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Literary works are important carriers for constructing urban cultural memory. The image of the city in literary works is an important part of the urban cultural spirit and an important resource that forms people's urban cultural experience. The city images of Lanzhou in novels, essays, and poems have very different aesthetic qualities, but also have the same spiritual appeal. This book shows the lineup of writers who wrote about Lanzhou's urban culture, sorted out the artistic expression of Lanzhou's urban cultural memory in novels, essays, and poems, interpreted many writers' personalized urban aesthetic concepts, and also clarified the positive role of literary works in the cohesion of urban cultural spirit. This is the first academic work that specifically explores the relationship between Lanzhou's urban cultural memory and literary writing. Its views have certain implications for current urban cultural construction and urban literature research.

Violence has never appeared as a negative image in the eyes of the public or readers. However, this situation has changed in the creation of novels since the late 1970s. This book uses time as the continuum, social history and cultural psychology as the dimension, novel creation as the entry point, and typical violent narrative texts and writers in typical novels as the basic object of interpretation. It tells readers how "violence" can take on the inherent image of the past and turn ugliness into beauty or beauty out of ugliness. Violence is not just an event, but also a method, a concept, and a value. From the "standard configuration" of supporting roles and negative images in novel creation in the past to the historical trajectory of the main body, neutrality and even being criticized in today's text expressions, this change has actually hinted at the development of contemporary social values ​​and cultural psychology.

This volume discusses the evolution of poetics during the Qianlong dynasty, taking the poetic world's backlash against Wang Yuyang's poetic poetry and its acceptance of Ye Xie's poetics as a logical starting point, and unfolds in chronological order the changes and changes in poetic trends in the past sixty years. It discusses Shen Deqian's new style poetics and Ji Xiaolan's test poems in sequence. The basic concepts, theoretical innovations, critical achievements and interactive influences of Yuan Mei's spiritual poetry, Weng Fanggang's scholar's poetry, Tongcheng School's poetics and Gaomi School's poetics. Under the theme of conflict and integration of knowledge and temperament, the similarities and differences of their ideas and their influence on later poetics are identified. The whole book adheres to the academic concept of "entering the process" and strives to unfold the internal differences of various schools of poetics through diachronic observation, so that the history of poetics in the Qianlong Dynasty not only presents its unprecedented richness, but also reveals a clear context and overall pattern. In short, whether it is the overall understanding of Qianlong's poetics or the specific interpretation and evaluation of each poetics, this volume puts forward a new conclusion that is different from the academic theory.

Based on China's local cultural context and literary soil, this book examines the criticism and practical experience of New Historicism in China from multiple aspects. It includes both vertical historical clues and horizontal comparative studies of Chinese and Western literary theories. It also includes interpretations of specific writers and works. The whole book attempts to analyze the localization process and influence of New Historicism in China from a macro perspective.

This book systematically sorts out the development trajectory of North American dystopian literature, and strives to display the environmental imagination and writing strategies in North American dystopian literature from multiple dimensions, so that readers can have a certain understanding of the classic works of North American dystopian literature and its environmental narratives. The book explores the ecological ideas contained in Margaret Atwood's classics "The Handmaid's Tale," "Oryx and Crake," and "Waterless Flood." It analyzes the environmental narratives in works such as "The Hunger Games" and "The Ugly Man" from the perspective of teenagers, revealing the beautiful value of nature and humanity under the rule of technology.

This book collects vast information, starting from ancient myths and legends to late Qing literature. It carefully examines the historical changes of ancient Chinese maritime novels from their inception, formation, maturity to final completion, as well as the internal and external factors of various changes. The main purpose of this book is to reveal the narrative mode, artistic characteristics and national style of ancient Chinese ocean novels around the propositions of fate and chance, wandering and crisis, desire and pursuit, retreat and progress, this life and the next life, and on this basis, highlight the thinking form and emotional value orientation of ancient Chinese people, especially the evolution of concepts in natural cognition, that is, to use the mirror of the ocean to reflect the historical process of continuous creation and renewal of the human spirit, and seek its enlightenment significance for the construction of contemporary culture.

Italian scholar Frank Moretti draws nourishment from the natural sciences and attempts to bridge the gap between the humanities and the natural sciences, thus bringing a breath of fresh air to literary research. Specifically, he integrated literature with knowledge resources from biology, history, sociology, geography, statistics, philosophy and other disciplines, and proposed the theory of "distance reading". Long-distance reading is a method of systematically using charts, maps, and tree models to analyze literary phenomena-charts come from quantitative history, maps come from geography, and tree models belong to the field of evolution. Based on this theory, Moretti is committed to thinking about the relationship between literary form and society, the relationship between genre and space, and the writing of literary history. His thinking framework has obvious Marxist characteristics.

