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This book studies medieval epic poems from the perspectives of historical awareness, theme selection, social atmosphere, creative tradition, writing skills, and stylistic interaction. During the research process, we focused on the analysis of the two major themes of medieval epic poems - the scholar theme and the female theme. We deeply analyzed the historical background of the formation of these two themes, and the continuous expansion and evolution of these two themes in their development. At the same time, this book also notices that the development of the theme of historical chanting in medieval times has different interactive relationships with other themes, and focuses on the mutual influence between themes such as narratives of virtue, gifts, nostalgia, frontier fortresses, palace resentments, and historical chanting.

"Chinese and Foreign Literary Theory" mainly collects conference exchange papers submitted by scholars participating in the annual meeting of the society. It also accepts regular contributions from members and domestic and foreign scholars engaged in literary theory research, including academic papers, translations, reviews, book reviews, and valuable research materials. This book contains five parts: research on the Sinicization of Western literary theory, Eastern and Western cross-cultural aesthetics, research on basic Western literary theory, poetics and humanities, and translation, plus two appendices.

The "Serapion Brothers" is one of the most famous literary groups in the history of Russian literature. Its members are a group of talented young people in Petrograd in the 1920s. Their creations are either bold and novel, or mature and sophisticated. Their literary works have attracted the attention of the research community very early. The "Brothers Serapion" were major participants in early Soviet literature and one of the founders of Soviet literature. This book is divided into three parts: the first, middle and second parts. They sort out the reasons for the establishment of the "Serapion Brothers" group, its membership, literary activities, creative ideas and its literary historical significance from three parts: literary origin, literary creation and literary criticism. It also elaborates on the works of Zamyatin and Shklovsky , Gorky and other famous writers and critics on the creation of the group members, focusing on the literary creation and critical connotation of the representative members of the group, such as Kaverin, Lontz, Vsei Ivanov, Fedin, Gruzdev and other writers, dramatists, and theorists.

This book includes regular columns such as interviews with famous writers, Chinese literary theory, Western literary theory, and work criticism, as well as a special topic "Sound and Image: Cross-Media Literary Theory." The famous interview column will present the reflections of three famous scholars in the field of literature and art, Zhang Jing, Zhang Liqun, and Xing Jianchang, on basic issues in the construction of aesthetics and poetics, the overall view of Chinese literary criticism, and literary theory and knowledge. The Chinese Literary Theory column includes research on issues such as the rise of Chinese characters in poetry, Zhu Xi's theory of "plainness", and the literary thoughts of the translators in the late Qing Dynasty.

This book is the result of the author's continuous thinking and accumulation of Burmese folk narrative literature for more than ten years. The author went to Myanmar three times to conduct field research between 2008 and 2018, and the folk narrative literature works in the book all come from this. When collecting these folk narrative literary works, the author not only recorded the content of the relevant works, but also recorded the entire performance process and related context, in order to faithfully reproduce the folk life and spiritual world of the local people. During the analysis process, we adhere to the folklore context theory as the research perspective, aiming to reveal the cultural connotation, social content and historical roots of Burmese folk narrative literature, and strive to display the charm and value of Burmese folk narrative literature in a multi-dimensional and three-dimensional way.

In the political practice of traditional society, article writing, as the "great cause of running a country", is an important way to convey intentions, carry out actions, expand effects and create glory. Wang Xijue was a typical scholar-bureaucrat with both political and literary identities in the Ming Dynasty society. He was also a figure in the political history of the Ming Dynasty who could effectively play the political function of literature. This book attempts to examine the interactive relationship between Wang Xijue's literary writing and his political actions, and reflects on the current academic understanding of the relationship between politics and literature based on the research results of surrounding disciplines such as linguistics and political science.

Ancient Chinese stylistics has become more prosperous, but research on the development and evolution of ancient Chinese stylistics is still relatively weak. There are many factors for the development and evolution of style, and there are also many research angles. In summary, there are two approaches: internal causation theory and external causation theory. This book belongs to the former. Its main contents are: (1) Absorb the research results of academic circles on stylistic connotation and define the connotation of "style". (2) Analyze existing problems in the study of the development and evolution of literary styles, and focus on exploring the reasons why related research on ancient Chinese literary styles is relatively weak, in an attempt to correct them. (3) Propose and demonstrate the concepts of simple style, compound style and Dacheng style, especially explore the connotation and stylistic significance of Dacheng style, and thus outline the development and evolution of literary style in a macroscopic way. (4) For the first time, the methods of fusion of ancient Chinese styles and the triggering factors of drastic changes in styles were discussed for the first time, and new elaborations were made on "using literature as poetry" and "using poetry as literature".

