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The stylistic paradigm of modern Chinese prose poetry and drama mainly includes genre paradigm, artistic expression paradigm, language paradigm, and stylistic style paradigm. The genre paradigm of modern Chinese prose poetry and drama is expounded from three aspects: prose genre form, poetic genre core and dramatic genre characteristics. In terms of the language expression paradigm of modern Chinese prose poetry drama, it mainly includes easy-to-understand, straightforward and clear verbal expressions, as well as indirect and subtle verbal expressions with a lingering aftertaste. In terms of the hybrid paradigm of language, the hybrid paradigm of modern Chinese prose, poetry and drama language is mainly manifested in the hybridization of spoken and written language, and the hybridization of Mandarin and Europeanized languages. In terms of rhetorical paradigm, the use of rhetorical figures such as "symbol" and "opposite and complementary" is expounded. Symbols and metaphors, irony and irony, contradictions and paradoxes are some of the most common artistic expression techniques in the creation of modern Chinese poetic dramas, especially prose poetry dramas, and they are also interpretation objects that need to be distinguished carefully. The stylistic paradigm of modern Chinese prose poetry drama mainly includes serious and profound objective representation, elegance and abstract intellectual speculation, and solemn irony of internal and external conflicts.

This book takes representative novel texts in modern and contemporary Chinese literature as its object, adopts critical methods dominated by gender theory and feminist narratology, and explores the relationship between narrative and gender in modern and contemporary Chinese novels. It aims to open up the channels of internal research and external research in literary research, thereby grasping the creative characteristics of modern and contemporary Chinese literature, and contributing to the creation and theory of contemporary Chinese literature.

Doris Lessing is a contemporary British female writer with world influence. The study of this book focuses on the novels written by Lessing from 1950 to 1970. Through the investigation of the narrative art of his novels, it reveals the writer's social thinking, political ideals, literary attitudes and cultural stance. The first part combines the writer's personal experience, ideological process and social, historical and cultural changes to sort out the history of Lessing's novel creation; the second part conducts a comprehensive investigation of "The Golden Notebook", starting from multiple levels such as "double clues", "time art", "space processing", "narrative mode" and "body metaphor", and explores how Lessing integrates social and political criticism, women's life thinking, individual spiritual exploration and novel art, making the work a grand epic of contemporary social ideological criticism.

This book is a collection of some papers from the "International Academic Symposium on Chinese Literary History Concepts and Literary History Research" jointly sponsored by the editorial department of "Literary Heritage" and Ocean University of China. It is divided into two parts: the upper and lower parts. The first part focuses on the issues related to the concept of literary history and the writing of literary history, while the second part mainly conducts case analysis on literary history topics related to poetry, poetry, prose and other genres. The argumentation has diverse perspectives and novel ideas, and has important academic value in promoting and deepening the literary history concept and literary history research.

This book is the first to conduct a comprehensive comparative study of the traditional literary theories of Han and Tibetan people. The Chinese nation has fifty-six ethnic groups, of which the Han nationality is the majority. Other ethnic minorities are important members of the Chinese family. They have created splendid culture in history and made certain contributions in literary theory. The Tibetans are important representatives. Our current history of ancient literary theory failed to well absorb the literary theories of ethnic minorities, and in fact became the history of Han literary theory. Therefore, it did not fully display the broad and profound content of Chinese literary theory, nor did it reflect the rich and diverse true style of Chinese literary theory. Previous research on ethnic minority literary theory generally focused on separate formations, sorting out and summarizing their respective development histories and characteristics, and lacked an overall comparative study on the exchange and integration of Chinese literary theory. This book comprehensively compares Tibetan literary theory with Han Chinese literary theory. It is an attempt to conduct an overall study of Chinese literary theory, an expansion of the research horizons of traditional Chinese literary theory, and an exploration of research paths for ethnic minority literary theory.

