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The Song Dynasty was a period of highly prosperous economy, culture, and education in Chinese history. The cultural atmosphere of advocating elegance and erudition made the cultural fashion of elegance and erudition sweep across the entire literati class of the Northern Song Dynasty. Although the country's power declined after the southern crossing, the liberal arts style remained unabated. At the same time, literati and officials generally developed a patriotic ambition to restore the Central Plains. Rooted in such a unique historical and cultural background, the autobiographical literature of the Song Dynasty also showed pioneering and new changes that were different from previous generations, which had a profound impact on the development of autobiographical literature in later generations. While inheriting the tradition, the autobiographies of the Song Dynasty also made interesting explorations and improvements in the development of ideological content and cultural implications. It incorporates in-depth thinking about family and country, life and death, and self, and has extremely diverse ideological and value orientations. The style also shows a development trend from a single narrative to the integration of multiple styles, further deepening the elegance and beauty of autobiographical literature, adding a rare female perspective in previous generations, and integrating the patriotic feelings that moved the world during the Song, Yuan and Chang Dynasties. The new changes in the elegance and taste, female perspective and patriotic sentiments in the autobiographical literature of the Song Dynasty have become its distinctive features and coordinate value in the development history of Chinese autobiographical literature, symbolizing the new height of Chinese autobiographical literature entering a mature stage in the Song Dynasty.

"Chinese Literary Historical Materials (Seventh Series)" combines nearly a hundred papers from the two annual conferences of the Chinese Literary Historical Materials Society in 2019 and 2020, and selected dozens of papers based on the opinions of participating authors and the quality of the papers. These papers can not only reflect the connotation and extension of the concept of "Chinese literature", but also reflect the breadth and depth of the research on "Chinese literary historical materials", as well as the future direction and possibility of Chinese literature research.

Taking the exegetical study of the Book of Songs as the basic starting point and integrating relevant research results from linguistics, literature, philology and other disciplines, it is of great contemporary value for completing the historical reshaping of traditional philology, promoting the construction and development of philology theory, and even highlighting the academic characteristics of traditional Chinese Confucian classic culture and establishing national cultural confidence. This book combs and organizes the research literature on "The Book of Songs" in the past dynasties, taking the occurrence and development of the "Book of Songs" primary school as the main line, outlining the basic process of text interpretation of the "Book of Songs" over two thousand years, and systematically constructing a general history of research on the "Book of Songs" primary school. The author of this book fully considers the origin and influence of core cultural factors, reflecting a broad historical perspective.

This book examines the poetics of the late Yuan Dynasty from three aspects: the changes in academic culture and the evolution of poetic thoughts in the middle and late Yuan Dynasty, the spiritual idols of the times and the approach to poetics in the late Yuan Dynasty, and the mentality of literati and the evolution of poetic thoughts in the late Yuan Dynasty. This article focuses on how the poetics of the late Yuan Dynasty evolved from the poetics of the previous generation, and how it participated in the construction of later generations' poetics, thereby revealing the diversity, compatibility, regionality, and universality of the poetics of the late Yuan Dynasty. This book believes that a poetic system with comprehensive contents such as poetry creation theory, poetic concepts, poetic criticism, poetry writing skills and common sense has begun to take shape in the late Yuan Dynasty, which directly started the rise of Ming and Qing poetics. If this link is ignored, the history of Chinese classical poetry will be impossible to connect.

The wilderness metaphor not only runs through the initial colonial period and the War of Independence in the United States, but is also of great significance in the subsequent westward expansion movement, the transformation from agriculture to industrialization, and the brewing, start, development, and maturity of modernization and urbanization processes such as the World Wars. The evolution of wilderness imagery has a profound and complex correlation with the modernization process of American literature and the development of American ecological awareness. This book aims to trace the origins of the conceptual metaphor of wilderness imagery, and takes the brewing, initial development, maturity, and transition periods of the American modernization process as the research interval. It focuses on reading and sorting out the works of American literary writers from the colonial period of the 17th century to the late 20th century. It conducts a comprehensive review and exploration analysis of the depiction and evolution of wilderness imagery under the ideological and cultural backgrounds of different periods in the American modernization process, and uses ecological criticism and spatial geography. Learning is the starting point for research, and interdisciplinary research methods such as sociology are introduced to elaborate on the spatial significance and artistic characteristics of wilderness imagery in various periods in the process of American literary modernization. It refines the different connotations of this conceptual metaphor, searches for and outlines the evolution trajectory of the American literary tradition, the special artistic essence and characteristics reflected behind it, and the inevitability of its emergence, existence and development, foresees its possible prospects, and re-examines the history of the relationship between humans and nature in the western United States.

