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"Yi Jian Zhi" is one of the most outstanding collections of novels in the history of Chinese classical Chinese novels. Based on careful reading of the text and emphasis on sorting out original materials, this book studies "Yi Jian Zhi" from aspects such as book formation theory, theme theory, cultural theory, and communication theory. It believes that the author Hong Mai has a unique understanding of the novel's style. The novel's theoretical concepts are open-minded and open-minded, and he pays attention to and pursues novels. Speaking of the entertainment function and social awareness value of creation, he persisted for sixty years with a will and enthusiasm beyond ordinary people, using various creative methods such as collecting and recording, revising and adding, excerpting and mutual corroboration, deletion and editing, etc. To compile this royal masterpiece. It is quite profound through the seemingly fantastic stories It thoroughly exposes the political darkness, weak government, official corruption, and social unrest in the Song Dynasty. It also pays great attention to the marriage and love affairs, business and handicraft activities, urban development and citizen growth, poetry creation and dissemination of the Song Dynasty people in the Song Dynasty. It reflects the life mood of the common people in the Song Dynasty on many levels. It is full of deep care and sympathy for the suffering and misfortune of the small people at the bottom. Therefore, "Yi Jian Zhi" is the carrier of the official culture, citizen culture, and poetry culture of the Song Dynasty. It is the life history, spiritual history, and custom history of the people of the Song Dynasty. It has had a profound impact on the history of Chinese novels and Chinese culture.

This book focuses on the examination and research of Li Yu's cultural character and its causes, sorts out the main clues that influenced Li Yu's life, and selects some controversial but extremely critical issues in Li Yu's life for in-depth research. It strives to describe the dynamic process of the development of Li Yu's thoughts more objectively, and explain the deep-seated reasons for Li Yu's life choices, ideological evolution, and the formation of his creative style. From a historical perspective, grasp Li Yu in an all-round way and restore Li Yu. This book is divided into seven chapters. The first chapter discusses Li Yu's psychological motivations in several key aspects of Li Yu's early life choices; the second and third chapters explore the profound impact of medical cultivation and health philosophy on Li Yu's thoughts and creations; the fourth chapter is a monograph on several issues in Li Yu's ideological concepts; the fifth chapter explores the impact of Li Yu's technical concepts and technical accomplishments on his creations; the sixth chapter discusses Li Yu's Ci and Ci;

Wu Weiye was a famous poet, dramatist, calligrapher and painter in the late Ming Dynasty and early Qing Dynasty. He created a series of long song-style poems known as the "Meicun style". With his heavy and powerful style and sad and charming style, he established his reputation in the field of long narrative poetry. In addition to writing poems, Wu Weiye also wrote operas. He created the legendary work Molingchun and the dramas Tongtiantai and Linchun Pavilion, which expressed the sorrow of separation and inner pain during the change of dynasties, and can serve as a history of the heart of a generation. This book starts from Wu Weiye's friendship with opera, analyzes the content and narrative style of his opera works, and based on a careful reading of the opera text, analyzes the relationship between his "Meicun style" poetry creation and opera creation, and combs his opera theory.

Based on a comprehensive review of the current research status of "New Criticism", this book conducts a comprehensive analysis and study of the theoretical propositions of the main theorists of "New Criticism", Brooks and Warren. It is mainly divided into the following parts: Brooks and Warren's novel plot theory and critical practice; Brooks and Warren's character theory and critical practice; Brooks and Warren's novel theme theory and critical practice; Brooks and Warren's "problematic" text criticism aspects.

Based on Marx's historical materialism and dialectical materialism worldview, this book combines the theoretical discussion of literary criticism such as modernism, postmodernism, and cultural studies with the text analysis of novels to comprehensively, deeply, and systematically study Nabokov's literary creation, and explore how he boldly carried out postmodernist art form innovation on the basis of inheriting the Russian literary tradition. Nabokov's creation is not only an inheritance of the Russian literary tradition, but also an artistic innovation to express human experience in post-modern society, achieving an organic combination and dialectical unity of profound ideological significance and innovative artistic forms.

From the perspective of image construction, this book restores how Chinese literati accepted American literature in the 1930s and explains its internal logic and historical and cultural significance. It not only reveals the basic situation of Chinese literati's recognition and selection of American literature and the diverse presentation of American literary images in China, but also analyzes the complex interactive relationship between the construction of American literary images, the construction of American images and the construction of China's "self" image.

This book takes Lu Youwen as the research object. First of all, it is pointed out that the characteristics of Lu You's writings are sharp and sharp, full of emotion, lofty intentions, outstanding knowledge, comprehensive writing, clear style and high literary talent. The main part discusses the seven most valuable literary styles in Lu You's works, including preface and postscript, book introduction, miscellaneous notes, notes, historical biography, epitaph and praise. Finally, Lu You's writings are placed in the macro-background of literary development in the Two Song Dynasties, and it is believed that Lu You is one of the first-class ancient writers in the Two Song Dynasties and an outstanding representative of the revitalized literary world in the Southern Song Dynasty.

