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In the history of cultural exchanges between China and the West, missionaries to China played an extremely important role, and their influence has increasingly attracted academic attention. This book provides historical materials and academic analysis of the special significance of modern missionaries to China in the history of cultural exchanges between China and the West from a literary perspective. The specific content is mainly developed from three aspects: the first is the study of Catholic missionaries to China in modern times and Chinese literature; the second is the study of Protestant missionaries to China in modern times and Chinese literature; the third is a case study of three missionaries to China, including Ming Xingli, Pearl Buck and Bao Guisi. Although the translation and introduction research of Chinese literature by missionaries in China inevitably has religious overtones, as "people between" Chinese and Western cultures and researchers with profound "on-the-ground" experience, their work has preserved a wealth of first-hand information for the study of Chinese literature today and provided a unique research perspective, which can undoubtedly enrich our research space and expand our research horizons.

This book takes some modern Chinese novels with musicality as the object of investigation. From the perspective of implicit musicality and explicit musicality, this book attempts to open up the subtle relationship between novels and music from a cross-art perspective, understand the overlap and gap between the two arts when they serve as reference for creation and criticism, and thus intervene in the deep interpretation of human nature, culture and art behind the gaps of these overlaps and gaps. The musicality of the novel in the book is both a means and an end. It is a way to grasp and understand the work and even the world. It can even be said to be an inner deep structure of any organic life form.

Virginia Woolf (1882-1941), a master of British modernist literature in the 20th century, devoted her life to the innovation of novel creation and promoted the development of modernist literature. She also wrote about historical events such as war, the feminist movement, homosexuality, and the decline of the British Empire in her era. Woolf's modernist works seem to be divorced from historical background, but in fact they are rooted in the historical reality of modernity, and they are also an effective means of narrating history. This monograph comprehensively studies Woolf's diaries, autobiographies, letters, speeches, literary reviews, and historical documents such as Woolf's biography, notes, archival materials, and manuscripts, and reorganizes the family history, social history, and British Empire history that Woolf experienced in the real world. At the same time, this monograph adopts the New Historicist perspectives of Greenblatt, Hayden White, and Montrose to examine Woolf's modernist novels in the historical and cultural context. It examines Woolf's historical writing on the family history of her parents, siblings, the social history of the feminist movement, homosexuality, and class conflict, as well as the history of colonial independence and the British Empire in the two world wars, thereby exploring Woolf's historical views, historical narrative views, and historical writing strategies.

This book conducts a comprehensive investigation of Wang Jia and his "Supplementary Notes" from a religious perspective and a literary perspective. Specifically, the book conducts textual research on Wang Jia's place of origin and year of death, conducts in-depth exploration of his friendships and writings, and conducts a comprehensive examination of Wang Jia's thoughts from the four aspects of Confucianism, Buddhism, Taoism and prophecy. The study of "Supplementary Records" first sorted out the official and private bibliographic records of "Supplementary Records" in the past dynasties, and conducted a detailed study of the version and style of "Supplementary Records"; secondly, there was a special study on the textual content and artistic features of "Supplementary Records", which involved five aspects: the women and myths in "Supplementary Records", the language characteristics of "Shiyi Records", the intentional supernatural novel "Shiyi Records", and Xiao Qi and her "Records of Supplementary Relics".

"Mo Yan's Novels and Chinese and Foreign Literature" comparatively studies the similarities, similarities and differences between Mo Yan's novels and Chinese and foreign literature. It objectively, plainly, comprehensively and accurately reveals the inheritance and transcendence of Mo Yan's novels on Chinese and foreign literature as well as the unique value of Mo Yan's novels. It can be regarded as a reference book for Mo Yan research and readers' reading and understanding of Mo Yan's novels.

This book uses archetypal images as the logical starting point to construct a narrative theoretical system of Chinese ethnic minority literature, and uses it to interpret the texts of four writers and poets, Mandu Mai, Nan Yongqian, Zhang Zezhong and Akuwu Wu. It not only summarizes the creative experience of multi-ethnic writers, but also extends into the meaning of regional cultural interpretation and cultural personality construction, referring to the integration and interpenetration of Chinese classical literary theory, literary theory, narratology and literary psychology, and attempts to combine Chinese and Western cultures in a localized sense. The theoretical value of this book: (1) describes the philosophical process from ontology to subject, to object and even cultural text; (2) deconstructs the narrative paradigm that promotes conflicts, constructs plot logic, and shapes typical characters; (3) dismantles the gap between lyricism and narrative; (4) eliminates the gap between narrative and history.