The academic journal "Humanities" is sponsored by the Institute of Advanced Humanities of Henan University, edited by the editorial department of "Humanities", and published by China Social Sciences Press. "Humanities" adheres to the correct guidance of public opinion and the purpose of publishing the journal, insists on putting social benefits first, and pays attention to content construction and journal quality. "Humanities" centers on humanistic care, highlights academic originality and the dissemination of new knowledge, focuses on empirical research, encourages comprehensive innovation, and strives to integrate various disciplines, explore various academic thoughts and historical and cultural issues, promote in-depth thinking in different knowledge fields, and showcase new achievements in Chinese ideological and academic circles. The journal "Humanities" strives to provide a platform for the academic community to publish high-quality academic results, and to work with academic friends to contribute to the development of Chinese academics in the new era. Humanistic care, academic quality; highlighting new insights, both literary and intellectual beauty. This is our pursuit. A serious and high-grade academic and cultural journal is our goal. The articles published in this journal strive to have a clear awareness of issues, have great theoretical significance, reflect the academic level of the subject, and reflect the research frontiers and hot spots of the subject; the articles strive to have solid materials, full exposition, clear explanations, prove new insights, and suggest things that have not been published before. In addition to the main articles, "Humanities" has additional columns such as "Dialogue", "Xuelin", "Notes", "Books", "Historical Materials" and "Book Reviews" to reflect the research results of scholars in multiple forms and levels. The articles in "Humanities" are mainly academic articles (essays), but ideological academic essays and other forms of academic articles are also welcome. We welcome any article that involves humanities, thought, academia, culture, etc., Has new ideas, is clear and fresh in writing, and is carefully written.

This book takes contemporary black British novels as the research object and is divided into two parts: construction and change. The former mainly shows the process of black immigrants struggling to survive and construct their identity in British society; the latter explores the role of black immigrants in Britain in the process of changing Englishness to Britishness. The core idea of ​​this book is that the process of black immigrants' existence in Britain is a process of construction and change. Contemporary black British novels are an important part of contemporary British literature. A systematic study of them will help to better grasp the process and trend of contemporary British literature, and better sort out the inheritance and development of British literary tradition. In addition, contemporary black British novels are a mirror of British ethnic literature. The study of them can help to more thoroughly examine the development of British ethnic literature, see through the development and changes of British culture, politics, and economy, and provide a literary perspective for its research.

Based on the background of the cultural environment of the new century, this book combs and reflects on the development of Chinese New Poetry Theory over the past century, and discusses certain regularities; it elaborates on the tradition of Chinese New Poetry, the basic character of Chinese New Poetry Theory, the historical development of Chinese New Poetry Theory, and the modern transformation of Chinese New Poetry Theory; it reviews relevant theoretical schools, representative poetry critics and poetry theoretical works; and combines Chinese poetry with The writing of the contemporary volume of Getong History combs the development of contemporary Chinese poetry and pays attention to the theoretical issues involved; at the same time, it also casts its sights on the contemporary poetry world, examines the current poetry ecology of China, and pursues and analyzes the phenomenon of contemporary poetry since the reform and opening up. It also introduces Mr. Wu Sijing's academic relationship with the poetry theory journal "Poetry Exploration" in order to arouse everyone's further thinking on the theoretical construction of new Chinese poetry in the new century.

This book has five columns: Cultural Tradition and Transformation of Modernity, Ancient Literary Theory, Western Literary Theory, Text Criticism, and Translation. It includes articles such as "On the Importance of Chinese Traditional Culture in the Construction of Zhu Guangqian's Poetry", "On the Reality of Art", "Literary Classics and Their Canonization", "Looking at Zhao Puchu's Interpretation of Painting from Poems on Paintings and Poems on Paintings", and "What is Criticism".

This book aims to re-examine the shortcomings and deficiencies in domestic Woolf research and change the stereotype of Woolf in the minds of domestic readers through a systematic review of Woolf research in the English-speaking world and a detailed interpretation of major issues related to the development of Woolf research. The first three chapters of the book unfold in diachronic order, using a comparison between China and the West to show the status and main concerns of Woolf research in the English-speaking world at different stages. The last two chapters focus on important issues in Woolf's research that have not received enough attention in the country. By sorting out the history of Woolf research in the English-speaking world, examining Woolf research from different critical perspectives, and comparing the similarities and differences between Woolf research in China and the English-speaking world, the author further explores the commonalities and differences between researchers in different civilization systems when they examine the same writer.

The book is divided into nine chapters, selecting nine categories of poems for evaluation and appreciation, including the most distinctive poems of the Tang Dynasty, such as separation from friends and friends, homesickness while traveling, love and palace resentment, love and marriage, mourning for immortals, chanting about things and aspirations, chanting about history and remembering the past, landscapes and pastoral, and frontier fortress battles. The poets selected are mainly first-rate poets, as well as second-rate and third-rate poets. The selected poetry list not only pays attention to the reception history of Tang poetry, but also refers to the required reading list of ancient poetry in basic education and the value orientation of national reading. 233 Poems by 85 poets are selected, focusing on the emotional characteristics, main content, and artistic techniques of each type of poem. Each chapter uses a close-reading analysis of the Chinese text to appreciate three or four poems. The outline-based appreciation and the comments on famous sentences complement each other, and the details are appropriate and complement each other. The purpose of elucidating the subtleties is to deeply explore the aesthetic fashion and cultural value of each type of poetry, and lead readers through the historical tunnel to appreciate the culture and art of the Tang Dynasty, thereby promoting traditional culture and improving readers' aesthetic ability.