"From Baicao Garden to Sanwei Bookstore" has been widely read since it was selected as a middle school Chinese textbook in 1931. "Baicao Garden", as a proper name for Lu Xun's memory space, has an immovable classic status. This book restores the "Baicao Garden" from the spiritual "paradise" of modern Chinese people's childhood into a historical space that contains multiple connotations such as family history, reading history, and literary history. The birth of the "Baicao Garden" is the product of the poetry dialogue between the Zhou brothers. The two men's series of writing centered on the "garden" lasted for more than half a century. The "Baicao Garden" was also sublimated from the back garden of Xintai Gate of Zhou's family in Shaoxing into a literary space with the significance of tracing the starting point of May Fourth New Literature.

American sinologist James Robert Hightower (1915-2006), who served as a professor at Harvard University in the United States for a long time, is a pioneer and founder of American Sinology, especially the study of American Chinese literature. This book takes Hai Taowei's representative sinological achievements in the study of Chinese classical literature as the research object. Based on original archives and documents, it conducts a basic, comprehensive and systematic study of Hai Taowei's sinology from the perspective of comparative literature, revealing his contribution, status and influence in American Sinology and even world Sinology.

This book focuses on introducing the concept of "poetry of communication" and explains several paradigms of poetry image communication (mainly movies). "Image" is the keyword of image theory and the core and soul of visual culture. It has the advantage of equal dialogue with traditional literary texts and other art forms. The image communication medium does not only have a carrying function, it can become a part that brings new expression elements and new expressiveness to poetry. Poetry in a certain sense leaves the original text expression carrier, introduces the communication carrier into self-expression, creates a three-dimensional text of poetry, and transforms it into a "three-dimensional poetry" or "cross-media poetry." The most significant poetic feature of "poetry of communication" is the fit between the expression carrier of poetry and the communication carrier. In the cultural context of media integration, poetry needs to seek new life after integration in the mutual selection of audio-visual intersections that gather with the media.

From the perspective of intertextuality, this book explores the complex relationship between newspaper writers' novels and newspaper news, and conducts a detailed examination of newspaper writers' professional identities, market-oriented survival styles, and literary practices. This book explores the historical convergence between the news communication mechanism and the generation of journalist novels through the intersubjectivity of the dual identities of journalist and writer, the relationship between the text and paratext of journalist novels, and the relationship between Chinese literary tradition and news communication culture, and elaborates on the unique cultural radiation of newspaper writers in modern China. This book reviews the historical scene, based on the review of newspaper news reports, news pictures, newspaper advertisements and other documents, and analyzes the occurrence of newspaper novels, the typification of newspaper novels, and the causes of the genre of modern popular novels, in order to provide historical reference for the reality and possibility of the construction of literary speech space in the contemporary new media environment.

This book contains a series of papers written by the author on the study of Bashu literature and literary and artistic thoughts over the past 20 years. It can be roughly divided into two parts: "A Tentative Discussion on the Characteristics of Ancient Bashu Literature", "A Brief Discussion on the Development Process and Main Characteristics of Bashu Literature" and "The Occurrence of Aesthetic Consciousness in Bashu - Taking the Artifacts Unearthed from the Sanxingdui and Jinsha Sites as Examples". The first part is a general introduction and exploration of the origins of Bashu literature. The development process, characteristics, and prototypes of aesthetic consciousness are analyzed; the second part is a case analysis of the literary and artistic thoughts of Sima Xiangru, Chen Ziang, Du Fu, Su Xun, Su Shi, Su Che, Wen Tong, Tang Geng, etc., Focusing on the literary thoughts of these writers and their relationship with Bashu culture. The appendix contains the titles and abstracts of graduation thesis on Bashu literature and art by doctoral students and master's students supervised by the author. This book systematically discusses Bashu regional poetics and Bashu literature, and has reference value for the study of Bashu literature and art.

This book is based on the "literary space" that connects "literature" and "geography". From the "outer space" of "literary space" to the "inner space" and finally to the significance of literary history, this book studies the Beijing and Shanghai literary space in the novels of the late Qing Dynasty and the early Republic of China. It focuses on space and novelists' urban experience, space and text space in novels, space and space narrative in novels, etc.

This book focuses on combing through the diverse writing forms and thematic expressions of different writers in overseas Chinese literature since the 1980s while on the move, namely, the cause-and-effect motif of overseas Chinese literature, family and personal narratives, mothers and daughters in intergenerational ethics, the carving of movement and space, future science fiction and human existence, etc. It explains the characters that are isomorphic with the times, female self-imagination and meaning construction in gender dilemmas, the medium of existence and resistance in the ethical gap, and the construction of subjectivity between the matrix and the variant after movement. Further explore the spiritual posture, cultural pulse, multiple styles and subjective practices of literary writing in the moving time and space under the background of Chinese and Western cultures.

