is not only an aesthetic development that marks the maturity of the lyrical art in classical Chinese …

唐詩詩題異名的類型、成因及性質闡論, Xiaoting Xian

嶺南學報 Lingnan Journal of Chinese Studies

唐詩在其流傳過程中，以及在各種不同的文獻載體中，經常被改題而出現多個題名。學界目前對於唐詩詩題異名進行綜合研究者甚少，本文從三個方面探討唐詩詩題的異名及其背後的成因，即别集總集編輯者改題、傳鈔中的他人改題以及唐詩入樂與改題。唐詩是中國古典詩歌藝術的高峰，它誕生於寫本時代，在唐代即被廣采入樂，又深受後世喜愛而廣爲流傳，流傳既廣則文本變異問題尤重。唐詩詩題異名問題是唐詩文本變異的一個重要組成部分。探討唐詩詩題異名的類型、過程、方式及其背後的成因，一方面有助於深化對唐詩以及唐詩詩題原貌的認識，另一方面，唐詩詩題異名的研究是唐詩接受史研究的重要内容，同時，以期通過對唐詩詩題異名進行深細的文本分析引發對寫本文本性質的反思。

During the process of dissemination through different kinds of media, Tang dynasty poems were frequently renamed and ended up having different titles. At the moment, there is limited systematic research on the variation of titles of Tang poems and the causes behind. This article will discuss the issue of varied multiple titles of Tang dynasty poetry and the corresponding causes from three perspectives, including the change of titles by editors of comprehensive (zongji 總集) and separate collections (bieji 别集), by others while making private copies, and through the adaptation of poems into music. Originated in the manuscript era, Tang …

北朝《漢書》學與北朝文學的漢代傳統, Danjun Cai

嶺南學報 Lingnan Journal of Chinese Studies

中古時期《漢書》學的發展，離不開十六國北朝時期北方地區的人們對《漢書》的闡釋、研究和利用。廣爲流行的《漢書》故事，重新構建了新時代所需要的漢代歷史，從而爲北朝《漢書》學奠定了社會基礎。在這個多民族融合的南北分裂時期，正統與華夷等觀念被不斷申明、強調，北方地區的政權紛紛向《漢書》尋求政治借鑒，《漢書》被作爲典章參考，進入實際的政治生活。北朝後期，北齊南來士人顔之推爲代表的《漢書》學研究，融合南北學術之長，是北朝《漢書》研究獲得新的學術成就。受時代影響，北朝《漢書》學對文學發展的影響同樣深遠，一方面，《漢書》學影響了北朝史傳文學的發展，崔鴻、魏收等史家皆以《漢書》爲標杆來撰史；另一方面，《漢書》學也引導了人們對漢代文學有所推崇和繼承。

The development of Han shu 漢書 (Book of the Former Han) study in medieval China cannot be separated from the interpretations, research, and appropriations of Book of the Former Han in the northern areas of the Sixteen Kingdoms and Northern Dynasties. The popular stories from Book of the Former Han reconstructed the history of the Han dynasty needed in the new era then, thus laying a social foundation for the study of Book of the Former Han in the Northern Dynasties. In this period of multi-ethnic integration, the concepts of orthodoxy and Han-Yi ( non-Han people, “barbaric”) distinction were …

曾鞏古文的美感特質 : 兼論其與歐陽古文的關係, Chi-Peng Ho

嶺南學報 Lingnan Journal of Chinese Studies

曾鞏古文自宋至清爲論者所推崇，以爲乃歐陽修嫡傳，然民國以後讀者漸少，學者雖猶時時論之，亦認同前揭前人説法，但對於曾鞏究竟如何承繼歐陽修，實缺乏細密分析與論述。按，歐陽修古文有二大特質：就行文言，極盡“宛轉”之能事；就格調言，則多濃厚抒情。本文謹擇曾鞏《相國寺維摩院聽琴序》、《齊州雜詩序》、《贈黎安二生序》、《王無咎字序》、《墨池記》等五篇爲例，以見曾文之“宛轉”風貌；復取《送王希字潛之序》、《學舍記》、《劉伯聲墓誌銘》、《二女墓誌》、《懷友一首寄介卿》等五篇爲例，以見曾文之“抒情”格調，冀可藉此彰顯曾文之美感特質，並且適時與歐文對照，俾以掌握歐、曾相承之關係，間亦指出二者之差異，供學者參考。