This work is a deepening of the author's research results of the National Social Science Fund's Western Project. It intends to use the unique perspective of literary folklore in the fruitful "Lu Studies" research to examine the folklore performance of Lu Xun's works from both literature and folklore. With the help of a specific case, in the creation of multiple tensions between individuals and groups, elites and people, local and foreign, literature and society, tradition and modernity, it explores and thinks about the efforts and difficulties in the generation of modern Chinese literary modernity. The book is composed of an introduction and several chapters. It conducts a multi-faceted investigation and analysis of the relationship between Lu Xun's creation and folk culture from the aspects of the significance of the research, the internal and external factors that led to Lu Xun's interest in folklore, the specific expression of folk culture in his writing, and the value and significance of his writing. This book has a unique perspective, detailed text analysis, systematic and in-depth theoretical thinking, rigorous and literary expression. It is a good book suitable for the majority of fans and researchers of Lu Xun's works.

This book divides the free verse theory in Britain and the United States from 1908 to 1923, and proposes a three-stage theory of creation, adjustment and return. It also analyzes the modern aesthetics, French poetics, East Asian poetry aesthetics and other resources behind the British and American free verse theory.

This book provides a detailed and detailed reading and analysis of fifteen poems by fifteen poets, including Beidao, Changyao, Yu Jian, Han Dong, Zang Di, and Lan Lan, who are the backbone of contemporary poetry, as well as five Chinese-translated poems by five foreign poets, including Cavafy, Hauge, and Shuntaro Tanigawa. These careful readings integrate appreciation, explanation, and elucidation, and are combined with the author's own creative experience, which can be said to be unique. This book was written over fifteen years and was accumulated by the author. As the title of the book says, it is hoped that it can lead readers to see a "world" through a grain of "sand", and also hopes to provide readers with more examples and inspirations for reading and appreciation.

This is a collection of some of the author's papers from 2007 to 2017, divided into four volumes, covering related issues such as modern cultural negotiation and comparative literature. The first volume is about Liang Qichao and the new literary changes in the late Qing Dynasty. The second volume focuses on the study of cultural negotiation and translation between China and foreign countries in modern times. The third series involves the "New Novels" essay competition promoted by Fryer in 1895. The fourth volume is an appendix, containing 2 book reviews, 2 textual research essays and 1 translated paper. This collection of essays contains a series of interesting cases, discussing the cultural negotiations between China and foreign countries in modern times from an interdisciplinary perspective, and studying comparative literature through cases such as the interaction of literature, history and translation. The discussion of these cases pays more attention to the ideological and historical nature of the texts involved, and also pays attention to the conflicts and negotiations in various aspects of the events involved. This book is a useful reference for the research fields of modern literature\u002F modern history, translation studies, Chinese religion, cultural interaction studies and comparative literature.

At present, the study of Haizi's "small poems", that is, his "lyric poems", can be said to be a kind of outstanding scholarship, but the academic circle pays little attention to his long poems ("big poems"). Based on this, this book discusses Haizi's ten long poems, combines Haizi's short poems and related commentaries, and constructs the spiritual trajectory of the formation of Haizi's "big poems" poetic thoughts, in the hope that the era can re-understand Haizi's poetics and cultural value. This book not only interprets Haizi as a poet, but also interprets the ideas contained in Haizi's long poems and their influence on contemporary theoretical construction, allowing readers to appreciate the spiritual value and life implications of the unity of poetry, philosophy, and divinity pursued by Haizi's poems.

In ancient Chinese novels, animal images mainly appear in content involving myths and legends, records of strange things, and records of folk stories. They have always been the main objects of people's sustenance. Early myths and legends, animal fables, related folk tales, records of legends and monsters derived from myths, etc., Have become the main carriers for animal images to be active in the literary world. With the help of this more popular literary style, animal images display their own cultural characteristics endowed by humans in a more intuitive form than plant images, becoming a kind of cultural animal. The title of this book aims to sort out the changes in animal images in ancient novels, so as to explore the cultural roots hidden behind this gradual rationalization. First of all, the animal images in myths are not only the basis for modern people to look back on their own history, but also the source of strength for us to face the future. They have also become one of the main sources of the generation of fables for later generations. Secondly, the appearance of animal images in legends in later generations mainly has two different branches of development. First, it downgraded the animal gods in mythology into ancestor stories, with obvious traces of evolution and obvious typological characteristics; second, it pioneered the recording of supernatural beings and laid the foundation for the proliferation of missionary stories in later generations. Third, human beings' understanding of animals has always been lingering between objective reality and romantic fantasy. Novels after the Tang Dynasty mostly used animals to construct alien worlds, and then created characters in animal form in foreign worlds. This method of borrowing animals' forms is generally accepted. Works such as "Journey to the West" and "Strange Tales from a Chinese Studio" have become representative works that consolidate and finalize this type of animal images.