The study of prophecy is a theological and cultural trend that emerged during the Han Dynasty. It has had a huge impact on traditional Chinese classics, politics, culture and academics. Among all the wefts, "Shiwei" is particularly valued by modern academic circles because it is related to "Poetry" and poetics. It is rich in connotation and of great value. The author has conducted in-depth sorting and in-depth research on the literature of "Shiwei". The document compilation mainly focuses on collating lost texts and compiling annotations. While providing reliable basic documents for the academic community, it also presents the overall academic context and knowledge foundation of "Shiwei". Academic research focuses on the core concepts, interpretation models, cultural value and other basic issues of "Shiwei" and its relationship with the study of "Poetry" in the Han Dynasty. Innovative viewpoints are put forward in terms of interpreting poems and matching poems in "Shiwei" and the relationship between "Shiwei" and "Qi Shi", highlighting the uniqueness of the academic value of "Shiwei".

Rhythm is an important part and essential poetic element of the construction of modern Chinese poetry. This book explains the principles and mechanisms of the rhythm of modern Chinese poetry from the aspects of the nature, organization, form and function of the rhythm of modern Chinese poetry. It adopts the methods of theoretical sorting, text inspection and morphological comparison to examine and analyze the representative rhythm poetics theory and creative practice in the history of modern Chinese poetry. It places the rhythm of modern Chinese poetry in the Observing from a comparative perspective, it explores the inheritance and transformation of Chinese and foreign poetry rhythm traditions in the context of the dissemination and acceptance of new poetry, reveals the distinctive "Chinese" background and "modern" characteristics of the rhythm of modern Chinese poetry, and attempts to construct a theoretical system and interpretation platform for studying the rhythm of modern Chinese poetry.

In the Qing Dynasty, the relationship between the bannermen garrisoned in Hangzhou and the people in Hangzhou city experienced a process from conflict to harmony. The garrisoned bannermen were gradually attracted by Hangzhou's long and rich Chinese cultural heritage, and then studied and studied it, writing a large number of Chinese poems. These poems not only have similarities with the expressions of Han literati, but also have distinct ethnic characteristics. They are examples of the integration of national literature in the Qing Dynasty. This book takes the poetry of the garrison literati in Hangzhou as the research object. It not only explores the evolution of the poetry of the garrison literati in Hangzhou over time, but also explores the uniqueness of their creations from the perspectives of family literature, regional literature, trauma narratives, etc., And strives to fully reveal the overall style of this group's poetry creation.

This book is theoretically supported by the "formal ideology" proposed by critics such as Eagleton and Jameson, and re-examines the phenomenon of Chinese avant-garde literature in the 1980s from the perspective of literary sociology. It takes the formal experiments of avant-garde literature in the 1980s as the main line of research, and explores the humanistic context, historical genealogy, language style, narrative ethics, spiritual imagery and cultural heritage of avant-garde literature in the 1980s. The "formal ideology" research approach chosen in this paper is highly innovative in the study of Chinese avant-garde literature. The treatise not only focuses on the textual value of the avant-garde as "pure literature", but also focuses on the "external research" of avant-garde literary trends as a cultural phenomenon, including the sociological implications of "pure literature" overflowing from the text.

Based on the investigation of the development and changes of Sinology during the Meiji period, this book takes an overall look at the "Chinese charm" and "Japanese characteristics" in Meiji poetry and Chinese poetry, explores the inherent relationship between Meiji and Chinese poetry and Chinese culture, and analyzes the cultural mentality and creative style of Japanese literati when they created Chinese poetry based on the trend of the times during the Meiji period. The main contents include the development stages of the Meiji Chinese poetry and literary world, the exchanges of Chinese poetry and prose between Chinese and Japanese literati, the content, characteristics and causes of Meiji poetry and poetry, as well as the different styles of Chinese poetry and prose at different stages in the Meiji period, etc., And then reveal the status and role of Meiji poetry and Chinese poetry and prose in the history of Meiji literature.

This book contains 22 research papers on Su Shi written by the author over the past 30 years, and conducts a three-dimensional study of Su Shi and his writings from multiple angles. The first part, "Personality Theory," explores Su Shi's humorous character and transcendental thoughts; the second part, "Exploration of Outlook on Life," examines Su Shi's views on women, views on monarchs and ministers, derogatory speeches, expressions of gratitude, and military thoughts; the third part, "Exploration on Scientific and Technological Activities," focuses on Su Shi's scientific and technological activities, especially an in-depth study of Su Shi and medical culture; the fourth part, "'Su Hai "Li Test" examines Su Shi's pine complex, his friendship with Wen Tong, and his inheritance and transcendence of the theory of "poor before working" and Lu Zhi; the fifth part, "Exploration on Popular Literature," explores the Dunhuang Buddha image and "advertising consciousness" in Su Shi's poems, Su Shi's relationship with "Shuo Shen" and "Shuo Hua", as well as the relegation drama of the Yuan Dynasty and Wang Shizhen's acceptance of Su Shi in the Qing Dynasty.