This book stands at the academic forefront of the global context, focuses on the main literary trends of the 1980s, and puts forward the important proposition of "literary self-confidence." By analyzing the text characteristics, aesthetic styles, spiritual pursuits and feelings of family and country of representative writers of literature in the new era, it comprehensively, objectively, truly and vividly presents the unique character of literature in the new era in world literature. The study found that: when economic globalization increasingly demonstrates China's influence, the literature of the new era that accompanied the historical process of reform and opening up not only turned in heavy answers in the world literature examination room and won the respect that international colleagues deserved, but also answered the question of what kind of cultural consciousness and cultural confidence Chinese writers with the rise of the economy should use to write Chinese stories, highlight China's position, and serve as an important window for foreign audiences to understand the real China.

As a popular reading about Yuan opera, the first part of this book comprehensively introduces the basic knowledge about Yuan opera, especially Sanqu, and points out the methods of composing Yuan opera. The lower part selects representative works, indicates their format (number of words, sentence patterns, rhyme and antithesis requirements, etc.), Distinguishes the orthographic characters and lining characters, and adds detailed annotations, so as to provide reference for fans of Yuan opera to increase their appreciation level and improve their ability to compose Yuan opera. The author has done in-depth research on the rhythm of ancient poetry and music. The introduction of Yuan opera in the book is very informative. At the same time, because the author has formulated strict selection criteria, this book can also be regarded as a good selection of Yuan opera.

This book is divided into theoretical and practical chapters with a total of 8 chapters. The content includes: the history of reading, the meaning of reading, reading objects, types of reading, speed reading skills and training, intensive reading skills and training, whole book reading steps and skills, and reading methods and training of literary works.

Did the new Chinese vernacular poetry only originate from sporadic attempts by overseas students? This book strives to collect and organize the achievements of early new vernacular poets in Sichuan in terms of poetry and poetic theory, presenting a rich landscape of the birth of Chinese new vernacular poetry, thereby filling an important gap in the history of new poetry.

The New Poetry Anthology has had an important influence in the process of dissemination and canonization of modern vernacular new poetry. The earliest known anthology of new poems, "New Poems (Part 1)", was published in January 1920, two months earlier than Hu Shi's "Anthology Collection". Compared with the publication of personal poetry collections, various "new poetry anthologies" that collected new poems from various schools not only had a profound impact on the literary world at that time, but their research value deserves the attention of today's scholars. However, anthologies of early vernacular poetry are still scarce documents and have never been seen by most readers except for a few poetry literature experts. "Three Selections of Early Vernacular Poems" includes "Collection of New Poems (Part 1)" (published by the Publishing Department of the New Poetry Society in January 1920), "Selected Collections of Classified Vernacular Poems (One: Five Hundred New Poems)" (published by Shanghai Chongwen Bureau on August 8, 1920) and "Annual Selections of New Poems (1919)" (Published by Shanghai Yadong Library in August 1922), these three poetry anthologies are the earliest known vernacular poetry anthologies, and their selections are precisely the new vernacular poetry of the "May Fourth Movement" period. These three documents are of great benefit to poetry lovers and modern literature researchers in re-understanding early new vernacular poetry. For the convenience of readers, this book has reorganized and arranged the original works while converting them into traditional and simplified versions. While complying with the new publishing standards, this book presents these three poetry selections as closely as possible to the original text for the enjoyment of readers.

The author focuses on and traces how during the Northern Song Dynasty, lyrics evolved from performance texts for banquets to add to the entertainment, through the processes of creation, singing, copying, and collection, and finally evolved into an independent literary genre, gradually gaining an orthodox status alongside poetry. On the one hand, Yuwen Suo'an regards the history of Ci as "the history of Ci collections" rather than "the history of Ci poets" from a new perspective such as performance practice, text dissemination, author issues, compilation and evolution of Ci collections; on the other hand, he also pays close attention to representative Ci poets such as Liu Yong, Yan Jidao, Su Shi, Qin Guan, He We conduct textual interpretations of the works of Zhu Zhu, Zhou Bangyan, Li Qingzhao and others, analyze their different stylistic characteristics and the correlation and influence between them, and strive to present the diachronic development of Ci and its authorization, stylization and canonization process from multiple levels.