Zeng Gong’s 曾鞏 guwen 古文 (ancient-style prose) is viewed as a direct successor to Ouyang Xiu 歐陽修 and is well regarded by the scholars from the Song to Qing dynasties. However, his readership declined since the Republican Era ( 1912 _ 1949) . In spite of the discussions on his work with continued appreciation, there lacks detailed analysis and treatise of the ways in which Zeng Gong succeeded Ouyang Xiu in terms of ancient-style writing. Ouyang Xiu’s ancient-style writing occupies two main aesthetic features, including, first of all, the tactful and wanzhuan 宛轉(euphemistic) writing style; second, the sentimental and …

開啟南北朝至唐代遊仙詩道教化的轉關 : 上清經派道人楊羲的道教遊仙詩, Hong Zhang

嶺南學報 Lingnan Journal of Chinese Studies

上清經派道人楊羲等在製作上清經的過程中，開創了以扶乩降筆之法創作道教遊仙詩的神秘創作方式。楊羲開創了女仙婚戀遊仙詩、煉丹奉道的遊仙詩等新的遊仙詩類型，以道教各種修煉方式和功法爲主要内容，變遊仙詩爲修道詩，使遊仙詩的整體風貌大變。在仙境的營構描寫上，楊羲詩歌濃墨重彩地鋪排渲染了道教神仙活動的繁華熱鬧世界，在詩歌中第一次形象生動地描寫了煉丹奉道活動的神奇景象，散發出濃郁的宗教神秘氣息，使得遊仙詩中的“龍虎之氣”從此生生不息，開啟了南北朝至唐代遊仙詩道教化的轉關。對後代詩人特别是李白等的煉丹類遊仙詩産生了深遠的影響。

During the process of constructing Shangqing jing 上清經 (Shangqing School Scripture), Daoist Yang Xi 楊羲 created a mystical method of writing Daoist mystical excursion poems through planchette writing. Yang initiated created mystical excursion poems about fairies coming down to earth for love and marriage and about Daoists alchemy. Focused on Daoist practices, these poems changed the style of mystical excursion poetry to Daoist cultivation. On the description of fairyland, he praised a lively and bustling world of Daoist immortals in gaudy colors, and for the first time, depicted vividly the magical scenes of how Daoist alchemists create pills of …

北京大學藏西漢竹書《妄稽》釋讀斠正, Yunhe Xu, Qingxin Zheng

嶺南學報 Lingnan Journal of Chinese Studies

北京大學藏西漢竹書《妄稽》是漢代形成的文學作品，釋讀難度較大，2015年整理發佈以來備受學界關注，成爲近年來簡帛研究的一個聚焦之點。本文踵事續貂，勉爲考釋，所得六十八例。一是糾正過去文字釋讀存在的一些錯誤或偏差，二是對未及釋讀或疑不能明的字句作進一步的考察和研究，三是對一些句子的句讀問題重新作出研判，使之趨於合理。所做的工作基本覆蓋了全篇，希望能够對一個可供閲讀的文本的形成有所推進。

Wangji 妄稽 is a bamboo slip manuscript of Western Han collected by Peking University. It is a difficult literary text from the Han dynasty and has become a focal point in the area of bamboo and silk manuscripts studies since it was first published in 2015. This paper makes sixty-eight emendations to the annotated edition of Wangji from three perspectives; (1) they correct the mistakes in the character recognition made in the past; (2) they further investigate and study the characters and sentences that are yet to be recognized or seemly unrecognizable; (3) they revise the punctuations of some …

《中論》引詩與漢魏之際的《詩經》學, Yushan Yin

嶺南學報 Lingnan Journal of Chinese Studies

《中論》引《詩》約47次，以《雅》、《頌》爲主。徐幹在書中發揚了荀子等儒家諸子“以《詩》爲教”的傳統，體現了他在漢魏之際的亂世中企圖借助《詩經》的美刺作用來光大自己傾注到《中論》中的經世致用理想。據今傳文本看，《中論》所用詩説以毛爲主，輔以韓、魯及其他雜説。《中論》引詩不主一家詩説，而陳喬樅、王先謙都以《中論》證《魯詩》義，馬瑞辰以爲《中論》引詩多出韓説，都不免失之偏頗。諸家詩説並用的現象也出現在東漢末年的其他幾部子書當中，既可見出諸子引詩用詩的開放態度，也可見漢魏之際《詩經》傳授的百家争鳴盛況之一斑。