This book takes as the research object literary narratives and related texts about the image of farmers since China's urbanization (starting with the rural reform in 1978), explores how literature since the 1980s has imagined the image of farmers, and discusses the complex reasons behind it. On the one hand, this book analyzes the character design, storyline, and narrative structure surrounding farmers in contemporary literary works. On the other hand, the historical context, ideological culture, and meaning structure related to the generated text are also the focus of this book. Through the analysis of six types of farmers' images and their related narratives, this book attempts to sort out a complete narrative logic. In this narrative logic, we can clearly see how the originally self-sufficient farmers fell into confusion and marginalization in the process of China's urbanization, and were even completely included in the urban orbit, losing their farmers' identity and subjectivity. However, at the same time, this narrative logic also reflects how farmers develop a self-awareness to construct and fight for new subjects and identities in a state of "marginal" and "suffering", and may even develop an emerging subjectivity from this.

This book explores the spiritual composition and local characteristics of the works of contemporary Hunan writers, and provides a dual interpretation of poetics and interpretation of more than ten important contemporary Hunan writers such as Zhou Libo, Han Shaogong, Can Xue, Huang Yongyu, Wang Yuewen, Yan Zhen, Zhang Zao, Shen Nian and their works. The overall structure is based on the local inheritance of literature, cognitive narrative, the self-evolution of Hunan writers, and the changing literary style, etc., And attempts to explore how to grasp the ideological context and artistic composition of the text in different ways and from multi-dimensional perspectives.

The canonization of a writer's works is a staged process from this article to a classic. Its starting point is the classicity of this article, which contains multi-faceted meanings such as tradition, pioneering, and model. The canonization of a work is a process in which readers continue to discover and reveal the classicity of this article and gradually establish its classic status. Cao Zhi blended his previous literary traditions and created original works, combining various styles and integrating all their achievements. The primary way to make his literature canonized is through the learning of creative readers. Through the creation and acceptance of literati in the Jin Dynasty, Song Dynasty and Qi Dynasty, the classic series of Cao's works was basically formed. The collection of "Selected Works" and the criticism of "Poetry" and "Wenxindiaolong" made the classic series manifest. Compared with the canonization of his works, the canonization of Cao Zhi has gone through a long process, from Chen Shou, Pei Songzhi, Jiang Yan, Zhong Rong, Xiao Yi, "Chen Siwang Temple Stele", Wang Tong, to Li Shan, Wu Chen, Wang Bo, etc. In the Tang Dynasty. After the discovery of many readers, Cao Zhi's Confucianism was finally unified with his works, thus establishing his status as a great master in the history of Chinese literature.

In the history of ancient Chinese literature, there are many works about disasters. These works describe the horrific scenes of natural disasters, people's difficult living conditions and painful and hopeless mentality, and record a variety of disaster resistance, relief and prevention methods, which have important artistic and social value. Based on literature, this book adopts interdisciplinary methods such as disaster studies, history, and folklore to conduct a macroscopic examination of disaster writing in ancient literature and summarizes the valuable national spirit contained therein, which is of great significance to the construction of current spiritual civilization.

As the leader of the Yangxian Ci School in the early Qing Dynasty, Chen Weisong had a very high status in the CI world, but his poems received less attention. This book starts from the regional and humanistic background of Chen Weisong's poetry creation, Chen Weisong's friendship activities with teachers and friends, the ideological content, main genres and stylistic features of Chen Weisong's poetry, Chen Weisong's poetic theory and criticism, etc. It takes more than 1,700 existing poems by Chen Weisong as the object of observation, discusses and reveals the high artistic achievements of Chen Weisong's poetry creation. This book especially focuses on Chen Weisong's poetic works that have important historical value and artistic achievements but have received little attention, thus showing his true appearance of his own poetry creation factory in multiple dimensions, following his predecessors.

This book mainly focuses on the overall background of Western translation of Tang poetry, a close textual reading, comparative analysis and interpretation of Yuwen Suo'an's English translation of Tang poetry, and explores the concepts, characteristics and methods of translation and interpretation of Tang poetry. It also uses theoretical perspectives such as contemporary comparative literature, such as iconography and variation, to deeply explore the poetic thoughts reflected in Yuwen Suo'an's writing of the history of Tang poetry and reveal the cultural value and theoretical significance of his English translation of Tang poetry and writing of the history of Tang poetry.

From the perspective of a foreign literature teacher, this book takes "literature is human studies" and "literary research is also human studies" as the guiding ideology, and analyzes "ancient Greek mythology", "chivalry literature" and "Homer's epic" from three levels: "literal meaning", "epochal significance" and "symbolic meaning". ", "The Aeneid", "The Divine Comedy", "Don Quixote", "The Decameron", "Giant", "Faust", "Eugene Onegin" and other classic literary works, with special emphasis on exploring, refining and explaining the various life states contained in them, hoping to provide readers with enlightenment in life. This book is the first to put forward the concept of "lecture-style academic works" and follows the law of "lecture-style academic works" that pay attention to communication. It strives to use beautiful writing, smart spoken language and vivid stories to cook the ups and downs of the world.