This book is a collection of poetry review articles written by the author focusing on Shaanxi poets and their creations since the new century. There are both a comprehensive review of the development of Shaanxi poetry in the past 60 years, and a monograph on several generations of Shaanxi poets and poems from the "post-50s" to the "post-90s". The book is divided into two parts. The first part is based on an overview of the development of Shaanxi poetry in the past 60 years, and discusses the poetic creations of representative poets such as Shen Qi, Yan An, and Zhou Gongdu since the new century. The second part is based on an overview of the poetry creation of Shaanxi's "post-80s" poets since the new century, and discusses the creative achievements of representative poets of the "post-80s" and "post-90s" such as Qin Ke, Zifei, and Yuan Yuan. The book devotes considerable space to the creation of poets born in the 1980s, and with an open attitude, it strongly affirms and praises the new force of Shaanxi poetry since the new century, and has high hopes for the development of Shaanxi poetry and even western poetry.

This book contains a total of 14 articles, divided into three parts: critical dilemmas, texts and adventures, focusing on many important issues in Chinese new poetry. The first part mainly discusses the current problems in poetry creation, and examines the writing of poetry history, long poem writing, modern lyrical spirit, and poetry writing in the context of new media; the second part explores the artistic effects achieved by poetic experience, and the main research objects are Chang Yao, Duoduo, Xiao Kaiyu, Sun Wenbo, and Jin Xiaojing; the third part clarifies the role of "place in poetry" based on a scientific analysis and historical attitude, and the main research objects include Xu Yunuo, Su Jinsan, Mori Zi, and Luo Yu.

This book is the first in domestic academic circles to comprehensively sort out and explore the dialectical relationship between the empirical methods of comparative literature and aesthetic criticism. It not only meticulously examines the aesthetic spirit contained in the empirical criticism of the French school, but also steadily and solidly analyzes the empirical spirit of the aesthetic criticism of the American school. It theoretically clarifies people's misunderstandings about the empirical methods of comparative literature over the years, objectively and fairly reveals the compatibility and commonality between the French school and the American school, and thus helps to comprehensively understand the nature and significance of comparative literature research.

This book takes the novels of the British Victorian writer Elizabeth Gaskell as the research object, focusing on her three masterpieces "Cranford Town", "North and South" and "Wives and Daughters". Through the perspective of narrative theory and cultural and political criticism, it deeply explores how Gaskell made efforts to construct the status of women in the Victorian period in her works, while at the same time showing a considerable degree of It points out the close connection between the author's life and her fictional works: the uncertainty of Gaskell's gender ideological stance in life makes her works contain conservative qualities of varying degrees that are difficult to get rid of, resulting in the constant emergence of narrative dualities in her works. These dualities also deeply reflect the difficulties faced by the cultural agenda of narrating the status and power of women in the Victorian period.

This book reproduces the process of writers in the post-revolutionary era anxiously exploring the road to constructing American national literature, comprehensively combs the relationship between Longfellow's poetry and the historical process and culture of Indians, and reveals the impact of white writers' colonialist stance on the writing of Indian images. Through text comparative research, the influence of Indian myths and legends, poetry and European epics such as "Homer" and "Kalevala" on Longfellow's poetry creation is revealed from the aspects of characters, narrative art, formula and parallel structure. In short, Indian culture is a unique resource for American national literature in the 19th century, and drawing on Indian literature and the oral tradition of European epics is its unique artistic path.

This book selects four topics of Shaanxi's new era literature from 1979 to 2019, namely, the beginning and end of the activities of the "Bi Geng Literature Group", the occurrence and significance of the "Shaanxi Army's Eastern Expedition", the origin and twists and turns of "Doctor's Direct Advice", and the rise of Shaanxi folk literature societies and publications. Through interviews with writers Chen Zhongshi, Jia Pingwa, Jingfu, Gao Jianqun, Feng Jiqi, Hong Ke, Wu Kejing and critics Liu Jianjun, Chang Guangyuan, Fei Bingxun, Xiao Yunru, Li Xing, Li Guoping, Xing Xiaoli, etc. Tried to construct a new description of literary history from the three-dimensional perspective of the oral accounts of the parties involved in historical events, archival data verification and objective examination by researchers.

Southwest Associated University and "Luyi" were established in the same year. Both protected and inherited the cultural essence of the Chinese nation in the smoke of war, and shared a common spiritual dimension of promoting social progress. However, the literature of the two schools was very different in terms of theme content, stylistic categories, and discourse styles. Southwest Associated University adheres to the academic general education, continues and develops the elite literary tradition, and hopes to transform people's hearts and influence society with beautiful literary works; "Lu Yi" adheres to practical education, shapes new life, new characters and new order in the liberated areas, and maximizes the social mobilization function of literature. Although the literary orientations of the two schools are obviously different and it is difficult to measure them by a unified scale, they have both written an important chapter in the history of new Chinese literature and have had a profound impact on subsequent literature. Sorting out and interpreting the hidden information codes behind it not only has important theoretical value and practical significance, but can also provide discourse support for future literary creation.