Zhonglun 中論 (Balanced Discourses) quoted Shijing 詩經 (Book of Songs) about forty-seven times, mainly from Ya 雅 (hymns) and Song 頌 (eulogies). Xu Gan 徐幹, the author of Balanced Discourses, developed the tradition from Xunzi 荀子 and other Confucian thinkers in putting Confucian ideas into practice particularly during turbulent years. According to texts passed on to today, the study of poetry in Balanced Discourses mainly focused on Mao Commentary, accompanied by Han 韓, Lu 魯, and other texts. Previous studies, including Chen Qiaozong’s 陳喬樅 and Wang Xianqian’s 王先謙 examinations of Balanced Discourses for the meaning of Lu, and Ma …

史家風神與金石體制 : 以明清時期的韓、歐碑誌高下論爲中心, Qi Hu

嶺南學報 Lingnan Journal of Chinese Studies

明清人關於碑誌文體的討論中，韓愈、歐陽修的高下品評是一個值得注意的問題。在具體作家、作品評價的背後，實際上潛藏著有關碑誌文類源流正變的整體觀念，牽涉到知識資源、理論架構以及審美判斷之間的複雜互動。茅坤以歐高於韓，背後的觀念是將碑誌文溯源到史傳傳統，以《史記》爲標準衡量唐宋古文創作。從明代到清前期，這一思路乃是古文家分析碑誌文的主流，不論贊同還是反對，士人大多接受其觀念預設。然而，清代金石學蔚興，爲碑版文字的研究提供了新的知識資源。姚範、姚鼐、章學誠等主張突出碑誌作爲“金石之文”的屬性，與“史家”區隔，以此爲韓愈辯護。對金石傳統的體認，刺激學者從新的角度考慮碑誌文寫作中的“正”“變”問題。另一方面，金石學的風氣進一步引發了對漢魏碑文的好尚，使得韓、歐代表的唐宋碑誌傳統本身受到了質疑。即使是以韓、歐爲正統的古文家王芑孫，也不得不撰寫考索漢魏六朝碑碣的專著，以此反過來證明韓、歐碑誌的價值。韓、歐碑誌的評價問題，正可以折射出傳統文章學内部“知識”與“理論”二端如何互相影響而又互相制約。

The ranking of great authors has always been a core subject of the canonization of a certain literary genre. As for beizhi 碑誌 (tomb inscription) written in guwen 古文 (ancient-style writing), competition between the mode of Han Yu 韓愈 and that of Ouyang Xiu 歐陽修, is the most controversial issue for Ming-Qing scholars. This article aims to explain the theoretical basis upon which such debates were generated. Scholars who insist on the superiority of Ouyang Xiu generally consider tomb inscription as a sub-genre of historical writing and therefore regard Sima Qian’s 司馬遷 Shiji 史記 (Records of the Grand Historian) …

Connotations And Characteristics Of The Public And The Private In Classical Chinese Poetics: A Case Study Of Zhang Xuecheng's Idea "Publicness Of Language", Qingyu Yan

Theoretical Studies in Literature and Art

Issues of the public and the private have been discussed thoroughly in the history of thought, while it is yet to be developed in the field of literary history. Zhang Xuecheng's idea of "publicness of language" can be regarded as an inspiring beginning. From Zhang Xuecheng's perspective, the issues of the public and the private of classical Chinese poetics can be discussed from three dimensions, namely, ownership, originality, and authorship. The tendency of privatization and the balance between the public and the private in classical Chinese poetics is clear in the discussions on the formation of and response to ownership, …

On The Lyrical Tradition Of Chinese Prose, Jianhui Chen

Theoretical Studies in Literature and Art

Chen Shih-Hsiang's argument that Chinese literature is destined to be dominated by lyricism because lyrical spirit is a tradition in Chinese literature has a far-reaching scholarly influence. By tracing the development of the lyrical tradition of Chinese prose, this article summarizes three emotional patterns — "leaving and returning," "joy and worry," and "happiness and sorrow." In terms of lyrical standpoints and content, Western lyricism tend to focus on individual liberations and dreams of an ideal world, emphasizing subject value of individuals and the expression of self-feelings, while Chinese lyrical proses pay more attention to the unity of personal expression and …