The vast majority of research on Chinese postcolonial criticism is conducted from an oppositional and critical standpoint, but these standpoints themselves are rarely reflected on and relativized. This book combines the specific events and issues of China's post-colonial criticism to comb through the representative figures and their opinions from various parties in the debate, and explores the issues of nationalism, duality, political economy and intellectual ethics that opponents accuse of China's post-colonial criticism. This book uses the issue of "modernity" as the red thread running through a series of topics in this book. In the research, it strives to transcend the binary model of "China\u002FWest, tradition\u002Fmodern" in the history of modern Chinese thought, and has made great progress in the research methods and depth of China's post-colonial issues.

One of the important indicators that Chinese society was in a period of transformation at the end of the Qing Dynasty and the beginning of the Republic of China was the modern transformation of intellectuals. Due to the particularity of their position in history, Chinese women are bound to experience more complex and drastic changes in the modernization process. This book focuses on the identity confirmation and gender construction issues of female intellectual groups in social and cultural life in the late Qing Dynasty and the early Republic of China. It inherits from the classical "talented ladies" and draws inspiration from the modern female writers group. It takes women's periodical readings as the main analysis object, and uses literary narrative, periodical culture, and gender discourse. Taking language phenomenon as the key research direction, it explains the "self" identity construction of female writers in the historical and cultural process from the perspective of gender studies, with a view to sorting out the historical context of the occurrence of modern Chinese women's literature, analyzing transitional characteristics, clarifying stylistic changes, and interpreting the world mirror.

This book selects some representative poems, lyrics, songs, poems and prose, etc., Analyzes them in categories, and discusses several middle-level theories related to ancient Chinese literature, such as the "realistic main text" theory and destiny-article theory in the writing of ancient Chinese literary history, the multi-modal analysis theory, literary space theory, and stylistic theory in text criticism, as well as the cultural construction theory and gender theory in literary sociology. The so-called middle-range theory can only guarantee its validity within limited time and space and within a limited range. However, this limited theoretical abstraction ensures the consistency between theory and experience to a large extent. Middle-range theory is not one kind, but exists in the form of a "bundle of theories". In terms of maintaining the richness and effectiveness of middle-range theory, this book has certain enlightening significance and can help readers establish some kind of their own "middle-range" imagination about ancient Chinese literature.

This book is based on problem awareness and uses representative artists and classic art phenomena in Western art history as clues to construct chapters. Each chapter of this book focuses on an artist or an artistic phenomenon, trying to explore the narrative construction of images and their discourse metaphors based on Western art historical practices from classical to contemporary times. This book focuses on three key words: image representation, narrative construction, and discourse metaphor. "Image representation" is an investigation at the phenomenon level and is also the case support of this book. "Narrative construction" is a deep theoretical analysis of phenomena. "Discourse metaphor" studies the social culture, aesthetic concepts and ideological discourse behind image narratives. This book introduces the perspectives of art philosophy, art sociology and art cross-media, and discusses the research object from the perspective of the integration of social theory, aesthetics, culture, philosophy and art, etc., And then provides theoretical support for current art appreciation and art criticism from the combination of case studies and academic theories, as well as practical support for the interpretation of current art theories.

The vigorous development of Chinese Internet literature cannot be separated from the encouragement and encouragement of critics. This book adopts the method of "taking people to guide history and using history to introduce arguments" and selects the 10 most representative Internet literature critics in China: Huang Mingfen, Ouyang Youquan, Chen Dingjia, Shan Xiaoxi, and Zhou Zhi Xiong, Ma Ji, Shao Yanjun, Xia Lie, Xu Miaomiao, and Xiao Jinghong demonstrate their academic contributions through the analysis of their theoretical criticism of Internet literature, revealing the development level and academic contribution of theoretical criticism of Internet literature in China from point to line and from line to surface. This book starts with the critical practice of individual critics, and obtains the theoretical depth and research breadth of Chinese Internet literature criticism through individual criticism symptoms. From here, we can see the development context, basic appearance and importance of theoretical criticism of Chinese Internet literature. At the same time, it also pays tribute to the pioneers of Chinese Internet literature criticism. It is precisely because of their academic exploration that Internet literature has entered the mainstream and Internet literature research has become a prominent scholar.