This book aims to create a window to display the research results of Chinese literary thought, to deeply explore the rich connotations of literary concepts, theoretical categories, academic methods and historical development clues in China's excellent traditional literature, to display the original results of Chinese scholars' theoretical methods, to provide useful ideological resources and theoretical reference for the construction of today's literary theory, and to enhance the influence and competitiveness of Chinese culture.

Li Baotian's paintings and words are wild. This wild place carries the unique history of his generation. This book is based on his paintings and writings, and attempts to reflect the personal spiritual history of a person of the same age in the Republic, from the youth of the 1960s, to the miserable youth of the 1970s, to the passionate years of the 1980s and 1990s, and to the old age in the new century. The content of this book is divided into three parts: autobiography, paintings, and art. Whispering is a kind of impromptu interpretation that goes along with the painting. It is often unsystematic and lacks logic, but the sudden flash of inspiration can make people enlightened. The article part is self-contained and outlines Li Baotian's life in the form of words in addition to paintings. It is not as intuitive as a painting, but because it is all based on imagination, it often brings readers closer and closer to the subject. The structure is based on time, starting from sketches in the late 1970s, to self-portraits in the 1980s, pen drawings in the 1990s, and plant and flower paintings since the new century. Li Baotian constantly tries new experiments and new feelings between myself and objects, people and scenery, which is painful and infuriating. Eventually I forget both things.

Female writers are natural life guides, pointing out the map of life delicately, thoughtfully and movingly. The author of this book will take you into Ji's home, learn about the four seasons of her life, her family, get to know the vendors at the Dongshan vegetable market in Guangdong, and the young master Dongshan, take you to taste the spinach from the south, and walk the century-old Peizheng Road... In this line drawing of daily life, you will feel the unique interest in traditional family life and the beauty of human kindness like the warm sun in winter.

"Song of the One Who Makes a Wish" is a new work written by the writer Ma Mingbo after visiting the famous Buddhist mountain Mount Emei. The author took the opportunity of his visit to Mount Emei to describe what he experienced, saw and heard during the journey in popular and beautiful prose, supplemented by Buddhist stories and folklore related to the scenery, objects and people, as well as enlightening philosophical stories, showing the wisdom and philosophy of life. The starting point of the mountain climbing is Jinding, and then you go down step by step, and finally you come to the lower bridge of Mount Emei, and the mountain climbing ends. The author uses the places where his footsteps have been as narrative clues. He walks, reads, writes, and understands while walking. As a traveler, witness, and recorder, there are all kinds of incredible causes and conditions that cannot be described in words.

This book takes the Soviet writer Sholokhov's novel "The Quiet Don" as the research object. Through the analysis of the image and life course of the novel's protagonist Grigory Melehov, it interprets the Don Cossack group's spiritual pursuit of independence, freedom, justice, peace, homeland and ideal love as its main content. It also explores the tragic historical fate of this group's pursuit of failure in the era of war and revolution in the early 20th century. Sholokhov took historical reality as his basic creative principle and vividly revealed this historical necessity.

By conducting a horizontal and vertical review of texts from different periods and sequences in Western history, this book strives to find multiple perspectives for understanding the texts, and explores how the "progress narrative" formed, implicitly or explicitly, "before modernity." This book is directly inspired by reality. After all, we living in "postmodernity" are still somewhat inspired by the promise of "progress", and this promise does not come directly from classical China. Exploring the origins of the stories and concepts of "progress" in the West is not only relevant to knowledge, but also to our daily lives. Texts and concepts are not the products of industrial lathes, nor are they the food grown on the land, but the products of thinking - the direct soil where thinking phenomena occur is the history of thinking itself. Out of respect for this basic reality, the tracking of "progress" in this book will be based on grasping the spiritual context and spiritual motivations on which this narrative and conceptual system is generated.

This monograph integrates historical context, theoretical research and literary reading practice. It adopts multi-faceted gender theory and body theory in the field of current African American literature and cultural criticism. It starts from the text and adopts the principle of combining theoretical analysis and text close reading. Focusing on the three dimensions of gender, body and history, it conducts in-depth research on the body in the novels of African American female writer Toni Morrison. At the same time, this book also conducts a single analysis of issues such as race, identity, and social class reflected in Morrison's works from a multi-faceted feminist perspective, and strives to expand the research on Morrison's works.