"History of Chinese Epic Studies (1840-2010)" takes scholars who are generally recognized in the field of Chinese epic studies, have unique opinions and have lasting influence as cases, and analyzes their epic concepts, academic interests, problem awareness and research paradigms, so as to It outlines a certain aspect of the academic history of Chinese epic over the past century, expounds the inheritance and innovation of Chinese epic researchers in academic ideas, research methods and research fields, reflects on the academic turn and new pattern of Chinese epic, and summarizes the characteristics of the formation and development of Chinese epic.

This book comprehensively uses a variety of methods to study the late Qing novels that have long been ignored by literary history. On the basis of fully possessing the literature and materials, this book restores the creative aspects of the renovation novels, analyzes the creative motivations of the renovation novels, and re-evaluates the status of the renovation novels in the history of modern literature. The above work has the significance of filling academic gaps. The basic idea of ​​​​this book is to understand the renovation novels in the specific era context of novel changes and social and cultural changes in the late Qing Dynasty. The main point of this book is to argue that renovated novels are a trend of creative thought that emerged in response to the "New Novel" movement in the late Qing Dynasty. Renovated novels subversively rewrite classical novels in terms of themes, themes and language narratives. What this rewriting expresses is a modern pursuit of breaking inheritance and pursuing innovation and change. However, due to the constraints of various factors, this pursuit of modernity always presents a contradictory and ambiguous color.

This book provides a comprehensive and systematic detailed explanation and comparative analysis of Ba Jin research in the English-speaking world, and sorts out the basic development history of Ba Jin research in the English-speaking world. It hopes to allow Chinese scholars to learn more about the status of Ba Jin's translation and research in the English-speaking world, draw on the "other's perspective" of scholars in the English-speaking world, provide useful inspiration for Ba Jin research in China, and build a bridge between Eastern and Western literary research and cultural exchanges. In addition, this book also compares and contrasts the research on Ba Jin in China and the research on Ba Jin in the English-speaking world, in order to provide a certain reference for the research on Ba Jin in China.

The academic goal of "Introduction to Chronotemporal Narratology" is to establish a historical cognitive narratology in addition to structuralist narratology. This is an extremely difficult and neglected academic field, and one must be brave enough to dare to step into it. The author starts from the linguistic model of poetics, that is, the model of historical linguistics and cognitive linguistics, and goes deep into the inner texture of the chronotope theory. By extracting the basic principles of historical cognitive science in the linguistic model, the author makes an in-depth analysis of the chronotope theory. Starting from the most basic elements of chronotope theory, the author successively analyzes the interactive relationship between narrative semantics and narrative grammar, the interactive cognition of "narration" and "things", reveals the inherent social and historical factors and the potential of narratology, highlights the idea of ​​​​historical cognitive narratology in comparison with structuralist narratology, reveals the embryonic form of historical cognitive narratology contained in it, and then summarizes it into several principles for constructing historical cognitive narratology. It should be said that in "Introduction to Chronotemporal Narratology", the author's thinking is profound and meticulous. If narratology wants to break through its own dilemma, it must find another way out. New narratology that focuses on context is an important way out of this dilemma. Therefore, the theoretical choice made by the author is in line with the needs of academic development.

In recent years, there have been many cutting-edge and hot issues in literature and culture, which urgently require timely responses from the critical community. This book is a reflection, criticism and exploration of several hot issues in modern and contemporary literature and cultural trends of thought. It consists of four parts: the topic of modern and contemporary literature, literature and literary history as a cultural phenomenon, hot issues of contemporary Western cultural trends, and humanistic thoughts of observation and criticism, each with its own emphasis but echoing each other. This book places modern and contemporary literature in the perspective of Chinese and Western cultures to consider and study, and re-examines the positioning and writing of writers in the context of literary history writing. At the same time, it makes a more in-depth analysis of the current hot cultural trends in the West, showing a relatively broad research horizon and keen academic exploration ability.

This book strives to further deepen the study of the evolution of poetry in the middle and late Northern Song Dynasty by combining case analysis and overall research, taking into account diachronic sorting and synchronic comparison. This book selects the relationship between the literati's study of Buddhism and the evolution of poetry in this period as the research object. Starting from the analysis of Buddhist allusions and borrowed Buddhist terms used in poetry, combined with the investigation of the relationship between literati and Buddhism at that time, it explores the logical sequence of literati's acceptance of Buddhist ideas and the construction and generation of the Buddhist ideological system. It also analyzes the characteristics of the knowledge composition and evolution of scholar-officials in this period, and deepens the study of the causes and processes of the evolution of poetry in this period. In terms of specific structure, this book mainly studies the inner relationship between the study of Buddhist theory and literary creation by representatives such as Wang Anshi, Su Shi, and Huang Tingjian. It makes appropriate use of relevant theoretical methods to analyze and compare in detail the three people's paths of learning Buddhism, the impact of learning Buddhism on their use of poetic language, and the penetration of learning Buddhism into their thinking on poetry creation. It generally outlines the relationship between the changes in scholar-officials' learning of Buddhism and the evolution of poetry in this period. As an extension of the thesis, this book also examines the relationship between the study of Buddhism by Jiangxi poets in the late Northern Song Dynasty and the formation and evolution of their poetry creation and poetic theory.