The English-speaking world is constantly introducing new literary trends and theoretical constructions, all of which cannot avoid Shakespeare, a giant of world literature. Shakespeare has not only become a practical place for theoretical construction and a touchstone for testing theories, but his works have also become a source of cultural and literary innovation in various countries. Especially since entering the 21st century, Shakespeare scholars in the English-speaking world have used the trend of postmodernism to deconstruct and construct traditional Shakespeare studies: they may use new perspectives such as interdisciplinarity to reinterpret old issues in Shakespeare studies; or they may combine new Shakespeare phenomena to explore new issues in Shakespeare studies and expand research paradigms, with fruitful results. This book is a further exploration and study of new materials and new perspectives for Shakespeare studies in the English-speaking world.

This book uses the broad category of "nationality" as the theoretical framework and takes film and television adaptations of contemporary Chinese literature as the main line to comprehensively analyze the national style and national aesthetic taste reflected in contemporary literary and artistic works, and explore the role of literary and artistic works in reflecting the history of the nation, displaying the rich multi-ethnic culture of the Chinese nation, forming national identity, and constructing and disseminating a positive national image.

By analyzing the development process and research status of disability writing in Chinese and foreign literature, this book is based on the text of "disability writing" and introduces research perspectives such as mirror theory, personality trait theory, trauma theory, and literary ethics. It systematically analyzes the characters, rhetorical vehicles, narrative modes, themes, writing paradigms, and value orientations in disability writing in contemporary Chinese literature. It explores the refraction of disability writing on various social and cultural phenomena, and reveals the status and role of disability writing in the development of contemporary Chinese literature.

In the poetry world of the middle and late Northern Song Dynasty, a poet named "Li Bai's successor" appeared - Guo Xiangzheng. He has more than 1,400 works that have been handed down to this day. Both in terms of the number of creations and the time of circulation, they are relatively rare in the history of Chinese classical poetry. This book takes Guo Xiangzheng and his poetic works as the main research object, re-examines some issues in his life story, explores the creative origins, ideological content, creative techniques and techniques of his poems, and deeply studies the impact of character experiences on his poetic works. When personal destiny was intertwined with the country and society, Guo Xiangzheng's thoughts and characters became complex and changeable, and his poems therefore took on the characteristics of being all-encompassing and complex in content, showing an artistic style of grandeur and wonder, freshness and beauty, subtlety and euphemism, sadness and broad-mindedness, and elegance and depth.

This is the first monograph to discuss the new overseas Chinese literature in Japan. This book examines the history of new overseas Chinese literature in Japan in a global context, explores its particularity, importance, and the need to fill in the gaps, and proposes a three-stage theory over the past thirty years. It has a novel perspective, detailed information, and the theory is derived from history. It is a comprehensive, systematic, and holistic research result that reflects the process and appearance. This book studies Japanese new overseas Chinese literature for thirty years (1990-2020), corresponding to (or connecting) thirty years of modern Chinese literature (1917-1949), and has innovative significance in filling the gap. In the context of globalization, Japanese new overseas Chinese writers have begun to explore the language and culture of foreign lands, from "nostalgia" to "crossing the border", from "anti-Japanese" to "knowing Japan". Different from the "immigration" characteristics of the West, Japanese Chinese writers have a living experience and writing mentality "between character and material sorrow". Its significance is not only the expansion of Chinese literature overseas, but the deepening or "growth" of Chinese literature itself overseas. What is more significant is that because these poems and essays grew up in Japan, a place where Chinese people's emotions are extremely entangled and pain is always fresh, they have a unique and heterogeneous aesthetic value.

The author has been engaged in the research and translation of Bourdieu for many years. Bourdieu is a famous French philosopher. He tried to develop a "universal cultural theory" based on Saussure, explored a theory about cultural practices, and came to the conclusion that only when analysis transcends traditional oppositional relationships and dichotomies, and transcends the resulting limitations of vision, will the development of theory become possible. Bourdieu felt that only from this standpoint could a critique of classical social theory be established. This book provides an in-depth analysis of Bourdieu's literary sociology and is an excellent literary theory work.

This book is a collection of the author's research results on modern and contemporary Chinese literature in recent years. Its overall characteristics are based on writer research and text reading, based on the literary phenomenon since the 20th century, integrating writer research, text analysis and literary concepts, stances and styles, from the perspective of modernity and Lu Xun's Literary selection, Lu Xun's literature in the historical field, the language, style and folk stance of modern and contemporary writers, etc., Cut into many theoretical issues and work evaluations of Chinese modern and contemporary literature in the 20th century, and carried out case analysis and comprehensive research on Chinese modern and contemporary literature under the diverse cultural choices. The whole book demonstrates the author's solid theoretical literacy and cultural concern, is full of humanistic spirit and bookish temperament, and has beautiful and passionate diction. It is an innovative research treatise on modern and contemporary literature.

"Structural trauma" is concentrated in the fourth age stage of aging. This book analyzes the relationship between aging and trauma based on the works of contemporary English novelists Margaret Lawrence, Kingsley Amis, Barbara Pym, Doris Lessing, Margaret Forster, Thea Astley, J. M. Coetzee, Paul Auster, David Lodge, Philip Roth, and May Sarten, which are closely related to old age writing.