This book explores the differences between the Tang and Song Dynasties that existed in the creation and theory of Ci from the prosperous Tang Dynasty to the end of the Qing Dynasty and the beginning of the Republic of China, similar to those in the field of classical poetry. This book believes that lyrics, like poetry, formed two different aesthetic paradigms, "Tang sound" and "Song tune" under the influence of the cultural transformation of the Tang and Song Dynasties. The "Tang Yin Paradigm" in poetry was based on the Huajian poets of Western Shu in the late Tang Dynasty, and further evolved and matured in the Southern Tang and Northern Song Dynasties; the "Song Diao Paradigm" in poetry originated from Liu Yong, and in the late Northern Song Dynasty it was divided into the innovative "Dongpo Paradigm" and the improved "Qingzhen Paradigm". Later theories and creations in the history of Ci were basically under the shadow of these aesthetic paradigms established during the Tang and Song Dynasties, either "following the Tang Dynasty", or "following the Song Dynasty", or being compatible with the Tang and Song Dynasties. This book uses a large number of relevant materials to demonstrate and elaborate in detail and forcefully the formation, evolution and development process of the Tang and Song Dynasties in Ci style over more than a thousand years, and constructs a unique thematic history of Ci.

"A Study of Shelley's Poetry" starts from the perspective of mythical metaphors in Shelley's poems, sorting out, analyzing and discussing the content and artistic characteristics of Shelley's poems, especially his long poems and verse dramas related to ideology, power, authority and violence, monarchy, republic, etc., And explores how myths are used as a form of artistic expression or technique to display political themes in Shelley's poems. The unique use of myth in Shelley's poetry makes his poetry quite revolutionary, combative and rebellious. While echoing Western political, philosophical and social trends of thought, it presents a colorful and ups and downs artistic charm.

Since the mid-20th century, a prominent feature in the history of Western poetry is that poetry has been presented in a large number of forms such as sound, performance, and cross-media collaboration, breaking through the traditional poetry system with printed texts as the core. This is not only the transformation of poetry along the avant-garde and experimental path under the conditions of contemporary multimedia technology, but also the release of poetry's ancient "active genes". The New York School poets were the pioneer representatives in this transformation of poetry. This book takes poetry readings, poetry-theatre, poetry-painting, poetry-film, poetry-music collaboration, etc. As its objects of investigation. During the research process, it proposes the concept of "movable poetry" and conducts a comprehensive investigation of the complex genealogy, art form, aesthetic characteristics, spatiotemporal characteristics, archiving mechanism, aesthetic paradigm and other categories of the New York School's movable poetry, thereby revealing the origins and flow of changes in poetry in the post-printing era.

This book sorts out and examines the Yelu Chucai family's lineage, marriage, education, family tradition, status and mentality, examines the evolution of his ancestors' Chinese literary creations, clarifies the clues to the development of Khitan literature, examines his family's activities and literary creations in different regions, and reveals the pluralistic and integrated characteristics of Chinese culture from one aspect. This book combines research on ethnic groups, education, region, phonology, literature, officialdom, etc., And strives to discover problems that have not been discovered in previous studies of Khitan literature, open up areas that have not been touched by previous people, supplement the deficiencies in historical records, and make breakthroughs and innovations in many aspects.

This article takes the English children's literature works translated by Ren Rongrong as the research object. From a sociological perspective, it integrates the Gestalt theory and intertextual theory in translation criticism for translation analysis and comparison. It uses key concepts such as "field", "capital" and "habitus" in Bourdieu's social practice theory as theoretical tools to explore the canonization mechanism of Ren Rongrong's translations and various possible driving factors in the process of canonization.

This book is the thirteenth series and has three special columns: poetry research, drama and novel research, and literature review. It mainly publishes outstanding first-time academic achievements in Ming and Qing literature, documents and culture, and strives to present the latest achievements in Ming and Qing literature research at home and abroad.

In the history of Chinese literature, the literature of the Yuan Dynasty is special and complex. This literary particularity and complexity is rooted in the particularity and complexity of Yuan Dynasty culture. The Yuan Dynasty was a multi-faceted integrated culture formed after the multiple conflicts and integration of grassland culture, farming culture, and commercial civilization in the Western Regions. This had a significant impact on the social environment, political order, literati spirit, aesthetic taste, literature and art of the Yuan Dynasty. In this new cultural system of pluralism and unity, the influence of the grassland culture represented by the Mongolian people cannot be ignored. This book explores the influence of grassland culture on the literature of the Yuan Dynasty and the inheritance of the original literary tradition by the literature of the Yuan Dynasty, in order to explore the changes and historical role of the literature of the Yuan Dynasty in the history of the development of Chinese literature.