The unswerving exploration and pursuit of the common "poetic heart" and "literary heart" of mankind run through Qian Zhongshu's theoretical texts, forming a broad and profound ideological system. This achievement is an overall observation and research on this, mainly using aesthetics as a clue, and focusing on the nature, text, creation, development and interpretation of literature, to specifically sort out and analyze Qian Zhongshu's understanding, attitude, methods and intentions on these issues, as well as the historical and cultural context and academic genealogy of their formation, paying special attention to its characteristics of bridging China and the West, integrating ancient and modern times, and then using this to detect and grasp the causes, characteristics and significance of Qian Zhongshu's unique literary choices and ideological tendencies.

This book takes hermeneutics as the starting point, modern philology, Freudian psychoanalysis, and phenomenology as the fulcrum, and focuses on four types of image research paradigms: historical image, cross-cultural image, psychological image, and symbolic image. The core arguments include: the core of imageology research is the value appeal and spiritual movement involved in identity; it originated from the three major sources of romance literature, Freudian psychoanalysis, and phenomenology; it constantly breaks through and reconstructs literary boundaries and disciplinary boundaries, and transcends geographical and cultural barriers; it aims to inherit On the basis of this, we must enrich and improve the Western hermeneutic tradition; the poetic revolution of iconography is deeply embedded in the texture of literary and ideological modernity; we must adhere to the necessity of enlightenment and redemption of people in historical circumstances, adhere to the refinement of cultural value elements, the support of cultural norms, and the shaping of cultural character.

Petofi Sandor (1823-1849) was a famous Hungarian revolutionary patriotic poet in the 19th century, well-known in the world of poetry. This book presents the poet's short revolutionary life and major achievements in poetry creation from a new perspective. The book is composed of three parts. Through theoretical analysis, elaboration and comments, it reproduces the true and tall image of a revolutionary patriotic poet in a way that combines reality and reality. In an ideological sense, Petofi and his poetry creation embody a high degree of national democratic revolutionary spirit: in terms of artistic creation, Petofi is famous for his bold, fresh, bright and delicate poetic style, which is highly artistically appealing and has a huge impact on later generations.

It mainly starts from the historical development of gardens in the Tang Dynasty, examines the evolution of the literati's view of nature in the Tang Dynasty and the reflection of garden consciousness in literary creation, and then conducts specific research on the relationship between gardens and literature from garden activities related to literati such as garden banquets, garden construction, and garden chanting, presenting the creative landscape of garden literature in the Tang Dynasty. Finally, it will be placed in the macroscopic view of the entire Tang Dynasty literature, examine the impact of garden writing on literary concepts and creative theories, and deeply explore the interactive relationship between gardens and literature. The author communicates gardens and literature, uses interdisciplinary research methods, combines microscopic argumentation and macro interpretation, strives to expand new thinking and new fields in the study of Tang Dynasty literature, and explores new paths for the current research on Tang Dynasty gardens and literature.

This book is a collection of the results of the author's research on prose in the late Ming and early Qing dynasties in the past ten years. The first part explores the spiritual outlook of the literati during this period, especially the poetic presentation of the literati's soul, through a series of close readings and annotations inside and outside the text of a series of prose works in the late Ming and early Qing dynasties. Among them, there are many achievements in the interpretation of chapters such as "Looking at the Snow in the Pavilion at the Heart of the Lake" and "Half of July on the West Lake". The second part selects representative cultural intermediaries, writers and groups in the late Ming and early Qing dynasties for in-depth research, explores the diverse trends and vivid landscapes of the evolution of prose in the late Ming and early Qing dynasties, and rewrites the relatively simple description of the evolution of prose during this period in literary history books.

Based on the intersection of aesthetics, literary theory, cultural sociology and other disciplines, this book conducts a systematic study and critical discussion of the theory of "defamiliarization" at two different levels - diachronic and synchronic. The author strives to portray the theory of "defamiliarization" from a three-dimensional and multi-dimensional perspective, and the ultimate goal is to present the theory of "defamiliarization" in front of readers in a defamiliarized way through the theoretical sorting out of the "diachronic" dimension and the theoretical explanation of the "synchronic" dimension.