Whether in China or the West, in literature and art, "surprise" is a hidden topic that has received widespread attention and has been mentioned by commentators throughout the ages. In the history of Western philosophy, it is generally believed that philosophy originated from surprise. The ancient Greeks were even more surprised by the harmony between man and existence and the unity with all things. Surprise has always been imbued with a strong aesthetic color in ancient Chinese literature and art. It can also be said to be one of the highest value orientations of its literary and artistic ideals. The so-called "words that are not surprising will never stop", "the pen falls in the storm", "the poem becomes so weeping ghosts and gods", etc. Can be regarded as unique descriptions of the aesthetic effect of surprise. Excellent literary and artistic works can often cause strong psychological shock in the recipients, and with their strong artistic appeal, they are repeatedly chanted and amazed by future generations. Wandering around in this kind of works is like wandering in Zhuze or Denglin, wandering with your eyes wandering, feeling your spirit galloping, your soul swaying, and your heart startled. At the same time, you feel as if you have reached a state of freedom and carefreeness, and you can get a materialized aesthetic psychological feeling. It is an indescribable spiritual meeting and spiritual connection, "peak beauty" and "peak passion". At the moment of greatest emotional concentration, you can indulge in the surprising moment of aesthetics and enjoy the passion and joy that comes from it. It can be said that surprise makes the object suddenly open up from its daily concealed state, showing an aesthetic charm that is rarely seen in ordinary times.

This book takes Nie Hualing, Yu Lihua, Bai Xianyong and other writers who studied in North America from Taiwan as the research object, and points out that their creations after the 1980s are quite different from the "overseas student literature" of the 1960s and 1970s. In their later writing, writers integrated into the local culture and constructed their own identity in the United States through writing about their "new home"; they pursued the roots of culture and continued their parent culture through writing about their "homeland"; they used "marginal" writing to reconstruct the identity legitimacy of minority groups and deconstruct the "center-periphery" power structure of mainstream discourse. The "Group of Foreign Student Writers" in North America "goes to the West and returns to the East" with their later writing.

This book mainly re-examines the construction of the history of vernacular literature from the perspective of anti-ancient thoughts, with both historical tracing and synchronic comparison: the former is reflected in the key role played by anti-ancient thoughts in the construction of the history of vernacular literature; the latter can be seen in Hu Shi and Gu Jiegang's discussions on the methodology of constructing the history of vernacular literature, the theory of folk literature, and the relationship between the history of vernacular literature and nationalism. For the first time, this book regards Gu Jiegang as a key figure who jointly constructed the history of vernacular literature with Hu Shi. In short, this book involves not only a discussion of the history of vernacular literature, but also a review and revaluation of modern academic history.

This book starts from the rise of the new view of nature in the Wei and Jin Dynasties, and studies the relationship between the view of nature and the new changes in poetry in the Wei and Jin Dynasties. Through the study of the thoughts of various schools of thought in the Han, Wei, and Jin Dynasties, the first part outlines the impact of changes in the view of nature on the scholars' thinking styles, values, and emotional orientations. The second part analyzes and explains the new changes in poetry in this period at the level of natural view through the investigation of the issues of heaven and man, life and death, origin, and emotion in the poetry of the Wei and Jin Dynasties, and demonstrates the relationship between the changes in the view of nature and the development of poetry.

Calcutta, the capital of British India, was once the "Gateway to the Empire" and the largest city in Asia. It was the center of India's industrial and cultural development and gave birth to Rabindranath Tagore, Vivekananda, Satyajit Ray... As a trading port established by the British on the Ganges, this city was originally composed of immigrants from all over the world. People came here from across the ocean, formed communities, and settled down on this land. But in the 21st century, Calcutta's status is no longer what it used to be, and young people have to leave their hometowns and go to more developed European and American countries in order to make a living. It was at this time that Kushanava Chowdhury, who had emigrated many times, came back - he graduated from Princeton University and received a doctorate from Yale University. He gave up his job in the United States and returned to the city abandoned by his immigrant parents to re-examine this "child of yesterday" who grew up between rivers and swamps...

The "fishing" behavior in the Western context is not an ordinary fishermen's livelihood, but a sexual behavior with male heroic cultural connotations. In the long history of Western culture, many classic narrative texts use the act of "fishing" to characterize the masculinity of heroic characters. From the perspective of cultural anthropology, this book deeply explores the cultural memory carried by Western "fishing" behavior. This article also starts from the perspective of sexual attributes research, taking the Hemingway phenomenon in the real world and the Hemingway phenomenon in the text world as examples to systematically demonstrate the importance of the Western cultural connotation of "fishing" behavior to the study of American masculinity.