This book is a series of results sub-topics (basic principles part) of a major bidding project of the National Social Science Fund. It systematically discusses the online literature evaluation system and criticism standards, including the artistic and philosophical premise of online literature evaluation, the identity of the evaluation subject, the principles of evaluation system construction, and the relevant elements of evaluation system construction. It is an original theoretical monograph that addresses the basic academic issues of Internet literature evaluation.

The annual literary keywords are the first of its kind in China. Through keyword research methods, we focus on capturing annual Hunan literary hot spots, important writers and critics, literary phenomena and trends of thought, important works, cultural hot spots, etc., To show the cutting-edge trends in the development of Hunan literature over the past year. Presenting literary history in the form of annual literary keywords is a new method of writing literary history, which has documentary value, literary history value, and literary yearbook value. By summarizing and discussing key words, researchers should not only grasp the overall situation and development logic of annual national and regional literature, but also properly present the basic appearance and spiritual connotation of different themes through case analysis. In the process of writing the book, researchers created some new terms and concepts, or provided some new keyword clues. The publication of this book can open up new research fields and make some unformed literary theories and literary criticism tend to become knowledge formalized and systematized.

This book uses Chinese folk songs and the history of Chinese poetry as reference to sort out German romantic poetry in the 19th century and illustrate the great significance of folk songs to the formation and development of national poetry. Starting from the German folk song collection "The Boy's Magic Horn", we conduct a multi-dimensional investigation of its formation and illustrate its historical, cultural and literary historical value. Then, the three poets Brentano, Eichendorff and Heine and their works are analyzed in detail to demonstrate the nurturing and nourishing role of folk songs in literati poetry. At the same time, it aims to transform the unconscious "pre-understanding" of Chinese culture into a conscious "dialogue", compare the "color differences" between similar and homogeneous poems, and try to explain the "poetic heart" that China and Germany share.

Zaitsev (1881-1972) is a representative writer of Russian diaspora literature in the Silver Age and a typical writer of Russian neorealism in the early 20th century. Zaitsev's creations have a wide range of genres and diverse themes, providing precious artistic materials for perceiving the life and culture of Russian expatriates outside Russia, reflecting on the literary and artistic trends in Russia, and recalling Russian literary classics. This book selects Zaitsev's representative novels written in different periods as the research object, analyzes their artistic characteristics and thematic implications, examines the elements of impressionism, expressionism, symbolism, and spiritual realism in these novels, and reveals the concept of neorealism represented by Zaitsev's creation.

The clouds are high, the river flows quietly, and the local experience of inspecting the literature of New China in Ningxia is embedded in the literary geography scene, touching the gentle, affectionate, meticulous, enthusiastic, or quiet life experience and aesthetic expression of each poet. Consider the spiritual encounters of more than a hundred Ningxia poets in the context of the times, from the vicissitudes of the years and the praise of the times, the scenery and life emotions, the feelings of family and country and cultural writing, the tragic reflections of the post-rural era, the rose crown and the reflection of the soul, the pioneering posture or the daily chronicle, etc. Looking upwards at the overall harvest of poetry creation in Ningxia over the past 70 years since the founding of the People's Republic of China, there are many academic discussions and grasps on the aesthetic style, lyrical style and personal creation of different historical periods, as well as the influence of various literary trends on Ningxia's regional literary writing. The content covers contemporary Ningxia poetry and old-style poems written by modern people that pay equal attention to revolutionary sentiments and practical significance. In line with the principle of "not allowing poetry criticism to be far away from the works and readers", special emphasis is placed on the collection, textual research and critical reading of personal poetry collections. Then, from the perspective of on-site criticism of Chinese and Western poetics, we discuss the "dialectics of poetry and history" and examine modernity of contemporary Ningxia poetry, and make some predictions about the future development trend of Ningxia poetry. This is a poetic journey immersed in the art of language, and it is also a phased result of the National Social Science Fund project "Research on Contemporary Chinese Poetry in the Five Western Provinces".

The research content involved in this book is complex, rich and extensive, including segmented research at the diachronic level and interactive analysis at the synchronic level; it not only focuses on the ecological distribution and personality mentality of the literati group, but also grasps the creative ideas and aesthetic opinions of the literati group; it not only focuses on the impact of religion on the Bashu literati group and their literary creation, but also pays attention to the impact of natural geography and humanistic environment on the Bashu literary ecology. The Bashu literature of the Five Dynasties not only had a profound impact on the Jingnan literary world and the Southern Tang literary world in the same historical period, but also contributed a lot to the formation, aggregation and structural reorganization of the literary world in the early Song Dynasty.