"Thirty Types of Yuan Zaju" is the earliest and most important Yuan Zaju script collection among the existing Yuan Zaju, and its appearance is also closest to the real situation of Yuan Zaju. "Thirty Types of Yuanjian Zaju" has extremely high historical and academic value in terms of the history of opera creation, performance, and publishing. Compared with the Ming Dynasty Yuan Dynasty Zaju and the Ming Dynasty Copying Yuan Zaju, "Thirty Types of Yuan Kan Zaju" is obviously more popular, fresher and more lively. Therefore, "popularity" is a major feature of "Yuan Kan Zaju Thirty Types". So if you want to understand the popularity of Yuan Dynasty Zaju, you need to conduct a comprehensive study on the performance, reasons and significance of its popularity. This book systematically studies the subtle manifestations of the popularity of "Thirty Types of Yuankan Zaju" in five aspects such as printing, language, science, music, and perspective. On this basis, it compares the differences in popularity between "Thirty Types of Yuankan Zaju" and "Selected Songs of the Yuan Dynasty". Finally, it deeply explores the reasons for the popularity of "Thirty Types of Yuankan Zaju" and the significance of studying the popularity. Through research, it is proposed that the core of popularity is seeking novelty, difference and change, so that it can be fresh and not corrupt. From the perspective of popularity, it is reflected that one of the reasons why the current opera is difficult to prosper is "more elegance but not enough vulgarity". Therefore, the reform of opera should be based on the audience, and popularization factors should be added from all aspects of opera in order to achieve new prosperity.

The inherent kink and conspiracy between modern "academic paradigms" and "critical discourse" constitute some deep-seated problems in the overall activities of modern Chinese and Western literary research. At the same time, they shape the phenomenon of "the century of literary criticism" and inherently represent the core of the proposition of modernity. Specifically, the "knowledge downward trend" and "cultural rescue" from the 1870s to the 1930s, these two era circumstances, jointly promoted the modern transformation of the literary research paradigm. The "humanity" characteristics of the overall intellectual and cultural space that they jointly formed determined the fundamental quality of the modern transformation and reconstruction of the literary research paradigm during the period. The "modern establishment of literature", as a product inherent in this intellectual and cultural space, not only directly initiated the modern transformation of Chinese and Western literary research paradigms, but also structurally contributed to the "historical pattern" of modern literary research in China and the "theoretical pattern" in the West. These two patterns inherently shaped the paradigmatic direction of historiography or theorization in modern literary research activities. Modern "critical discourse" is intrinsically and structurally produced in the "modern establishment of literature", and has acquired basic institutional qualities and active humanistic characteristics, and has widely penetrated into the modern pattern of historiographic or theoretical literary research, exerting a core influence on the modern research paradigm of literature.

The sound issue of new Chinese poetry has been a hot topic in poetics since the 1980s. Sound initially refers to the musical attribute of poetry, but since music itself is not poetry, musicality cannot encompass the aesthetic characteristics of current new Chinese poetry. Therefore, it is more effective to adopt the word sound. In addition, there are differences between sounds, pointing to different aspects of the same problem. Sound in poetry mainly refers to the rules related to music, mainly written language, while sound focuses on the comprehensive effect produced through musical accompaniment or other oral methods. This book takes the new Chinese poetry since the 1980s as the research object, and studies the sound issues of new Chinese poetry from multiple dimensions. This book is divided into five chapters. It is based on a close reading of the texts of new Chinese poetry since the 1980s, and integrates research in literary history, cultural history, and linguistics. It not only displays the richness of sounds in new Chinese poetry since the 1980s, but also attempts to open up new research paths for the study of sounds in new Chinese poetry.

This book is the final result of the 2015-2016 Zhejiang Provincial University Humanities and Social Sciences Major Research Project. It mainly studies the classic "post-9/11" novels in British and American literature in the 21st century. It adopts the method of combining text close reading and historical criticism, focusing on the "post-9/11" The three core elements in literature: the representation of trauma, rational criticism and poetic ethical redemption, in order to show the unique ethical value and aesthetic significance of the aesthetic mechanism of "post-911" literature, a special literary category that combines "eulogy", "critique" and "redemption" into one.

Although the articles included in this book have different contents, generally speaking, they all involve literature, culture and comparative studies between China and the West. The words in the book may commemorate the academic predecessors and reminisce about their intellectual character, or comment on academic works and explore their humanistic connotations, or look back on the past and reflect on the great changes in life and times through personal experience, or describe the experiences and experiences, and feel deeply about the vastness of the world, the richness of culture, and the importance of cross-cultural understanding due to traveling to various places. These plain words express the author's thoughts and feelings, not seeking to be profound, but seeking to be true. They can show from a small side the unusual times experienced by a generation.

In the past twenty years, Eagleton's discussions on basic issues such as the nature of literature, literature and fiction, literary aesthetics, and ethics have shown a tendency to return to the classics, especially to Aristotle: Eagleton clearly "appropriated" Aristotle's poetics, ethics, and metaphysics. This book attempts to examine his return from a totalizing perspective.

This book conducts a systematic academic study of the youth narratives of "post-80s" writers from the perspective of self-identity theory, taking "post-80s" writers such as Han Han, Guo Jingming, Chun Shu, Zhang Yueran, Zhou Jianing, Di An, Zhang Yiwei, Wen Zhen, Yan Ge, Fu Yuehui and other "post-80s" writers as typical cases. , Analyzes the reasons for the emergence of the "post-80s" youth narrative trend, focusing on the changes in narrative themes: first, the "rebellious" self-retreat in adolescence, second, self-reconstruction in ethical changes, third, the pursuit of family group identity, and fourth, cultural identity in the process of urbanization. Finally, the book reflects on the value and limitations of youth narratives of the "post-80s" generation as a whole.