Based on an intensive reading of the original classics and literary texts of Asian American criticism, on the one hand, this book conducts a diachronic examination of the process of Asian American literary criticism, grasping the fundamental critical paradigms and theoretical keywords for in-depth analysis and research; on the other hand, it conducts a horizontal comparative study of these critical paradigms and theoretical keywords and closely related contemporary Western literature, cultural trends and theories to reveal its complexity. This book extracts the paradigms, core discourses and theoretical keywords of Asian American literary criticism that have not been touched upon by critics and have not been studied in depth. It systematically explains the historical, social and cultural context of its emergence and its development trajectory, analyzes its historical contribution and limitations to Asian American literary criticism, and its positive and negative effects on the construction of Asian ethnic subjectivity and ethnic development.

Ancient poetry is a dazzling pearl in the history of Chinese literature. After thousands of years, it is still dazzling. "An Ancient Poetry Every Day" is based on the concept of simplicity and elegance. Among the vast and complex classical poems, it selects famous works, including the fantasy and magnificence of the Pre-Qin Dynasty, the elegance of the Han and Tang Dynasties, and the elegance and sentimentality of the Yasong Dynasty. It forms an ancient and beautiful picture full of vitality, taking readers to easily travel through the ages, feel the purest and most sincere classical feelings, and let the soul find a poetic dwelling place in the noisy and impetuous life.

This book is a collection of essays by young writer Wang Lu. It is divided into five parts: "Earth", "Sentiment", "Traveler", "Time" and "Chunhui". The article was written in the past ten years, and sometimes the content can be traced back to twenty or thirty years ago, showing the affectionate partings and reunions, and the imprints left by Qiu Su and Chun Mi in the world.

In September 1928, "Morning Blossoms Plucked at Dusk" was first published by Beijing Weiming Publishing House, nearly a hundred years ago. The first edition of "Morning Blossoms Plucked at Dusk" was edited and finalized by Mr. Lu Xun, and included 10 retrospective essays he wrote in 1926. The articles in the book were initially published in the bimonthly magazine "Wangyuan" under the general title of "Revisiting Old Things". In 1927, Lu Xun re-edited the book in Guangzhou, added a "Xiaoyin" and "Postscript", and renamed it "Chaohua Xixi" (later "Chaohua Xixi"). The cover of the book was designed by Lu Xun's friend and painter Tao Yuanqing. It was loved by readers as soon as it was launched and is still an irreplaceable classic version today. In this reprint, we focus on recreating for readers the original appearance of the first edition of "Picking Up Flowers in the Morning and Evening." In terms of editing, in addition to converting the traditional vertical layout of the first edition into the simplified horizontal layout, only a few text, punctuation and intellectual errors in the first edition were corrected. A large number of Lu Xun's customary words, phrases and sentence patterns in the first edition have been retained as they are. In terms of binding, a double cover design is adopted, and the inner cover is the restored original first edition cover. Mr. Lu Xun's works remain timeless. I hope this reprint of "Picking Up Flowers in the Morning and Dusk" can accompany readers and make them fresh every time they read it.

"General Course on Literature of Southwest Associated University" is the essence of the profound knowledge and magical thoughts of the geniuses, ghosts, geeks and madmen of the School of Liberal Arts of the Associated University. It is a collection of lecture notes and academic achievements of five masters: Zhu Ziqing, Hu Shi, Wen Yiduo, Chen Yinke and Pu Jiangqing.

A unique guide to the European and American literary world in the 20th century, a collection of twenty years of classic critical articles by the well-known translator and book reviewer Huang Yuning. This book contains a series of descriptions and interpretations of foreign literary works, literary phenomena, and the lives of famous writers. It is packed with stars, including the personal experiences and writing processes of Capote, Conan Doyle, Fitzgerald, Joyce, E. B. White, McEwan and others. Huang Yuning made vivid comments from a unique perspective, telling the stories of writers who are "not widely known". The book also contains a large number of first-hand materials from famous writers, restoring the real life of these people in a humorous way.

This book is the author's second collection of drama criticism, which collects some of the drama criticism articles written by the author in the past ten years. These articles were mainly published in major mainstream media and professional drama magazines in Shanghai and Beijing, totaling more than 170 articles, covering dramas, children's plays, burlesques, radio dramas, and operas and folk arts such as Beijing, Kunming, Yue, Shanghai, Huai, Guangdong, Shanxi, Qinqiang, Huangmei, Pingtan and other operas. Most of these drama reviews have made comprehensive or focused perspectives and reviews on the drama's script, direction, performance, scenery, lighting, music, character modeling, etc. From the perspective of drama aesthetics. The article contains the author's own unique insights, fully affirming the artistic achievements of the work and pointing out its shortcomings, with enthusiastic praise and encouragement as well as sincere criticism and suggestions. The author compares them to a number of colorful shells picked up in the sea of ​​drama, and carefully appreciates and polishes them carefully.