Based on the perspective of adaptation theory, this book conducts a comprehensive study on the phenomenon of dramatic adaptation of Lu Xun's novels after sorting out more than 90 years of drama adaptations of Lu Xun's novels, and constructs a "comprehensive" framework for a more systematic and in-depth study of the dramatic adaptation of Lu Xun's novels. Therefore, on the one hand, the aesthetic value of Lu Xun's novels adapted into dramas and their significance for the dissemination of classics are studied from an ontological perspective; on the other hand, the drama adaptations of Lu Xun's novels are compared with the original works, and the internal relationship between the two, the value of narratives in different art forms, and the gains and losses of adaptation are examined. Based on the above research, this book puts forward suggestions and thoughts on the dramatic adaptation of Lu Xun's novels, and then studies how adaptation can better spread and inherit literary classics, so that the classics have more eternal artistic vitality.

Based on the empirical investigation of reader distribution, this book understands what Internet literature readers and Internet literature fans are, and then understands their "three views" and construction of reading interests. Then, it analyzes the profound impact of online media on reading methods with an "entering" attitude, and grasps the uniqueness of online literature reading. As for readers' book review discourse, we focus on the main keywords for analysis, which not only reflects the readers' appreciation orientation and aesthetic psychological mechanism, but also deeply analyzes the acceptance and dissemination of online literature, and then constructs a theory of online literature reader criticism based on understanding the basic value of reader criticism, in order to promote the theoretical research on online literature from the dimension of acceptance.

Compared with the translation and dissemination of ancient Chinese poetry, novels, and operas outside the country, there is less systematic research on the overseas translation of ancient Chinese prose. In the cultural system with French as the carrier, this book examines the basic situation of ancient Chinese prose in France from 1919 to 2019, such as the category definition, text selection, interpretation, and communication effects. It analyzes the relationship between complex translation and communication phenomena, explores the historical context, functional characteristics, and operating mechanisms of its translation and communication over the past century, as well as the transition from politics to aesthetics, from the margins to the hot spots, and from singleness to pluralism.

This book sorts out important literary phenomena in Chinese literature in the 20th century, covering important modern writers such as Lu Xun, Guo Moruo, Shen Congwen, and Zhang Ailing, as well as contemporary novelists such as Zhao Shuli, Yang Mo, Wang Anyi, and Ma Yuan. It combines macro research with micro research to discuss the emergence, development, and changes of modern and contemporary literature through important phenomena in the history of modern literature and the writing of contemporary literary history.

The Cowherd and the Weaver Girl, The Legend of the White Snake, Liang Shanbo and Zhu Yingtai, and Meng Jiangnu Crying at the Great Wall are the four most classic folk legends in Chinese history. This book focuses on examining the canonization process of the four legends, the public's acceptance psychology, and the current ideological and artistic value. The first four chapters each focus on a classic legend, analyzing the significance and role of the characters, scenic spots, regions, and plots in the legend, as well as the evolution mechanism of the legend. The last two chapters focus on the commonality and individuality, the present and the future of the classic legend. "There is a pond full of water, and the pulse is speechless." The protagonists of the four legends all faced difficulties and contradictions, that is, "obstacles". They each broke through the difficulties and obstacles, showing their persistence and pursuit of "love". Barrier and love show the "complex across the river" in human love stories, conveying the shocking tragic beauty and warm and upward power of classic legends.

"Research on Chinese Quxue" is an academic journal co-organized by Hebei University and Northern Kunqu Opera Theater and hosted by the Chinese Quxue Research Center, a key research base for humanities and social sciences in universities in Hebei Province. It is edited by Professor Liu Chongde. Focus on publishing relevant papers on traditional songwriting research. The main columns include: research on lyrics and music, research on lyrics, research on folk operas and operas of the Song, Yuan, Ming and Qing dynasties, research on Kunqu opera, research on local operas, research on modern and contemporary composers, protection and research on intangible cultural heritage of operas, theories on famous music, interviews, etc. These research results play a positive role in promoting the discipline construction and creative methods of Chinese Quxue and making full use of the rich traditional cultural resources of Quxue.