On The Genealogy Of Heresy In Revolutionary Literature, Huiying Xie

Theoretical Studies in Literature and Art

In the late 1920s, the debates about the nature, function, direction and position of "revolutionary literature" were accompanied by various conflicting voices. In each stage of the revolutionary literature developed afterwards, there were "alien" elements that diverged from literary mainstream and authoritative discourse. With the development of history, these "alien" authors constantly developed and finally formed a continuous genealogy of heresy. In the context where mainstream culture became increasingly conservative and ideological discipline turned stricter, they were gripped in a historical dilemma. Originally, Chen Duxiu and Lu Xun were two revolutionaries with the same ultimate goal, but they had different …

The Emergence And Development Of "Chinese Aesthetics" In The Modern Times: A Historical Inquiry , Qiang Zhao

Theoretical Studies in Literature and Art

Over the last century, the legitimacy of Chinese aesthetics has been gradually confirmed in the studies of aesthetics and the writings of the history of aesthetics by Chinese and Western scholars. Cultural exchanges between China and the West have promoted the indigenization of aesthetics in China and deconstructed the universality of Western aesthetics, thus giving rise to the plural concept of "world aesthetics", which paved the way for the modern construction of "Chinese aesthetics". Due to its importance, the way to interpret Chinese aesthetics has become "the meta-question" that promotes the study and writing of the history of "Chinese aesthetics".

"New Literature" And "Old Tradition":The Interaction Between Modern And Traditional Zhanghui Novels, Bingru Guo

Theoretical Studies in Literature and Art

The Zhanghui novel epitomizes classical Chinese fiction and is one of the main constituents of its narrative tradition. The different and varying understandings of zhanghui novels by new literature in different historical periods influenced not only the relationship between new literature and "old tradition," but also, significantly, the concept of modern fiction and its creative practice. Despite Western literature's impact on modern Chinese fiction, it still developed in close relation to old traditions, including the zhanghui novel. This phenomenon displays new literature's complicated relationships with literary tradition, historical context and social reality, as well as its historical trajectory of genesis, …

The Receptive Dimension Of "The Music Of Today Derives From The Music Of Antiquity", Miaodan Chen

Theoretical Studies in Literature and Art

The discussion between Mencius and the King Xuan of Qi on music was aimed at political benevolence, and "the music of today derives from the music of antiquity" was not Mencius's deliberate theorization. As this concept has no further elaboration in its original context, it has caused intellectual controversies for later generations. Basically, scholars of the Song dynasty denied the notion from historical and Neo-Confucian perspectives, while those of the Yuan, Ming, and Qing dynasties accepted it by justifying the value of "the music of today." Among the supporters, there were two different voices, that is, to consider "the music …

From "Image" To Simulacrum: Derrida's Discussion On Writing, Shubao Dong

Theoretical Studies in Literature and Art

Writing is one of the key words in Derrida's deconstructive philosophy. In his Of Grammatology, Derrida refers to the claims of writing from Plato to Rousseau and down to Saussure, confuting their idea that "writing is the image of speech". However, Derrida, inspired by Saussure's principle of difference that "in language there are only differences," and expounds the relationship between writing and difference, by which he transforms Saussure's static difference into the dynamic difference. Writing plays the game of difference in simulacra, and fills up the simulacrum in the supplemental movement of "image", Writing finally becomes a roaming orphan, which …

Political Or Ethical: Chen Duxiu's Motive For Writing "Towards A Literary Revolution", Xu Xu

Theoretical Studies in Literature and Art

Chen Duxiu's motive for writing "Towards a Literary Revolution" has been widely understood on the political level. This conception is based on its historical consequence and therefore controversial among scholars. To put the article into its original context, a solid correlation can be found between the debate on literary revolution and the slogan of "reforming national characters." Combined with the anti-Confucian revolution back then and the textual performance of the article, it can be argued that, for Chen Duxiu, the concern of ethics was more imperative than that of society or politics. In this view, to reconnect "Towards a Literary …

The In-Betweenness Of Humankind And Thing: A Crisis Of Modernity From The Perspective Of Philosophy Of Technology, Zhengbo Zhang