The academic publication "Humanities" is edited by the Institute of Advanced Humanities of Henan University. "Humanities" adheres to the correct guidance of public opinion and puts social benefits first. "Humanities" centers on humanistic care, highlights academic originality and the dissemination of new knowledge, focuses on empirical research, encourages comprehensive innovation, and strives to integrate various disciplines, explore various academic thoughts and historical and cultural issues, and showcase new achievements in Chinese ideological and academic circles. "Humanities" strives to provide a platform for the academic community to publish high-quality academic results. The articles are mainly academic articles (essays), but we also publish academic essays that welcome ideas and other forms of academic articles. There are also columns such as "Dialogue", "Xuelin", "Notes", "Book Notes" and "Book Reviews" to reflect the research results of scholars in multiple forms and levels.

This book comprehensively uses research methods such as history, culture, folklore, linguistics, comparative literature, text close reading, human geography, and cultural anthropology, follows the exploration path of "cultural restoration" and "double discovery", conducts triple reference to modern literary texts, traditional classics, and intangible cultural heritage of the two lakes, and conducts a two-way investigation of the modern literary creation of the two lakes and the writing of regional culture in the modern literature of the two lakes from the perspective of regional culture. As an overall cultural area, the modern literature of the two lakes contains a tense spiritual structure of being enthusiastic about the sea, never regretting it, and looking at the world with a cold eye and being free and comfortable in terms of historical narrative and writing about the Wuling region, the central region, and the eastern region. It draws on both ancient and modern Chinese and Western cultural resources, and has unique aesthetic significance and ideological value.

This book provides a comprehensive discussion on the research on Jia Pingwa since the new era. Jia Pingwa is a writer who has made important contributions to contemporary literature. His extensive criticism and in-depth research on his works have also produced distinctive results. Through the study of the evaluation of Jia Pingwa's works in different periods, the symbiotic development process of writers, critics, literary trends of thought and social changes since the new era has been sorted out and examined. This book is not only an overall survey of Jia Pingwa's creation, criticism, and research, but also presents an aspect of literary criticism and literary development since the new era. It has reference value for in-depth examination of the development and transformation of contemporary literature, as well as the identity and cultural changes of writers and intellectuals in China's social transformation and historical evolution.

This book takes the academic activities of Liu Xiang and Liu Xin as clues and centers on the work of "Secretary of the Five Classics in the School" which began in the third year of Heping of Emperor Cheng of the Han Dynasty. It explores the relationship between the academic and political evolution of the Western Han Dynasty and this collation work since Emperor Wu of the Han Dynasty only respected Confucianism. It also discusses the significance of the Liu and his son's collation and its relationship with the evolution of literature in the middle and late Western Han Dynasty. This book explores the arrangement of literary documents, the attitude towards refined and popular literature and art, and the concept of religious scriptures presented in the works compiled by Liu and his son. It deeply explores the creation of Fu and the changes in Fu theory in the middle and late Western Han Dynasty, and discusses the new changes in the writing style of memorials and reasoning in the middle and late Western Han Dynasty.

This book sorts out the historical development process of Chinese new poetry in the past 40 years since 1978 in the form of "trends of thought", "phenomenon" and "theoretical issues". Combining the author's own "memory", "experience" and existing research results, this book is divided into five parts, covering five aspects: poetry in the 1980s, poetry in the 1990s, women's poetry, poetry phenomena in the "Twenties of the New Century", poets' creations and "theoretical issues of poetry in the new century". In the process of using a variety of analysis methods, the overall evolution and individual characteristics of Chinese new poetry in the past 40 years have been fully demonstrated in the author's writings. This book shows the author's in-depth thinking on contemporary Chinese new poetry, ability to grasp trends and interpret works, and has the characteristics of combining literature, history and other aspects.

This book studies the images of men and women in representative novels about world affairs during the Ming and Qing Dynasties, and explores the evolution of gender discourse behind them. The research features and academic value of this book mainly lie in: First, it systematically combs the evolution of female images in worldly novels, and finds that there are women with strong rebellious colors in them. They reflect the impact on traditional female discourse from different aspects, but the female images with strong traditional colors have not completely withdrawn, showing the resilience of traditional views on women. Secondly, it studies the existence of male discourse in worldly novels more than the general related works, paying special attention to the discussion of ideal men. This not only deepens the research on worldly novels, but also opens up new topics in related research.