This book is the author's rational sorting out of the literary criticism of Chinese children's literature in the 21st century, including five parts: ontology, theme theory, stylistic theory, regional theory, and publishing and communication theory: ontology is mainly explained from the perspective of children's view of children, ideological nature, originality, etc.; The theme theory is analyzed starting from children's novels. The theme and connotation of children's literature; stylistic theory explores the stylistic characteristics of children's literature from novels, fairy tales, film and television, science fiction and other genres; regional theory mainly focuses on the regional characteristics of children's literature in Liaoning and Northeast China; publishing and communication theory uses publishing and communication theory to see the development of Chinese children's literature in the 21st century. The book combines theory with literary criticism practice, trying to outline the current new trends in theoretical criticism and research on Chinese children's literature.

The academic publication "Humanities" is edited by the Institute of Advanced Humanities of Henan University. "Humanities" adheres to the correct guidance of public opinion and puts social benefits first. "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, and showcase new achievements in Chinese ideological and academic circles. "Humanities" strives to provide a platform for the academic community to publish high-quality academic results. The articles are mainly academic articles (essays), but we also publish academic essays that welcome ideas and other forms of academic articles. There are also columns such as "Dialogue", "Xuelin", "Notes", "Book Notes" and "Book Reviews" to reflect the research results of scholars in multiple forms and levels.

African English diasporic literature can be divided into three genealogies: native diasporic literature, colonial diasporic literature and foreign diasporic literature. The subjectivity in native diasporic literature is fragmented and incomplete, the subjectivity in foreign diasporic literature has been severely suppressed and distorted, and the subjectivity in colonial diasporic literature reflects more coloniality and aggression. The subjectivity in these three diasporic literary genealogies must be reconstructed. The reconstruction of subjectivity in African English diasporic literature is an effort to restore human dignity and to explore the personal path, the national path, the national path, and even the African path.

This book takes personal communication letters from the Han, Wei and Six Dynasties as the object of investigation, outlines the historical trajectory of the development and evolution of letters during this period, summarizes the characteristics of letters at each stage, explores the underlying reasons for the evolution, and on this basis objectively evaluates the achievements and shortcomings of letters at each stage, revealing the influence and significance of letters from the Han, Wei and Six Dynasties in the history of literary development.

This book explores the status of Yan Geling's novels in the history of modern and contemporary Chinese literature and the history of world Chinese literature from the perspective of novel stylistics. Existing research on the style of modern and contemporary Chinese novels breaks down all the novels of a writer into fragments of stylistic factors to analyze the style of novels, making a single novel lack overall stylistic features. This book mainly starts from the text and combines the theories of stylistics and narrative theory to analyze the stylistic characteristics of Yan Geling's novels using methods such as close reading of the text, cultural criticism, historical research, and comparative research. Starting from the stylistic factors such as style, structure, narrative, and language, and based on the analysis of multiple single text cases, the diversified display and dynamic changes of the style of Yan Geling's novels are systematically outlined. This book pays attention to the fact that the writing of film and television scripts and the adaptation of novels have played a certain role in the evolution of the style of Yan Geling's novels. It compares and analyzes the style of Yan Geling's novels with those of representative contemporary Chinese writers and overseas writers.

From the perspective of the history of literature and criticism, this book makes a more detailed and in-depth review of the reception of Xikun style, an important poetic style that connects the poetry history of the Tang and Song Dynasties, in the Song, Jin, Yuan, Ming and Qing dynasties, filling the academic gap. The Song Dynasty focused on the acceptance of the late Xikun School, Ouyang Xiu, Wang Anshi, Su Shi, Huang Tingjian, Zhu Xi, Lu You, Liu Kezhuang, etc.; The Jin and Yuan Dynasties focused on the acceptance of Wang Ruoxu, Fang Hui and others. Emphasis; in the Ming Dynasty, the emphasis was on the acceptance of Wang Shizhen, Hu Yinglin, Yuan Hongdao and others; in the Qing Dynasty, the emphasis was on the acceptance of Feng Ban, Song Xun, Wang Shizhen, Weng Fanggang, Liu Xizai, Yu Ji and others. In addition to these important figures in literary history, historical materials on the reception of Xikun Style were also searched for sorting and research, which enriched the historical details of the acceptance of Xikun Style. The acceptance of Xikun Style was also discussed from the perspectives of imperial examinations, politics, culture, and the version of "Xikun Gong Sing Collection" in the Ming and Qing Dynasties.