This collection of essays compiles the author's relevant results in cultural heritage research and literary anthropology research from an anthropological perspective using an interdisciplinary approach. The first part, "Cultural Heritage Research," focuses on important theoretical issues of intangible cultural heritage. Among them, the revelation of the hidden Western text-centrism discourse in the knowledge form of intangible cultural heritage is not only the starting point of reflection, but also the basic context for research development. Relevant papers are guided by this innovative perspective and carry out detailed and in-depth discussions on cultural heritage artifacts, images, memory, physical practices and other issues. The second part, "Literary and Anthropological Research," focuses on the expression issues of literary texts and cultural texts, running through the investigation clues of ethnic identity, historical memory, and cultural expression, emphasizing the close integration of theoretical thinking and case analysis, and also represents some of the author's gains from continuous exploration in this field.

Based on the perspective of modernity, this book provides an in-depth and detailed analysis of the existence and evolution of Western textual poetics in the 20th century. On this basis, it explores the basic theoretical propositions of various forms of textual poetics and their complex interrelationships, and further analyzes the existing problems and development trends in the current development process of Chinese textual poetics. This study is of great enlightening value for in-depth exploration of contemporary Western literary theory and standardization of current Chinese literary research. It can effectively avoid the unhealthy criticism trend of "detaching from the text and going straight to the theme".

Romance dramas by famous teachers were an important part of legendary creations during the Ming and Qing Dynasties. On the basis of describing the love and marriage between men and women, they reflected the broad picture of social life at that time. This book takes more than 50 famous romantic dramas as the research object, and combines the characteristics of the times during the Ming and Qing Dynasties to study the love and marriage, imperial examinations, current political affairs, and opera creation concepts in the dramas. Specifically, the first is to summarize the marriage model and arrangement principles in the play and analyze the historical and practical reasons for its formation; the second is to summarize the basic characteristics of official appointments in the play and explore the era roots of its emergence; the third is to examine the relationship between the social reality of the Qing Dynasty and the description of current affairs and worldly affairs in the play, and to analyze the literary role of the description of current affairs and worldly affairs in the play; the fourth is to study the inner relationship between the creation of famous religious love dramas and the changes in the literary ethos of the times by sorting out the evolution of the creation concepts of famous religious love dramas.

Fan Ye had some talent, but was killed because he was involved in the internal strife of the Liu Song royal family. The south dynasty where it is located has a flourishing history. Influenced by his family studies, his "Book of the Later Han Dynasty" emphasized Confucianism, respected kingship, respected benevolent governance, praised loyalty and integrity, and wanted to "rectify the gains and losses of a generation." The style and characters of the whole book are inherited from "Dongguan Han Ji" and other historical works of the later Han Dynasty. Fan Ye absorbed the achievements of his predecessors and turned them into his own, and established a new type of biography. The richness of character types and the appeal of the characters' images are close to those in "Historical Records"; he adopted the "involvement method" to make the joint biography more like a whole; although the biographies are complicated, they are related and not messy. The narrative language is dense in simplicity, and beautiful in simplicity. The preface and argument are written by himself, tending to be parallel and concise, with a graceful and rhythmic charm. This is quite consistent with the literary atmosphere and style of the early Song Dynasty, reflecting the mutual influence and reference between the literary and historical creations of the Southern Dynasties.

Leisure is the ideal state of human existence and also the basic life pursuit of people in today's society. This book takes ancient Chinese culture as the background, and explores the ideological roots and basic characteristics of Chinese leisure culture by sorting out leisure concepts based on Confucianism and Taoism. Different from the general purely theoretical arguments or descriptions of social phenomena on leisure, this book strives to discuss leisure and literature together, especially through the analysis of prose texts, to explore the cultural implications of leisure in prose, and to explore the impact of leisure culture on prose, especially leisure prose. Due to space limitations, this book's discussion of Chinese leisure culture and leisure prose is limited to before the Tang Dynasty. In fact, leisure prose appeared in large numbers after the Tang Dynasty, especially during the Ming and Qing Dynasties. However, the concept of leisure in ancient China has been basically formed in the pre-Tang Dynasty, so we regard it as a basic part of Chinese leisure culture.