Poverty alleviation is a task that our country has always pursued unremittingly, and has received consistent attention from national leaders. This book is a poverty alleviation diary of an aid cadre, including the fragrance of chrysanthemums in the mountains, searching for the source of happiness, how to retain the most beautiful nostalgia, worries deep in the mountains, what to rely on to cure poverty and stupidity, it is difficult to be a village cadre, the pain and joy of the first secretary in the village, industrial poverty alleviation is a "hard bone", "big brother" must really take the lead, and it is really important to break policy barriers, etc.

The author of this book has conducted many on-site interviews and surveys, and presents the advanced deeds of the model judge Zhai Shuquan in detail in the book, which reflects his unique mode of hearing disputes and his persistence in the duties of a judge: including the "village judge" who sticks to his faith, his wife and daughter's eyes, standing straight and sticking to poverty, persistence is the essence of human beings, there is a scale above the "emblem of the law", gold is found when the wind blows the yellow sand, he develops the skills of mediation and trial, the "poor judge" represents positive energy, the court is not a divorce machine, etc.

This book is one of the "Red Starting Point" series of books and is a documentary literary work. Based on the detailed historical data from newspapers and periodicals, the author systematically sorted out the current events that happened in Shanghai in July 1921, and described the story of Shanghai in that hot summer day by day. The story contains both the undercurrent of the revolutionary wave and the daily life of ordinary people; it includes the feasting and feasting of high-ranking officials and wealthy businessmen, as well as the ups and downs of traffickers and lackeys, trying to restore a real Shanghai. From this perspective, this book can also be regarded as a history of Shanghai and a history of citizens' lives, from which readers can experience the solid foundation of Shanghai's red culture and urban changes.

Jean Baudrillard is a world-renowned postmodern theorist. But in front of interviewers and audiences, he became an excellent speaker, sharing his views on theory, reality, and life with enthusiasm and philosophy. This book contains for the first time 25 interviews covering his entire career, spanning the 40 years from 1968 to 2008. These interviews cover a wide range of topics, including major works such as "Consumer Society", "Lethal Tactics", "On Seduction" and "Simulacra and Simulation", as well as his rich life experiences such as his academic career, journey to the United States, and photography practice, as well as his responses to contemporary topics such as terrorism. In this book, we can not only get a glimpse of the scholar's ideological career, but also have a dialogue with such a sincere and profound old friend. These interviews, scattered in newspapers, magazines and journals around the world, may be the most precious and vivid collection of Baudrillard's thoughts in the world.

Rabindranath Tagore, an Indian poet, writer, and philosopher, enjoys a high reputation in the world of literature. In 1913, he became the winner of the Nobel Prize for Literature for his work "Gitanjali". Yeats once said: "Reading a line of Rabindranath Tagore's poems every day makes me forget all the pain in the world." Rabindranath Tagore used poetic language and poetic imagery to write prose, making his prose as natural and philosophical as poetry, allowing all things in the mountains and rivers to be immersed in his world of "the unity of Brahma and me". Even a trivial matter in life can be integrated into the sun, moon and stars, making you feel that time is like a mirror, and the complexity of suffering also has a sense of desolation. This book selects many of Tagore's classic prose pieces, presenting readers with a completely different style of literary master from Tagore who wrote poetry.

From the perspective of literary history, a large number of precious newspapers, periodicals, poems, novels, etc. Related to Macao literature from 1970 to 1974 have been collected and sorted. The manuscripts are divided into years, months, and days, with introductions of the authors and their works interspersed. The information is detailed and classified, with strong information and high academic quality, providing very detailed first-hand information for the study of Macao literature. The publication of this book is to establish a record of the historical development of Macao literature, and to provide reliable clues for the future compilation of Macao literature documents and research on Macao literature.

Zhuhai Hengqin is separated from Macau by a water. It is located at the intersection of "one country, two systems" and the junction of internal and external radiation. It has innate advantages for Guangdong-Macao cooperation. General Secretary Xi Jinping has visited Hengqin four times, setting the tone for the first time, encouraging for the second time, encouraging for the third time, and spurring for the fourth time. He has placed high expectations on the cooperation and development between Hengqin and Macao. Zhuhai Hengqin New Area shoulders the national mission of assisting the moderately diversified development of Macao's economy, takes cooperation, innovation, and service as its development concepts, and takes the construction of an open island, a dynamic island, a smart island, and an ecological island as its main line, and spares no effort to build a new platform for Macao's industrial diversification. It is a vivid practice and achievement manifestation of the great concept of "one country, two systems." This book is based on the development of Hengqin in the past ten years, using detailed information and data to describe all aspects of Hengqin's development, showing the world the vibrant and prosperous Hengqin New District in an all-round way.