As a unique aesthetic way of reflecting, imagining and constructing urban and rural social life, Chinese novels since the 1980s have comprehensively written about the material exchange, emotional exchange, spatial communication and value choices in the urbanization process and the "city-rural" relationship from multiple dimensions such as time, space and value. On the one hand, these novels use contradictions and conflicts as narrative themes, revealing the complex social problems caused by urbanization and the rupture of traditional values; on the other hand, they use communication narratives as aesthetic gestures to actively construct a new order of morality, belief, ethics, and aesthetics in a harmonious society, providing a rich archive of humanistic spirituality for the cultural construction of "urban and rural China" toward "beautiful China."

This thesis focuses on the continuing research on classic re-reading in the academic world, and reinterprets the works of many important modern and contemporary Chinese writers. Its vision covers writers such as Lu Xun, Yu Dafu, Qian Zhongshu, Zhao Shuli, Su Qing, and Ye Zhaoyan. From a structural point of view, the discourse categories and effects, narrative content and methods discussed in this book are mainly modern. Based on in-depth and detailed text analysis, the treatise questions some existing research conclusions and provides a new interpretation of some classic works. It demonstrates the academic achievements in recent years in the study of the works of important writers of the 20th century, represented by classic re-reading and text close reading. Its relevant conclusions can be used for reference or discussion by the academic community.

The work of researchers of literary and historical materials is to use documents as building materials to build a bridge between the known and the unknown. Whether this "bridge" is solid and resistant to pressure and can stand for a long time depends on the quality and authenticity of the "building materials". The task of the editor is to identify the known, to discover the unknown, and to discover the truth with an attitude of searching extensively and carefully. This book is the culmination of the author's hard work over the past twenty years of immersing himself in the past, peeling back the dust, and looking for a needle in a haystack. What it presents to readers is not only the restoration of historical mirrors and rich literary historical materials, but also the vivid insights after sifting through the sand and picking up gold. More importantly, it is a young scholar's painstaking efforts and perseverance in pursuing true knowledge.

This book studies the poetic theory of contemporary poet Wang Jiaxin. Based on the Chinese contemporary poetry circle, with the history of the development of contemporary Chinese poetry as a background, and from the perspective of the integration of Chinese and foreign poetry exchanges, this article examines the connotation and characteristics of Wang Jiaxin's mystical poetics, commitment poetics, word poetics, "late style" poetics, and translation poetics; and reveals the overall characteristics and value of his poetics from the aspects of generation mechanism, discourse logic, and purpose appeal.

This book uses the grammatical analysis and conceptual analysis methods of the philosophy of language to analyze ten (pairs) of literary theory categories in the literary theory of the Wei, Jin, Southern and Northern Dynasties, and strives to clarify the confusion between their expression at the level of logic and grammar and the level of empirical facts. These categories can be divided into five groups: the first group is Tao and Emotion, which are categories at the "ontological" level; the second group is speech, meaning, form and spirit, and literary quality. These three pairs of categories describe the logical structure of literary works; the third group is Shensi and Bixing, These two pairs of categories relate to the psychological phenomena and creative methods of creation; the fourth group is implicit and explicit, which are categories related to the form or style of the work; the fifth group is Tongbian, which combines changes and invariances, universal and special issues in literature.

This book is based on the basic facts of the academic ups and downs between Japan and China over the past hundred years. From the perspective of comparative culture between Japan and China, this book systematically examines the historical process and basic content of the study of Song poetry in Japan. Taking important poets of the Song Dynasty and major Japanese researchers of Song poetry as the inspection points and connecting clues, it comprehensively demonstrates the important achievements, academic originality, unique academic ideas and orientations, and limitations and shortcomings of Japanese scholars' research on Song poetry. This book proposes that Japanese scholars hold fresh and innovative views on the research object from the perspective of "others" and have contributed to deepening and expanding the study of Song poetry from multiple perspectives. In the context of international academic and cultural exchanges, Japanese scholars have significant uniqueness and a solid position as an important center.

This book adopts the local perspective of the study of Chinese subaltern literary narrative in the new era, from the academic standpoint of Chinese scholars, and within the framework of the study of subaltern literary narrative, systematically traces the subaltern narrative tradition of British poetry represented by British ballads and poets Chaucer, Blake, and Wordsworth. This book selects the representative works of contemporary British poets Tony Harrison, Carol Ann Duffy, Seamus Heaney, and Simon Armitage as research texts, and adopts multiple critical methods such as Foucault's discourse theory, cultural Marxism, feminism, postcolonialism, and space theory to analyze Harbin from multiple dimensions such as class, gender, race, culture, and space. The objects, contents, themes, subjects, and strategies of Leeson's working class, Duffy's women and immigrants, Heaney's countryside, and Armitage's urban underclass narratives are conducted in-depth and systematic research, revealing the realist thoughts and humanistic spiritual connotations contained in the works, and demonstrating the courage and responsibility of contemporary British poets to intervene in social issues with the power of literary discourse. This work is a useful attempt to explore "the application of Chinese and Western methods and the integration of Chinese and Western perspectives" in the field of contemporary British poetry research.