Literature has its own special language structure. Within language, within pronunciation, morphology, semantics, and implicatures, as well as between words and words, words and sentences, sentences and sentences, between these levels or components, there is implicit opposition and balance. At the same time, another aspect that should not be ignored is that outside the language: context, genre, reality, life, history, culture, etc., They will form a certain kind of "pressure" and strengthen the tension of the language structure. Even ordinary language structures will also produce special artistic functions. The first half of this book discusses the special language structure of literature, while the second half discusses the artistic tension that language structure can create under specific conditions.

The six disciples of Sumen refer to six writers of the Northern Song Dynasty: Huang Tingjian, Qin Guan, Chao Buzhi, Zhang Lei, Chen Shidao and Li Lao. They gathered in Sumen one after another during the Xining period of the Northern Song Dynasty and began literary exchanges between teachers and friends, forming an important creative group of literati in the literary world of the middle and late Northern Song Dynasty. Su Shi led the literary world and entrusted the hope and responsibility of inheriting the literary career to the six disciples of the Su family. The six disciples lived up to their trust and enriched and developed the ancient literary art tradition with prose creations with distinctive personalities and different styles, completing their historical mission. This book comprehensively examines the prose creation of the six disciples, and deeply analyzes the similarities and differences of each person's characteristics. They inherit and create changes from Su Shi in literary theory and creation. Combined with the evolution of the ancient prose movement in the Northern Song Dynasty, this paper expounds the contribution of the Six Disciples to the tradition of ancient prose art and rationally evaluates their historical status.

This book is a literary theory textbook written for graduate students, but it is highly academic. It grasps a series of basic theoretical issues that are controversial in academic circles, such as whether literature can be defined, how literature occurs, whether literature has "progressed" (can "progress" be used to measure the process of literary history), whether literature will die, whether literature needs to be "created", how literature exists, what are the similarities and differences between Chinese and Western literary theory, how to transform our criticism, etc., And conducts bold explorations and puts forward its own new insights. The original intention is to arouse thinking and discussion in the academic world. The author advocates refraining from statements, speaking his own words, not echoing what others say, and writing new ideas that are different from previous works; neither repeating others nor repeating himself.

Contemporary Western literary theory abandons the dualistic formula of traditional metaphysics, attaches great importance to marginal discourse, demonstrates poetic justice, expands the field of spatial theory and cultural media research, and is full of theoretical interests of contextual overlap and concept circulation. This book examines the discourse clusters scattered throughout contemporary Western literary theory from a cross-contextual perspective, focusing on its main paradigm shifts, theoretical representatives, important academic discourses and dialogue relationships. It focuses on the combination of theoretical discourse and literary criticism practice, highlighting the reflection on the paradigm shift of Western literary theory and its sinicization issues, helping to activate new academic thinking and discourse practices, and promote the construction of literary and artistic theories in the contemporary context.

The Romans believed that satire was their own creation, and this style of poetry had a history of nearly two thousand years until Dryden. Dryden not only wrote satirical poems, but also made comprehensive and in-depth criticisms of satirical poems, especially Roman satirical poems. The satirical poem "Absalom and Azithophel" established Dryden's enduring reputation in the history of literature, and "On the Origin and Development of Satire" is the most conscious and complete poetic work on satire. This book takes Dryden's criticism as the starting point, combines his satirical poems and other poetic works, starts from tracing the origin of "satire", and discusses Dryden's poetic views on the appropriate way of satire, the poetic form (rhyme and style) of satire, and the moral dimension of satire. Through these poetic propositions of Dryden, combined with the investigation of many related poetic issues in the neoclassical period, this book constructs a relatively complete system of Dryden's satirical poetics.

Under the consideration of the two key words "modern" and "irony", this book not only discusses Chinese Zen thought, but also martial arts culture, and also covers various typical literary cases at the moment. The purpose is to juxtapose and interpret the highest spiritual products of a certain culture with ordinary, secular spiritual products, to find commonalities among different objects that are recognized to be very different, and to explore how and why they also started from "modernization experience" and finally explored "ironic aesthetics". In this way, this book hopes to understand certain aspects of certain types of Chinese literature and Chinese civilization by observing the opposite and complementary aspects of literature and culture, and the unruly meanings created in the allegorical structure of China's "history" and "reality", "truth" and "hypocrisy".

Since entering modern society, in the field of poetry writing, there have never been so many women engaged in poetry writing since the 1990s. Their efforts have enabled women's poetry to present an unprecedented diversified and prosperous landscape. After entering the new century, looking back on the 1990s, we will find that women's poetry creation in the context of mass consumer culture has undergone obvious changes compared with the 1980s. However, the academic research on women's poetry in the 1990s is relatively lagging behind. Most research papers on women's poetry in the 1990s are vague and lack a commensurable and mature cognitive system and viewpoints, which leaves a certain research space for this article. This book takes women's poetry in the 1990s as the research object. "Women's poetry in the 1990s" is not a label, nor does it mean that female poets take sides. As an examination angle, it is put forward to seek the relationship between female poets who wrote in this period and their predecessors, contemporaries, and other writing groups, to analyze the characteristics of women's poetry in the 1990s in the context of mass consumer culture and its complex aesthetic relationship with Western poetry and traditional poetry. Through the research and sorting out of the above issues, it shows the heterogeneous characteristics of women's poetry in the 1990s that are different from the women's poetry in the 1980s and the new century.