The Chinese nation is a multi-ethnic community. In the long history of human development, all ethnic groups have jointly created a splendid Chinese culture. As an important part of Chinese culture, Chinese literature naturally contains multi-ethnicity. But for a long time, the multi-ethnic nature of Chinese literature has been ignored. This book aims at the lack of minority literature in the "cultural roots" phenomenon of contemporary Chinese literature. It specifically takes the "cultural roots" of ethnic minority literature as the research object, focusing on exploring its occurrence context and development trajectory. It also selects the literary writings of Tibetan new novels by Tibetan writers, the modern poetry group of the Liangshan Yi people, and The anthropological writing phenomenon of ethnic minority literature is used as a case study to explain the different paths and meanings of the "cultural roots" of ethnic minority literature, in order to highlight the importance of ethnic minority literature's "cultural roots" to the "cultural roots" of contemporary Chinese literature, and to highlight the importance of multi-ethnicity to the development of Chinese literature.

The introductory part of this book introduces the theoretical works on modern Vietnamese literature that are not well known to ordinary readers. The main part examines Vietnamese modern literary theory from five aspects: essence, creation, works, appreciation and criticism, and development. The remaining part discusses the modernity of Vietnamese modern literary theory from two aspects: aesthetics and enlightenment. The book systematically displays the achievements in literary theory research by Xia Qizun, Xu Qinwen, Fan Shoukang, and Xu Maoyong, as well as the annotations and translations of foreign literary theories and ancient Chinese literary theories by Zhang Xichen and Fan Wenlan respectively. It not only talks about the development of modern literary theory in Vietnam, but also talks about the basic issues of literary theory. The two aspects are combined with each other to form a whole.

The multi-ethnic literature of Guangzhou and Guangxi has a unique regional cultural environment, rich national cultural accumulation and the historical process of literary modernization in the past century. Since the 1990s, it has achieved the marginal rise of the "Literature Guijun". Guangxi's contemporary multi-ethnic literary creations present the development and changes of contemporary Chinese society, showcasing the actual situation and cultural ecology of the 12 ethnic groups that have inhabited Guangdong for generations, namely Zhuang, Han, Yao, Miao, Dong, Hui, Jing, Yi, Shui, Mulao, Maonan and Gelao, and reveal the hidden spiritual world of each ethnic group in the process of social transformation. The literary explorations of Guangxi's multi-ethnic writers have made Baiyue become increasingly famous and attract attention, providing a typical sample for the innovation and development of Chinese multi-ethnic literature. "The Common Development of Multi-Ethnic Literature in Guangxi" combs through the century-old history of multi-ethnic literature in Guangxi, interprets the works of important writers of multi-ethnic groups in Guangxi, and grasps the pulse of the reality of multi-ethnic literature in Guangxi and Guangxi. It is an ingenious work that explores the common development of multi-ethnic literature in Guangxi and Guangxi.

The title of this book is "An Examination of Wang Euzhi's Poetry Creation". It pays special attention to the collection of documentary materials and the text analysis that emphasizes evidence. Its main content is to review the academic research on Wang Euzhi's poetry, explore the compilation of Wang Euzhi's poetry collection and Wang Euzhi's compilation ideas, examine the year of creation of Wang Euzhi's poetry and literary contacts, conduct textual analysis with "Guangluohua Poems" as a case, and reveal the relationship between Wang Euzhi's poetry history, education and teaching, and the influence of Hunan tradition on Wang Euzhi's poetry creation. From this, this book examines the people with whom Wang Fuzhi had literary contacts and was influenced by them, reveals the influence of personal factors such as his historical accomplishment and teacher's feelings in Wang Euzhi's poetry creation, and explores the inner cause and effect between the Hunan tradition and Wang Euzhi's poetry creation.

As the largest and most influential prose school in the Qing Dynasty, the Tongcheng School was closely related to the academic development of the Qing Dynasty. This relationship is manifested in the following: first, the Tongcheng School, as the backbone of Qing Dynasty scholarship, is similar to Qing Dynasty scholarship in its development trajectory; second, there is a complex relationship between it and Qing Dynasty Sinology that is both competitive and compatible. The Tongcheng School held the position of academic orthodoxy during the Qing Dynasty, but after the fall of the Qing Dynasty, it was denounced as a "fallacy". This ups and downs in academic and political status made the Tongcheng School have typical significance in academic research. Sorting out the evolution of the Tongcheng School's academic thought will not only help understand the evolution of modern Chinese academic thought, but also help understand the relationship between traditional Chinese academic development and politics, and help understand the political feelings and academic spirit of intellectuals within the system in traditional Chinese society.

This book combs the complicated evolution process of the aesthetic trend from germination to expansion, shows the contradictions within modernity and the dilemma of human survival, and presents a rich and colorful literary landscape. It helps to re-examine individual survival, emotional experience, time perception, ethical construction, artistic redemption and other spiritual propositions that are closely related to modern people. It also touches on the essential issues of literature such as human destiny, the secret of human nature and the meaning of existence. This book also reveals the contradictions and crises within aestheticism, and explores its complex interweaving of decadence and avant-garde, rebellion and kitsch, freedom and nothingness, art and life, soul and body, and other complex aspects. In the current era of "excessive" aestheticization, it is of great value and significance to re-examine the trend of aestheticism.