This book is a collection of essays, covering cities such as Beijing, Shanghai, Tianjin, Xi'an, Hangzhou, etc., Including literature, but also sociology, history, architecture and other disciplines. From a time span perspective, there are both studies on ancient urban literature and more on modern and contemporary urban literature. In terms of research methods, it is both literary research and cultural research. It can be said to be a literary/cultural research method that "uses the city as a method", breaking the original literary research paradigm that centered on literary texts. The opening of a new research space of urban literature has expanded the original static literary research with time as the dimension into the dynamic and malleable comprehensive research of literature and culture with space as the dimension.

This book is based on the latest "National Standards for the Teaching Quality of Undergraduate Majors in General Universities" promulgated by the Ministry of Education. It macroscopically grasps and deeply sorts out the progressive evolution of European and American cultural and literary and artistic trends. The whole book contains two frameworks, one is the history of European and American culture and art, and the other is the history of European and American literature. Through the organic integration of these two frameworks, it aims to place European and American literature of various periods in the context of the entire social culture and artistic trends for observation and research, which will help readers deeply understand the connotation of literature and enhance the interest of learning. Through interdisciplinary literary interpretation, literature truly becomes humanities, which has positive significance for improving readers' humanistic qualities.

This book takes literature and anthropology as its perspective, starting from big literature and overall anthropology, and analyzing the history of the discourse relationship between China and France in the first half of the 20th century through the dual texts of historical documents and events, in order to present the ideological exchanges and personnel exchanges between China and France around major discourses during this period. The author has chosen two groups of discourses with different tendencies, namely those that are biased towards conceptual history and those that are biased towards academic history. The former includes two concepts: "science" and "positivity", and "group studies" and "country"; the latter includes four academic fields: "society", "nation", "songs" and "folklore". From a French perspective, this book selects four scholars in turn: Comte, Durkheim, Mauss and Granyan. They were either the pioneers of the French Annals School or the leaders of three generations of scholars of the school, and they profoundly influenced French social science research from the end of the 19th century to the first half of the 20th century. In Chinese practice, the cases selected in this book include Cai Yuanpei, Liu Bannong, the group of Chinese students studying in France in the 1920s, Mauss's Chinese students (represented by Ling Chunsheng and Yang Chengzhi), and Yang Kun, etc. They have all established indirect or direct discourse connections with the above-mentioned French scholars.

Based on a systematic review of the formation of Han culture in the Dunhuang area before the Tang Dynasty, this book uses philological methods to conduct a detailed special study on the transmission of literati poetry in the Dunhuang area during the medieval period (referring to the Tang, Five Dynasties and early Song dynasties). It finds the following two phenomena: 1. The exchange of literati poetry between Dunhuang and the mainland was a single flow from east to west, and the flow of literati poetry from the Central Plains to Dunhuang was most likely interrupted during the Tubo period. 2. After the literati and poets from the Central Plains entered Dunhuang, their acceptance groups continued to expand and the scope of their circulation continued to expand. Some local Dunhuang people with higher cultural literacy even mastered the skills of poetry creation and engaged in poetry creation. The above two phenomena show that Dunhuang local poetry was produced under the long-term gestation of literati poetry in the Central Plains. This conclusion reminds us that in Dunhuang in the medieval period when multiple cultures coexisted, Chinese culture was the main body of Dunhuang regional culture. Dunhuang and places along the Silk Road further west have long become an important part of Chinese culture. This is a historical fact that cannot be denied by any external force. The greatest value of this book lies in this.

This book mainly studies the development and evolution process of British medieval drama. British medieval drama mainly had three development lines: the activities of professional actors for the purpose of making a living, the popular performances of the general public, and the dramatic church rituals. Church ritual dramas gradually developed into the three most popular drama types in the late Middle Ages: saint dramas, serial dramas, and moral dramas. At the end of the 15th century, religious dramas gradually declined and disappeared, interlude dramas gradually emerged, and British drama began to turn to Renaissance humanistic drama. This book combs out the development trajectory of British medieval drama, that is, the development process from early folk secular drama, church ritual drama, middle and late religious drama to episodic drama, and summarizes the basic rules of the development and evolution of British medieval drama, that is, whether the church and the official can educate the people to the maximum extent determine the survival and spread of drama.