This book is the first work in China that systematically studies and organizes Wang Yucheng's prose in separate parts. It reflects the author's extremely high ability to interpret documents, and the thesis is fully demonstrated. It conducts separate research on the writer's works and accurately grasps the mainstream practices in the current academic world. The topic selection has great theoretical value and the research is relatively in-depth. Wang Yucheng was an important writer in the early Northern Song Dynasty and played a leading role in the classical prose movement of the Tang and Song Dynasties. Studying his prose is of great help to understand the formation and development of the ancient prose movement in the Song Dynasty and to grasp the overall style of the Song Dynasty literature. The book is divided into two parts. In addition to the introduction and conclusion, the first part focuses on the classification and study of Wang Yucheng's prose according to style. The following part is about the proofreading and annotation of Wang Yucheng's prose. This is the first time that Wang Yucheng's prose has been proofread and annotated in China.

The rise of novel criticism in the Ming and Qing Dynasties marked the consciousness of novel reading. Novel reading is different from traditional reading of classics and history. The novel itself is highly entertaining. Novel reading can be called an aesthetic activity in essence. This book's research on the criticism of novels of the Ming and Qing Dynasties revolves around the aesthetic experience of reading. It is believed that the discussion of the aesthetic experience of reading constitutes the most core significance and value theory in the criticism of novels of the Ming and Qing Dynasties. In the process of reading the text, the reviewer took the reading aesthetic experience as the core. On the one hand, he analyzed the generation mechanism of aesthetic experience in the reading process from the reader's perspective, and tried to establish an ideal reading paradigm; on the other hand, he explored the interactive relationship between the text and the reader's aesthetic experience, and completed the construction of the novel art theory on this basis.

From the broad perspective of the development of American Sinology, this book systematically reviews the historical background, stage characteristics, main results, and methodological approaches of Su Shi's research in American Sinology. It then launches a comparison of Chinese and American Soviet studies and conducts an in-depth discussion at the level of dialogue between Chinese and Western poetics. The American Sinology community has unique insights into Su Shi's poetry, prose, calligraphy and painting, political philosophy, literary aesthetics, and relegation mentality. There are also great differences in academic discourse and theoretical perspectives between Chinese and American Su Shi. This has led to thinking about the integration of Chinese and Western literary research methods, the compatibility of using Western theoretical discourse to analyze Chinese classical poetry, and value judgments in the study of cross-heterogeneous civilizations.

Starting from the artistic category of artistic characteristics, this book focuses on the reception of the poetics of the Han Dynasty, reflects on the Chinese lyric tradition, discusses and interprets the role played by the poetics of the Han Dynasty in the construction of the Chinese lyrical tradition, and the multi-faceted changes in the Chinese lyrical beauty canon. Chinese lyrical tradition should not become a "super-generalization" with a single clue. It cannot summarize the multifaceted changes in Chinese lyrical aesthetics from one aspect. Lyrical tradition is an important dimension for understanding or commenting on Chinese literature, but it is only a heterogeneous level of Chinese literature from a parallel research perspective. Chinese lyrical tradition needs to be explained at the level of artistic characteristics, but cannot be sublimated to the category of artistic essence. Artistic characteristics are an effective basis for reflecting on Chinese lyric tradition.

This collection of essays contains the author's single essays on ancient Chinese literature over the past thirty years, ranging from the pre-Qin Dynasty to the Ming and Qing Dynasties and modern times, with the study of Tang and Song literature as the center. The content of the collection of essays can be roughly divided into two categories. The first is the discussion of literary phenomena and literary works, such as the Four Masters of the Early Tang Dynasty, Yuanyou Literati, Jiangxi Poetry School and other literary groups and schools, as well as the song style, six character poems, elegant poems, poems about horses, Bai Zhan style, etc.; The paper covers various literary styles such as poems, lyrics, essays, and poems, with linguistic research as the main feature, and approaches from various angles of aesthetics, hermeneutics, and stylistics. It not only explores "ancient" literary theories, but also strives to reveal the "theories" of ancient literature, such as "landscape is poetry," "the viewer enters the painting," and "war as a metaphor for poetry," and other literary and artistic creation and aesthetic concepts.