This book uses the research method of literary sociology to clearly put forward the important concept of "Shanghai Lu Xun" through the different selection, interpretation and evaluation of "Lu Xun's image" by various political groups and cultural forces in Shanghai in the 1930s, deeply explore the hidden discourse conflicts behind it, and concretely present the construction of Lu Xun's image. The close connection between Lu Xun's structure and the Chinese revolution in the 1930s extends the research horizon from the category of literary history to cultural history, ideological history, revolutionary history and other fields. It greatly expands the depth and breadth of Lu Xun's research, helps two-way inspection of the dynamic relationship between the two, and continuously leads the research topic in-depth in the intertextual perspective.

"Guochao Literary School" is a special name for the literature of the Jin Dynasty. It was first proposed by Sugong, the Minister of Jinhubu, and was reiterated by Yuan Haowen in "Zhongzhou Collection". It reflects the Jin people's exploration of the literary laws of this dynasty and their pursuit of literary independence. This book takes the "Guochao Literary School" as the entry point, places the literature of the Jin Dynasty under the literary ecological research perspective of the confrontation between the Song and Jin Dynasties, and the rise of the Mongolian and Yuan Dynasties. It takes the laws of literature's own development as its classics and the cultural characteristics under the rule of the northern minority regimes as its latitude, and uses a dynamic perspective to explore the development laws and literary value of the "Guochao Literary School".

This book intercepts the seventeenth year of New China. Through careful combing and analysis of a large number of documents, it examines the core issues in the criticism of foreign literary classics, modern Chinese literary classics and ancient Chinese literary classics. It reveals the essential characteristics, manifestations, internal logic and evolutionary trajectory of critical concepts in specific historical contexts, and clarifies the development process of the paradigm shift of literary criticism. It not only takes into account the historical and logical connections between issues, but also reflects the historical content and ideological depth contained in a certain issue, and traces the spiritual context of the pursuit of modernity in contemporary Chinese literary criticism.

This book conducts a relatively systematic and comprehensive excavation and research on the literary thoughts and poetry creations of Li E, the leader of the Zhejiang School of poets in the mid-Qing Dynasty. Li E created a considerable number of poems and achieved high artistic achievements, which had a great influence at that time. In addition to poetry, Li E is also quite successful in his prose and sanqu creations. This book makes an in-depth study of Li E's multi-faceted literary creation; at the same time, it also makes necessary explorations into his status, role and influence in the poetry cultural activities of Zhejiang School poets in the mid-Qing Dynasty, with a view to attracting the attention of the academic community.

John Updike (1932-2009) was an influential writer in the American literary world in the 20th century. His creations are characterized by integrating social documentary, autobiography and fiction to present the customs and life of the American middle class. For this reason, Updike is known as the American genre writer after World War II. However, Updike is not an easy-to-read writer. His novels lack ups and downs of plot. The writer's profound knowledge, rich vocabulary, and changing religious concepts all increase the difficulty of reading the works. This book focuses on the concept of "dialogue" and strives to gain a macroscopic understanding of Updike's creative characteristics and literary status from the two levels of "inheritance" and "breakthrough". The first part of this book focuses on demonstrating the literary connection between Updike and Kierkegaard, Hawthorne, and Nabokov, and explores the different attitudes of writers towards religion, art, and life in different cultural and religious contexts; the second part focuses on several of Updike's reconstructed works, such as "The Scarlet Letter" trilogy, "Brazil", "Gertrude and Claudius", "Century", etc., To explore how he injects modern narrative techniques into dialogue with classics, and brings contemporary thinking to some universal issues. This book aims to show how Updike inherited and evolved important themes and archetypes in the European and American literary tradition, to clarify the connection between Updike and the European and American literary tradition; to examine the writer's reference to the new experience of European and American novel art in the 20th century, and to accurately grasp the writer's aesthetic personality from a historical perspective.

The monograph "Research on the Transformation of New Century Literature in the Context of Mediatization" is based on the theoretical basis of "the relationship between literature and media" and literary communication. It analyzes the generation of the mediatized context of new century literature and the direction of literary mediatization, as well as various literary actions and literary fields, literary phenomena and literary realities in the process of mediatization. After an overall overview of new century literature, it focuses on conducting in-depth and detailed research on the transformation of new century literature in the context of mediatization, and deeply explains the new form of new century literature and looks forward to the future of new century literature. And use this to answer the century-old questions of "what is literature of our time", "the end of literature", "the era of pan-literature", "literariness in the media era", "new media literature (film and television literature, Internet literature, mobile phone text message literature)", as well as how literature in the new century sojourns and dwells in the media context, thus constructing an open and developing view of literature and literary research. The content mainly includes: new century literature in the context of mediaization; context transformation: from "politicization" to "mediatization"; concept transformation: from "pure literature" to "pan-literature"; attribute transformation: from "literary" to "media" (top and bottom); identity transformation: from "gathering charm" to "disenchanting" ; Field transformation: from "fission" to "reconstruction"; mechanism transformation: from "career mechanism" to "commercial mechanism"; discourse transformation: from "language era" to "post-language era"; aesthetic transformation: from "aesthetic" to "pan-aesthetic"; criticism transformation: from "academic criticism" to "media criticism".