This book is based on the author's doctoral thesis and studies Qu Yuan's Ci from a stylistic perspective. The author first divides Qu Yuan's poems into poetry style and fu style from the perspective of article style, and then distinguishes each category according to the specific text characteristics. When re-distinguishing, based on the characteristics of the formation of pre-Qin styles, focusing on the cultural basis for the formation of styles, the artistic conception of the text, etc., Some new understandings were reached.

This book summarizes the development process of the history of Russian literary criticism from the 18th century to the 1930s by combining history and theory. It elaborates on the causes and consequences of the emergence of various trends of thought, schools, and groups in this development process, the content and background of each debate, and the basic meaning of various concepts and propositions. For the more important literary critics among them, the academic essence is expounded in the form of monographs. The book also systematically organizes and studies the close integration of various ideological trends, literary creation tendencies, and social movement policies in Russian literary criticism. It is the first significant academic work in the field of Russian language and literature written by Chinese scholars themselves.

This book is the main result of the author's recent academic work on the "History of Women's Ci in the Past Century". It writes the history of women's poetry from the end of the 19th century to the beginning of the 21st century. It is the first work in the academic world to panoramically display the literary ecology of this period. From a chronological point of view, the history of women's poetry in the past century is the continuation of the thousand-year history of women's poetry that was pioneered by Li Qingzhao. In the era of "God will bring energy to the boudoir", the volume and weight of women's poetry that has gained the aura of the changes in the world is enough to compete with, or even surpass, the previous millennium. Over the past century, outstanding female poets such as Lu Bicheng, Shen Zufen, Chen Xiaocui, Zhou Lianxia, ​​and Ding Ning were born. They show off their beauty with beautiful words and sentences, which are not only enough to compete with the male poets of the same generation and enhance the reputation of the century-old poetry industry; they can also stand up to the fortress of the previous sages and engrave their names in the long history of female poetry that lasts for thousands of years. This book is one of the results of the "Research on Twentieth Century Poetry" series. It is based on the theoretical foundation of the two secondary disciplines of ancient Chinese literature and modern and contemporary Chinese literature, and has unique cultural, historical, gender and other significances.

At the theoretical level, this book does not stick to traditional poetry research ideas, but integrates cultural theory, cognitive poetics theory, communication theory, etc. Into its writing. This book summarizes Pound's 12 identities and believes that they are related to the formation of the modernist style of the Cantos; sorts out the specific content of the 117 chapters of the Cantos; discusses controversial topics in the study of the Cantos; and discusses the background, imitation and creation, internalization and absorption of the modernist style of the Cantos. At the same time, the author's research findings of more than 20 years are shared with readers, covering sections such as "A brief history of Pound's works and their publication".

This book takes the development and spread of ballad and proverb culture in the Han Dynasty as the research object. By carefully sorting out the documents of the past dynasties, it sorts out the nature, origin, quantity, and categories of ballad and proverb works during this period. It analyzes the diverse forms, contents, styles, and artistic expressions of ballad and proverb works, and examines the regional distribution of ballad and proverbs in the Han Dynasty and the scope of dissemination of different types of works. By analyzing the occasions and ways in which ballads and proverbs were used in the Han Dynasty, this paper discusses the situations and motivations of people from all walks of life in the Han Dynasty, including lower-class people, literati and Confucian scholars, imperial students, court officials, prophecies, and political activists, who used ballads and proverbs. This paper examines the complex social communication of ballads and proverbs in the Han Dynasty from the three aspects of communication methods, carriers and variations; and summarizes the reasons for the prevalence of ballads and proverbs culture in the Han Dynasty from three aspects: the development and perfection of the ballad and proverb art itself, the influence of relevant official policies, and people's daily spiritual needs.

Qing Dynasty Ci Rhymes is an important part of Qing Dynasty Physiology, and its main content is to explore the rhyming rules of Ci style. The Qing people's theory of Ci was based on ancient Ci, and their discussion of rhyme was also based on the rhyme of old Ci. However, the results of Ci Rhythmology in the Qing Dynasty were not a reproduction of the rhyme of old Ci. Instead, they were based on the systematic structure of Ci stylistics in the Qing Dynasty, and used the rhyme theory at that time as a basis. It had the meaning of standardizing rhyme and was constructive. This book takes Qing Dynasty ci rhyme books as the research object, takes rhyme as the entry point, and lexicology as the research foothold. It combines synchronic and diachronic perspectives to examine the rationale for the compilation of ci rhyme books by various schools in the Qing Dynasty, and explores the evolution of ci rhyme in the Qing Dynasty.