This book is a selection of papers published in domestic and foreign academic journals by the author who has been engaged in research on ancient Chinese literature, international sinology, and teaching Chinese as a foreign language for decades. The book is divided into 4 parts: "Ancient Literature History", "Classics·Red Learning Mysteries", "Classics·Liaozhai Excerpts", and "Overseas Sinology·Chinese Literature History" and 1 appendix, totaling 25 articles. The six articles "History of Ancient Literature" are a study of some important vertical or chronological topics at the macro level of the history of ancient Chinese literature; the six articles "Classics: Exploration of Red Studies" and the six articles "Classics: Liaozhaizhaiying" are studies of Red Studies, namely Cao Xueqin and "Dream of Red Mansions", which are the "explicit studies" of world Sinology. Research, Liaozhai studies, that is, the development process of the study of Pu Songling and "Strange Stories from a Liaozhai Studio" and the combing and analysis of the mysteries and questions that exist to this day; the six articles of "Overseas Sinology·Chinese Literature History" are the research on foreign Sinology, including foreign Chinese literature, the occurrence and development of Chinese language and culture itself, and their research. This is mainly an investigation and study of the historical Chinese literary creation, inheritance and development of Chinese language and culture teaching by the people of the Korean Peninsula and Ryukyu Islands in China and\u002F or in their hometowns. An appendix is ​​a study of a case in which the Chinese government insisted on carrying out Chinese studies education in modern universities in modern times-Chinese education at the Qingdao Special College jointly run by the Chinese and German governments.

The research content of this book is about the "Novel of the Thirties" written by George Orwell from 1934 to 1939 - "The Burmese Years", "The Vicar's Daughter", "Let the Orchid Fly" and "Come Up for Breath". Although these four novels are not as well-known as Orwell's masterpieces "Animal Farm" and "1984", they are the main works of Orwell's youth. The novels take four ordinary little people as the protagonists. By recording their struggle against their unfortunate fate, they reflect the inner anxieties and desires of modern people. These four novels are actually Orwell's "self-portraits". Orwell integrated his ups and downs life experience into the plot of the novels, trying to find the reasons for personal mental depression and poverty from the constraints of the social environment. In the novels of the 1930s, the protagonist gained the ability to make judgments about old and new values ​​by feeling the bitter sufferings of others and integrating into a heterogeneous cultural atmosphere. As a result, he gained an overall grasp of modern society to a certain extent and escaped the constraints of the institutional environment. Therefore, Orwell's novels of the 1930s are one of the signs of the maturity of his ideological concepts and laid the creative foundation for his "dystopian" masterpieces of the 1940s. This book hopes to provide a reference for Orwell research in China through the interpretation of Orwell's novels from the 1930s.

This book takes literary criticism as the research object and the critical mechanism as the research perspective. It focuses on the functional role of the driving force, internal driving force, external thrust, and comprehensive force of criticism in the contemporary transformation and development. It not only focuses on the ontological research of the critical mechanism, consolidating its theoretical foundation of epistemology, practice theory, and axiology, but also based on the study of literary dynamics in the relationship between criticism and creation. , Elucidating the connotation and theoretical practical significance of critical experience, literary system, evaluation system and mechanism, values and value sources, critical ethics and critical self-discipline, critical aesthetic spirit, etc., Enriching and expanding the research space of critical theory with the theory of literary criticism mechanism, aiming to enhance critical productivity, evaluative power, and influence, so as to achieve the purpose of promoting the innovative development of literary criticism with Chinese characteristics in the new era.

In the early Qing Dynasty, the Guanzhong area was prosperous in humanities and writers emerged in large numbers, which aroused widespread concern among scholars at home and abroad at that time. Guanzhong poets represented by Li Yindu, Sun Zhiwei, Wang Youdan, Li Nianci, etc. Were once famous all over the country, and were praised by famous poets such as Gu Yanwu, Qian Qianyi, Wang Shizhen, and Zhu Yizun. This book systematically and comprehensively studies the poetic theory, creative achievements and regional characteristics of the Guanzhong poet group in the early Qing Dynasty, and uses theories such as cultural geography and literary psychology to further explore the cultural origins, creative mentality and aesthetic taste of the Guanzhong poet group in the early Qing Dynasty. It comprehensively demonstrates the overall creative achievements of this literary group as well as its academic and cultural value.

This book is the result of a general project of the China Postdoctoral Science Foundation. This book takes the representative and typical female images in the first 80 chapters of "Dream of Red Mansions" as the research object, and selects the main characters in the main volume, supplementary volume, and supplementary volume of The Twelve Golden Hairpins as the starting point. Through comparative research with the translations of Yang Xianyi and his wife, it explores the image of the daughter of the Red Mansion written by Hawkes. This book creates a "one-to-two" parallel corpus: the original text corpus of "Dream of Red Mansions" and the corpus of Huo and Yang's translation. It adopts a combination of quantitative and qualitative research methods. Through statistics, comparison and analysis, it discovers two paradigms of Hawkes' writing and image tracing: one is to write the expression of his words and dynamic outline; the other is to pursue his attributes and temperament and statically fixate the image. The research conclusions of this book can provide a useful paradigm for the English translation of characters in Chinese classic novels in the new century.