This book selects Shi Tiesheng, Zhang Chengzhi, Gu Cheng, Haizi, Luo Yihe and Gomer, six self-lyrical writers who are outstanding in the field of contemporary Chinese literature, to conduct an in-depth observation and interpretation of the ideological and spiritual implications of their respective text worlds. This study not only considers their ideological trajectories and spiritual demands, but also investigates the dialectical development process of their thoughts and spirits, thus mapping their respective spiritual spectrums.

This book takes Russian-Soviet literary scholars in China as the research object, trying to sort out and present the characteristics of the Russian-Soviet literary scholars group such as their geographical distribution, research methods, and era characteristics. At the same time, it adopts the method of combining group investigation and case study, and selects five scholars, Ge Baoquan, Gao Mang, Wu Yuanmai, Liu Wenfei, and Zhou Qichao, for case analysis. These five scholars focus on different research directions, reflect different research personalities, and demonstrate the academic inheritance among three generations of scholars, old, middle, and young. Through this point-to-point approach, it provides rich and detailed materials for the study of the academic history of Russian and Soviet literature, and provides a reference for future scholars' research.

As an organic part of the "social change and development mechanism" and even the "social history" itself, British novels in the 18th century not only "tell things" and reflect the turbulent external reality of the time, but also "do things" and actively participate in the construction of social and cultural reality. This book explores the rich and complex performativity contained in British novels in the 18th century from multiple dimensions such as nationality, morality and ethics, modernity, gender temperament, etc., Explores the close interactive relationship between authors, readers, and society in the novels, and understands the speech acts they performed to build and develop a new British social form.

The study of the reappearance and misacquisition of "Complete Poems of the Song Dynasty" essentially belongs to the scope of document research, which emphasizes that statements must be well-founded, hear many doubts, collect documents from a wide range of sources, and distinguish authenticity. Starting from the research methods of traditional textual criticism, most of them are case studies and scattered discussions. How to combine these individual case studies into an organic whole and construct a reasonable framework that is clear-cut, well-reasoned, well-structured, integrated with nature, and has room for multi-directional expansion of research, is a question worthy of careful consideration. Therefore, this book adopts a comprehensive analysis method and focuses on the observation and classification attributes of the overall characteristics of reappearance and misacquisition. Strive to use analogies to see things and examples to apply, so that theoretical deduction and case analysis can be naturally integrated and complement each other.

Natsume Soseki enjoys a high status in the history of modern Japanese literature and is known as the "National Great Writer". He has high attainments in both Eastern and Western cultures. He is not only an English scholar, but also proficient in haiku, Chinese poetry and calligraphy. When writing novels, he is good at using couplets, refrains, humorous language and novel forms. His precise and nuanced description of personal psychology pioneered the trend of private novels in later generations. His literary theory can be found in many works such as "Grass Pillow" and "On Literature". This book focuses on the study of Natsume Soseki's literary theory and literary thoughts from multiple aspects and angles.

The 1954 Jianghuai Flood, the 1976 Tangshan Earthquake, the 1998 Yangtze River Flood, the 2003 SARS, the 2008 Southern Ice and Snow Disaster and the Wenchuan Earthquake are among the constant disasters in contemporary China. A large number of literary works reflecting these major disasters have appeared in contemporary literature. This book searches and collects many contemporary literary works, cites a large amount of information from different disciplines such as politics, society, and economics, and uses theoretical and analytical methods from history, cultural sociology, political science, psychology and other related disciplines to conduct a comprehensive and specific investigation of works describing natural disasters in contemporary literature. This paper conducts a relatively comprehensive combing of the relationship between man and nature, man and society, and between man and man, explores the subject consciousness and historical attitude of contemporary writers in the face of natural disasters, summarizes the theoretical characteristics of disaster literature, and shows a broad picture of natural disaster writing in contemporary literature, in order to build a multi-layered and three-dimensional picture of contemporary literary history.

"Research on the National Theme of Modern Poetry" starts from the national theme of modern poetry, and is supplemented by various methods such as thematics to conduct research. The content of the topic is mainly composed of four parts, which successively involve topics such as the historical evolution of national themes in modern poetry, the interpretation of imagery and the examination of poetic meaning, the imagination of the country and the analysis of the poet's mentality. By exploring the basic manifestations of national themes in modern poetry from multiple angles, the complex composition of national themes in modern poetry is presented, and the uniqueness and inevitability of modern poetry in terms of historical evolution, creative choices, cultural value, and destiny of poets under the influence of national themes are reproduced through discussions in several categories and topics.