From the perspective of literary history, a large number of precious newspapers, periodicals, poems, novels, etc. Related to Macao literature from 1980 to 1984 have been collected and sorted. The manuscripts are divided into years, months, and days, with introductions of the authors and their works interspersed. The information is detailed and categorized, with strong information and high academic quality, providing very detailed first-hand information for the study of Macao literature. The publication of this book is to establish a record of the historical development of Macao literature, and to provide reliable clues for the future compilation of Macao literature documents and research on Macao literature.

From the perspective of literary history, a large number of precious newspapers, periodicals, poems, novels, etc. Related to Macao literature from 1975 to 1979 have been collected and sorted. The manuscripts are divided into years, months, and days, with introductions of the authors and their works interspersed. The information is detailed and categorized, with strong information and high academic quality, providing very detailed first-hand information for the study of Macao literature. The publication of this book is to establish a record of the historical development of Macao literature, and to provide reliable clues for the future compilation of Macao literature documents and research on Macao literature.

This book is one of the "Shanghai Literature Research Series in Overseas Asian Sinology" organized and compiled by the "Chinese Urban Literature Research" team of the Shanghai Academy of Social Sciences. It mainly includes 18 works on Shanghai literature research written by Japanese scholars, which generally reflects the status of Japanese scholars' research on Shanghai literature in the past 30 years. Among them are many works by famous Japanese scholars. For example, well-known scholars in the field of Lu Xun studies, Kiyama Hideo, Maruyama Noboru, and Kitaoka Masako, all have articles included. The purpose is to comprehensively present the research styles and research paradigms of foreign scholars, so as to gain an in-depth understanding of the essential characteristics of Chinese local modern and contemporary literary research on the basis of full reference, and to reflect on the paths, ideas and methods of exploring Chinese modern and contemporary literature in different regions.

This book is one of the "Shanghai Literature Research Series in Overseas Asian Sinology" organized and compiled by the "Chinese Urban Literature Research" team of the Shanghai Academy of Social Sciences. It mainly focuses on the main research results of Shanghai literature in Southeast Asian academic circles since the new century, including the writing of Shanghai in Southeast Asian literature, the literary imagination of Shanghai and even China in the minds of overseas Chinese, etc. The papers included in this book involve many research subjects, such as Lu Xun, Yu Dafu, Xu Zhimo, Zhang Ailing, Yang Sao, Liu Naou, Liu Yanling, Wang Anyi and other writers, all of whom have at least one academically focused article. Vietnamese scholar Nguyen Thu Hien has a unique perspective on the relationship between Shanghai literature and modern and contemporary Vietnamese literature from the perspective of translatology. The appendix has selected several relatively relaxed essays and short interview articles related to Shanghai writers, which can be regarded as a kind of aftertaste, making reading more interesting. This book is extremely helpful for our understanding of literary exchanges between Shanghai and Southeast Asia.

This manuscript tells the story of a group of highly educated intellectuals such as Deng Zhenqian, Tan Zhong, Zhu Yiyue, and Wu Zhonghao who worked hard in Jinggangshan in the 1930s with a firm ideal and belief. These young people are educated, knowledgeable, and passionate. Many of them have sacrificed their precious lives for the cause of the party and the country, and have created eternal monuments with their youth and blood. Using history as a mirror, we can know the ups and downs; using people as a mirror, we can know gains and losses. Especially contemporary young people can learn from this book the fighting spirit of the older generation of college students and draw rich ideological nutrition from it, so as to better shoulder the responsibilities entrusted to us by the people and the mission entrusted to us by the new era.

This book focuses on the main research results of Korean academic circles on Shanghai literature since the new century, including understanding Shanghai literature from Korean literature, or understanding Korean literature from a Shanghai perspective. On the one hand, this book provides us with new ideas for understanding Shanghai literature and literary Shanghai from the foreign perspective of Koreans. On the other hand, it also provides a Shanghai-centered vision platform for the exchange of Chinese and Korean literature. This book is suitable for relevant researchers to read, and can also be used as a textbook or reference book for relevant majors in colleges and universities.