This book takes six major vernacular novels from the Ming and Qing dynasties as well as two representative short story collections of Three Words and Two Patterns and "Strange Stories from a Chinese Studio" as the research objects. It combines the latest research results of the academic community to accurately study each masterpiece, including its complex and long process of writing, the ideological connotation that is constantly deconstructed and reconstructed, the representative artistic image, the unique and profound artistic characteristics, and its dissemination and acceptance in the contemporary context. Using methods such as close text reading, this book strives to present these profound classic novels in an easy-to-understand form to readers.

The development of new media technology and consumer literature have joined hands to change the concept of literature and create a new literary field for the emergence of new genres. On the one hand, online writing presents a completely different way of creation, dissemination, acceptance, and evaluation from traditional paper media literature, opening up a new path for literary development from a macro perspective; on the other hand, online writing provides new discourse resources and ways of speaking, which can be verified from a large number of writing practices in new online genres.

This book is a collection of academic papers by the author. The issues discussed are mainly focused on the inter-textuality of literary classics and cross-disciplinary or interdisciplinary research. The essays included in this book have novel and unique topics, unique and sharp perspectives, and the research objects involve the relationship between literature and religion, geography, folklore, history, nationality, ethics, imperial examination system, soundscape culture, media ecology, biographical research, Western Region culture and other fields. Relationships may be uncovered, or they may examine their origins, or they may illuminate subtle decisions, highlighting the deep cultural structure of textual intertextuality, understanding the inherent three-dimensionality, plurality, and self-consistency of literary classics, and resolving many confusions, doubts, and problems in the process of reading literary classics.

Based on Zhang Ailing's literary creation and literary behavior after she went to the United States in 1955, starting from the formation and expression of Zhang Ailing's outlook on life, world view, values and philosophy of life, this book systematically conducts research on Zhang Ailing's late literature and comprehensively discusses The connotations of despair, nihilism and decadence in Zhang Yanling's people and writings dynamically present the process of her deep despair towards the Republic of China. Especially in the narrative of the "Hong Kong War", her consciousness of compromise and surrender was unfortunate for the country and her family, which led to repeated declines in her personal and literary bottom line. These profoundly affect the expansion of Zhang Yanling's creative pattern and the improvement of her realm. This work can connect Eileen Chang's literary texts with her growth experience, adhere to the national, national and era standpoints of literature in the context of the current "Ailing Chang craze", and reveal the creative characteristics of Eileen Eileen Chang's lack of pioneering in late literature, major mistakes both as a person and as a writer, and the use of literary techniques to describe life.

Reading and life, these two are organically integrated and support each other in this collection of academic essays. The observation of life is closely connected with the thinking triggered by literary texts. Look for answers to life's problems in literary works, and the literary world can achieve excellent salvation. In all-encompassing literature, there can be encyclopedic knowledge and academic exploration, but the essential meaning of literature is the softest concern and the deepest bone-deep sharpness it gives people. When a person hits rock bottom, it will be a life-saving virtue. This book aims to point out the two-way influence between literature and life, especially the important psychological adjustment and guidance functions of literary works, which can be used to accompany readers' spiritual growth.

The study of unreliable narrative is a cutting-edge academic proposition in current narrative theory research at home and abroad. This book takes unreliable narrative as the research object. The establishment of this research object is mainly based on the overall status of the development of literary practice and narrative theory in the 20th century. This book places unreliable narrative in the development of the entire narrative tradition, starting from examining the reasons for the transformation of reliable narrative into unreliable narrative, revealing the reasons for the generation of unreliable narrative, clarifying the occurrence and development of unreliable narrative theory, and clarifying the connotation of unreliable narrative. On this basis, this book further explores unreliable narratives in multiple dimensions from the perspective of type research, formation mechanisms, and artistic effects, and then expands the research horizons into narrative ethics. It proposes a "five-dimensional narrative ethics analysis method". Through the analysis of ironic and ambiguous unreliable narrative texts, it opens up a research path from within the text to outside the text, thereby advancing the study of unreliable narratives.

Ye Changchi, a native of the Qing Dynasty, set an example by creating "Book Collection Chronicle Poems", which was specially designed to be a biography of ancient bibliophiles and created the "Chronicle Poetry Biography" style of writing. The book has been popular for hundreds of years and has been continued continuously, including Lunming's "Poems Chronicle of the Collection of Books since 1911", Xu Xinfu's "Poems Chronicle of the Collection of Books in Guangdong", Wu Zeyu's "Poems Chronicle of the Continuing Collection of Books", Wang Jian's "Poems Chronicle of the Continuation of the Collection of Books", Zhou Taimi and Song Luxia's "Poems Chronicle of the Collection of Books in Modern Shanghai", and Cai Guihua's "Poems Chronicle of the Collection of Books in Modern Yangzhou", etc. This book takes the above-mentioned books as the research object, and the content is divided into two parts. The above part is divided into literature chapters, which respectively discuss the creation process and characteristics of each book. The next part is a research chapter, which mainly studies the poetic art of book collection chronicle poems, academic contributions of bibliophiles, book collection chronicle poems and ancient classics and historical materials, book collection chronicle poems and book collection culture, etc. The purpose of the book is to summarize the artistic characteristics of the chronicle poems in the collection and to highlight the cultural contributions made by bibliophiles in the protection and inheritance of classics.