Theoretical Studies in Literature and Art

The harmony between humankind and Thing is the normative basis on which ecological balance and stable social development are maintained. With the development of industrial revolution, information technology, and neurosciences, this due harmony has been disturbed by such crises of modernity as the schism between humankind and Thing, the excessive connection between humankind and Thing, and the bewildered in-betweenness of humankind and Thing. These predicaments may lead to consequences like ecological imbalance, moral bankruptcy, emotional distortion, and even the destruction of human beings. In this regard, it is through returning to the "undifferentiated world," facilitating the mutual exchange between humankind …

The Innovation On Early Modern Language And The Change Of Fiction's Language Style, Xiaojun Liu

Theoretical Studies in Literature and Art

The change of early modern fiction's language style was closely related to the language innovation movement. Under the impetus of the movement of oral-written languages integration and the movement of national language unification, the language style of early modern fiction saw a decline in the influence of classical Chinese language and an increase in vernacular Chinese language. In this process, vernacular Chinese language absorbed the essence of classical Chinese language, received the influence of translated works, and combined the elements of classical and mandarin Chinese languages, thus forming a heteroglossia style. The completion of the change in the style of …

The Paradox Of "Self": New Literature's Ethical Problems Of "Individual Liberation", Jianhua Song

Theoretical Studies in Literature and Art

The new literature relies on the form of "natural person" to pursue the ideals of "self" and "freedom", which indeed promoted the historical progress of Chinese society. However, this type of absolute "self" and "freedom" also directly destabilized the ethical relationship in traditional culture, thus making people's behavior disordered. Once the "self" was placed above society and broke away from the control of social moral norms, the opposition between the "self" and society emerged, and the "self" eventually fell into ideological confusion as it could no longer exist. For new literature, the shift from blind optimism to rational thinking in …

An Analysis Of The Phenomenon Of Titling Fu With Poetry In The Tang Dynasty, Haoyu Tang

Theoretical Studies in Literature and Art

Poetry and fu (prosy ode) both flourished during the Tang dynasty, and thus with the mutual infiltration and development of poetry and fu, there was a phenomenon of using poetical lines in the title of fu, which influenced its content and purport. This phenomenon also reflected similarities and differences of poetry and fu in expressions and characteristics, and clearly revealed the trend of confluence of poetry and fu in the development of literary styles during the Tang dynasty. This article lists all the works in The Complete Fu of the Tang Dynasty that used poetry in titles and analyzes their …

On The Experiential Basis Of Beauty, Hongxiang Li

Theoretical Studies in Literature and Art

The concept of beauty has been abused in contemporary popular aesthetics, which attributes the beautiful to the superficial experience of human body and fails to understand the spirituality of true beauty. In contrast to beauty in everyday sense, true beauty exists in ecstasy, a holistic experience integrating body and mind, in which people may feel a transcendental sense of reality. Different from pathological illusion, the ecstatic sense of beauty signifies nature's manifestation in human life and testifies to the intrinsic harmony between humankind and the universe. Through the lens of ecstasy, this article examines true beauty in three dimensions: reflections …

The Artistry In The Historical Storytelling Scripts Of The Song And Yuan Dynasties, Dajun Xu

Theoretical Studies in Literature and Art

The Song dynasty saw the development of telling historical stories in both official functions and folk gatherings, and both occasions reflect the popularization of historical knowledge not only in these occasions but also in the sociocultural environment. Artisan's storytelling performance and popular history books represent two representational forms of the oral and written products, and historical storytelling scripts thus emerged. These scripts are the results of the popularization of historical knowledge, the prosperity of popular historical books, the attitude to and the ability in vernacular Chinese during the Yuan dynasty. In this process, the style of expression of historical storytelling …

The Diversification Of Poetic Preferences In The Light Of The Ranking Of Su Shi And Huang Tingjian In The Late Northern And Early Southern Song Period, Guochao Liu

Theoretical Studies in Literature and Art

As two prominent representative poets in the Northern Song dynasty, Su Shi and Huang Tingjian set the key of poetry of the Song dynasty. The ranking of Su and Huang against each other has always been contested in poetry criticism of the Song dynasty. The first wave of the contention culminated during the two Song Dynasties, when there appeared tour types of critics, namely, "Huang-esteemers," "Esteemers for both Su and Huang," "Su-esteemers" and "Censurer of both Su and Huang". The appreciation of Su and Huang's poems and the transformation of critical practices during this period reflected the diversification of poetic …