This book systematically discusses the literary theory achievements of the modern cultural conservatism academic school, sorting out the pedigree of the "Chinese-style Western Application School", the Chinese Essence School, the Eastern Culture School, the Xueheng School, and modern New Confucianism as academic communities. It discusses more than fifty literary theory categories and propositions, involving Zhang Zhidong, Shen There are dozens of modern figures including Zeng Zhi, Chen Yan, Gu Hongming, Zhang Taiyan, Liu Shipei, Huang Jie, Huang Kan, Liang Qichao, Zhang Shizhao, Wu Mi, Hu Xiansu, Tang Yongtong, Chen Yinke, Xiong Shili, Ma Yifu, Liang Shuming, Qian Mu, Fang Dongmei, Tang Junyi, Mou Zongsan, Xu Fuguan and so on. The argument is fair, the information is informative, and the history and theory are combined to provide a reference for the construction of Chinese literary theory and literary criticism discourse system, as well as a reference for the study of modern academic history and literary history.

This book is one of the series results of the author's research on modern literary historical materials. This book focuses on the excavation, collation and interpretation of lost works by modern writers, including: Lu Xun, Zhou Zuoren, Bing Xin, Guo Moruo, Cao Yu, Ding Ling, Hu Feng, Zhu Ziqing, Zheng Zhenduo, Yu Pingbo, Cheng Fangwu, Ren Fanqiu, etc. The author adheres to the concept of "newspapers are the "daily notes" of modern writers" and "newspapers and supplements of the Republic of China are important historical materials for modern literature". Using the research method of Pu, through "field investigation" of newspapers of the Republic of China, he unearthed a large number of lost articles of modern writers, making an important contribution to the history of modern Chinese literature. The publication of this book will effectively promote the development of modern literary document collection from "journal collection" to "newspaper collection" and attract more scholars to pay attention to, study, and use newspapers of the Republic of China.

This book contains some love stories that can be called fairy tales extracted by the author from a vast number of ancient Chinese books. These stories may tell about the love between humans and gods, or about the love between humans and ghosts. The protagonists may be gods, monsters, or ghosts, and their deeds may be both fantasy and real. The stories may tell about commitment or abandonment of love, or about the adventure of gaining love after hardships, or about the chance encounter with a fairy in fairyland, etc. They are highly imaginative and full of philosophical thoughts. In order to facilitate readers to better read and appreciate these long-lasting love stories, this book annotates some words that may hinder reading or understanding. At the same time, in order to allow readers to better grasp and appreciate it, the author adds his own interpretation or analysis after presenting each touching story. I believe that through reading, readers can deeply appreciate the smiles and sadness, happiness and sadness, excitement and emotion contained in these love stories, and experience the fragrance and warmth of reading beautiful love fairy tales.

This book consists of two parts. The first part is a general introduction to the Book of Songs. First, from the perspectives of academic history, cultural history, and literary history, it examines basic issues such as the author, era, region, collection, and spread of the Book of Songs, and studies the main contents of the Book of Songs. , Examines the influence of the Book of Songs on Chinese culture, discusses the cultural spirit and artistic achievements of the Book of Songs, sorts out the content, characteristics and value of the study of the Book of Songs from pre-Qin to modern times, and focuses on analyzing the public cases, mysteries and unsolved cases in the Book of Songs. Secondly, from the perspective of regional culture and literary geography, the relationship between "Er South" in the Book of Songs and the culture of the Han River basin is discussed, as well as the interdisciplinary research on the Book of Songs. Finally, from the perspective of philology, materials related to poetry in bibliography, important works on modern and contemporary studies of the Book of Songs and reference books for the study of the Book of Songs are listed. The next part is a selection of works from the Book of Songs. 69 Representative works from the Book of Songs are selected for annotation and analysis, in order to deepen the intuitive feeling and grasp of the Book of Songs. The first part focuses on intellectual introduction and academic discussion, reflecting the all-round grasp and observation of the Book of Songs, while the second part focuses on reading the works to understand the profound connotations of the works of The Book of Songs. The two parts are relatively independent, but also interconnected, forming an organic whole.

This book discusses the development of landscape poetry from the pre-Qin Dynasty to the Qing Dynasty from a historical perspective. It is rich in material and covers landscape poets and poems of various styles and schools in the past dynasties. The commentator adopts the writing method of combining vertical and horizontal, combining point and surface, combining narrative and discussion, and combining history and theory. Horizontally, it strives to show the basic appearance and aesthetic characteristics of ancient landscape poetry at various stages of development, and highlight the unique artistic styles and achievements of famous masters. Vertically, describe as clearly and concisely as possible the process of the birth, formation, prosperity, stagnation, change and development of ancient landscape poetry. When describing the development of landscape poetry, attention should be paid to closely integrating the creation of landscape poetry with the politics, economy, religion, philosophy, literature, art, and aesthetic trends of the time, as well as with the poet's living conditions, landscape travel, life attitude, and natural poetry. We also strive to summarize the inherent artistic spirit and cultural spirit that are consistent, reveal the development laws of landscape poetry, and push the study of ancient Chinese landscape poetry to a new height.