Ballads are poetry that travels in the mouths of the people, and new poetry is a literary style that opened up a new world and combined new experiences during the modern transformation of the Chinese language. Due to special historical opportunities, Chinese new poetry in the 20th century made many efforts to use ballads as resources. This book traces the history of many practices of combining new poetry with ballads in the 20th century, and focuses on the rich practice of "new poetry balladization" in the 1940s under two different literary systems, the Kuomintang-controlled areas and the liberated areas. By carefully reading the representative poems of He Qifang, Ai Qing, Yuan Shuipai, Li Ji, Ruan Zhangjing and others, it shows the different stylistic boundaries of new poetry and ballads, as well as the complex historical progression of Geng ballads into new poetry.

"Pioneer" and "folk" are two important poles in Chinese literary discourse in the 20th century: the former pursues rebellion, avant-garde, soaring, and transcendence, while the latter presents nature, freshness, primitiveness, and authenticity; the former pursues innovation and change, while the latter pursues roots and roots. This book revolves around "avant-garde" and "folk" discourse. It starts from the discussion of discourse theory and the practice of literary criticism. It combines cutting-edge issues such as 20th-century Chinese literature research and Hubei regional literary criticism. From point to line and from line to surface, it combines case interpretations of classic writers, research on the transformation of modern poetry, analysis of special literary trends of thought, and overall social, historical and cultural observations. It provides certain academic references and methodological references for us to return to the literary scene of the 20th century.

The translated literature of associations in the rear areas of the Anti-Japanese War is an indispensable element on the map of Chinese Anti-Japanese War literature. This book aims to explore its literary nature, historical value and social influence, and to glimpse some of the obscured attributes of Anti-Japanese War literature and association literature through the mirror of translated literature. At the same time, it breaks through the interpretation system of "enlightenment\u002F and saves the nation" and shows the basic trajectory and true appearance of the translated literature of the communities in the rear areas of the Anti-Japanese War and the development of the Anti-Japanese War literature.

Science fiction novels are based on certain scientific and technological knowledge, making reasonable and logical imaginations about the possibilities of science, human potential and the future landscape of society, presenting readers with a feast of future myths that combines scientific and literary enjoyment. However, this kind of enjoyment is by no means pure entertainment, but also has important humanistic care functions. This humanistic care function is largely reflected in the scientific and technological ethics it presents. The research object of this book is "Research on Science and Technology Ethics in British and American Science Fiction Novels". In addition to the introduction and conclusion, it includes a total of seven chapters, which comprehensively analyzes life intervention and its ethical issues in British and American science fiction, ethical issues related to human cloning, ethical issues in cyberspace, robots and their ethical issues, ethical issues related to cyborgs, and environmental ethical issues. This study highlights the humanistic care function of science fiction novels by strengthening the ethical attention dimension of British and American science fiction novels on technological and social issues. At the same time, using the future perspective of science fiction novels, it reflects on the possible consequences and drawbacks of technological development, and explores the enlightenment significance of science fiction novels on modern society dominated by high technology.

Xu Jiarui, with his profound academic foundation and broad academic vision, has made high achievements in many fields such as literary creation, local ethnic culture research, and folk literature collection and compilation. The idea of ​​"civilian literature" runs through Xu Jiarui's creation and research. It is a movement produced by the collision of the old and new eras, and a product of the exchange between traditional Chinese literary thought and modern Western culture. In the atmosphere of the era when Western learning spread to the east, Xu Jiarui used advanced Western ideas and methods to study traditional Chinese literature, create literary works, collect and organize folk literature, and formed his unique idea of ​​"civilian literature". This book uses methods such as close reading of documents, historical analysis and comparative analysis to study Xu Jiarui's "civilian literature", thoughts and their reflection in literary history and literary practice, in order to enhance the academic community's understanding of the value and historical status of Xu Jiarui's literary thoughts.

As the first monograph on avant-garde poets in China, this book starts from the concept that the history of poetry is supported by a series of important poets and poems. It chooses to examine avant-garde poetry and even new Chinese poetry from the perspective of individual poets. It focuses on a full investigation and research of more than 20 iconic and representative poets who have had an important influence on the history of avant-garde poetry for a century. It also conducts in-depth and macro discussions on important theoretical issues such as the fate, tendency and value of Chinese avant-garde poetry. The historical clues of new poetry are hidden in the discussion, which is both internal and external. While objectively restoring the historical trajectory and overall style of Chinese avant-garde poets, it also pays attention to revealing and elucidating the internal laws behind their historical changes and connections. It achieves the integration of academic and readability, academic rationality and data. It provides a relatively reliable starting point or reference for further historical and aesthetic evaluation of avant-garde poetry in the future, and is of great help to the prosperity of current new poetry creation.