Beidahuang literature mainly refers to the local literature of Heilongjiang as a whole. The literary image of Beidahuang ranges from Xiao Hong's traditional wilderness to the home consciousness of pioneers, and then to the folk hope of Beidahuang in the second entrepreneurship. Beidahuang's literary creation reflects the revolutionary discourse under the control of ideology. Entering the historical scene with a historian's attitude highlights the spirit of Beidahuang with dedication and sacrifice as its basic connotation, and reveals the difficult growth of people's degeneration under ideological discourse. Writers use reportage to touch the pulse of new life, demonstrate the beauty of the spirit of the times, and extract the passion of life. Sticking to the writing of daily life becomes the writer's spiritual stance. The writings of Beidahuang writers show a realistic attitude, and the concentrated appearance of "main theme" works and the recognition of local culture have become their common choices. The writing is devoted to dignity, and the poetic moments flow out in the ordinary life, listening to the redemption and self-redemption of "the sound of nature". The "bearded" culture and traditional virtues reflected in pastoral writing present images of rural life in the Great Northern Wilderness. It is the unique cultural aesthetic character of Beidahuang to enter the national soul from local writing, showing a cultural form of diverse symbiosis.

As a master of literary criticism, Jin Shengtan is concerned about the textual quality of a work and explores the nature of literary form. He mainly adopts the method of literary appreciation to analyze the beauty, ugliness, pros and cons of literary works, reveal the author's intention in writing, and guide readers on how to appreciate the text, thereby demonstrating the beauty of literary heart, diction, composition and analysis. This book attempts to summarize the characteristics of Jin Shengtan's formal criticism, explore how he grasps the meaning of text through form, and how he seeks the tension between emotion and rationality between art and science.

Neo-Victorian novels refer to the postmodern historical novels that emerged in the 1960s with the historical turn of contemporary British novels, with the Victorian period as the background and reconstruction object. Based on the conceptual definition and characteristics of neo-Victorian novels, this book explores the historical imagination and narrative reconstruction of the Victorian period by contemporary writers from three levels: metahistorical romance narrative mode, spatialized narrative time, and polyphonic narrative voice. The spatiality and hybridity in the narrative form of the neo-Victorian novel, the contradiction and uncertainty in the ideology, and the grotesqueness of ghost writing in the aesthetic style make it the most representative literary style of British postmodernism.

This book is the first academic treatise on the study of the Tongcheng Literary School in modern times. The article conducts a systematic and in-depth exploration of the modern Tongcheng School of Literature from the perspective of research on modernity and regional culture. The modern school of literature is divided into main branches according to region: Lingxi School, Shangyuan School, Xiangxiang School, Lianchi School, Xincheng School, Wuyi School, and Hou Tongcheng School. It conducts a groundbreaking discussion on the development and origin of this school, and uses the Tongcheng School as a case study to demonstrate the evolution trend of modern literature into modern literature. This work established the status of the modern Tongcheng School of Literature in the history of Chinese literature. It has important academic value for re-understanding the Tongcheng School and the evolution of modern literature. It is a rare academic work in the field of Chinese literary school research in recent years.

Based on extensive reading and in-depth understanding of Eco's writings, this book finds that his thinking on the labyrinth text ran through his entire academic and creative career, and fragments of his thoughts were scattered and submerged in every corner of his theoretical books, essays and novels. In his representative work "The Name of the Rose", he put the theory into practice, and added narration to what was unclear in the theory. This book puts forward a proposition - Eco has actually discussed the labyrinth text theory intermittently and scatteredly, but only in fragmentary form, which needs to be connected. This book attempts to discover, sort out and connect relevant theoretical fragments to outline the basic outline of its labyrinth text theory.

The mid-to-late 16th century was a historical period when China was "globalized". Closely related to naval warfare and maritime trade, the maritime situation provided opportunities for literati to display their talents. The maritime shogunate greatly attracted young scribes from the mainland. The anti-Japanese governor Hu Zongxian and the Zhejiang shogunate gathered a large number of elites from all walks of life. During the turbulent period of history, staff and scribes assisted the rulers in consolidating coastal defense and border areas and stabilizing the situation in the Ming Dynasty. The literary and cultural activities of the shogunate that were always associated with the naval war directly led the literary trend of the times. The needs of the cultural life of the shogunate and the singing and exchanges between the staff and scribes resulted in the production of a large amount of shogunate literature at this time. Operas, parallel prose, and novels competed with each other, and military literature also flourished. The most influential among them was Xu Wei, a famous scholar from Shaoxing. Xu Wei's creations represent the achievements of Hu Zongxian's shogunate literature and the development trend of the literary world of the times. After Xu Wei, many talented scribes joined the new coastal border shogunate after Hu Zongxian was killed and continued to engage in military and cultural activities. The Haijiang shogunate directly drew the literary map of China in the mid-to-late 16th century to a large extent, and since then changed the ecology of China's literary world.

Zhou Libo is a writer with fertile creations and far-reaching influence. However, Chinese literary criticism has not given him due historical evaluation for a long historical period. In the era of passion, Zhou Libo's works were suppressed because they were "not ideal enough" and "not pure enough". In the "new era", his works were ignored because of the trend of "farewell to the revolution". Zhou Libo has been portrayed as a hesitant hesitant or a passionate follower in different historical periods. He has long been underestimated and under-explained by critics. This book reinterprets Zhou Libo's literary creation, carefully sorts out the relationship between his works and the "May Fourth Movement" tradition and the "Speeches" tradition, analyzes his fate in the history of Chinese literary criticism, and thus reflects on the internal mechanism of contemporary Chinese literary criticism.

With "the relationship between contemporary Chinese novels and Buddhist culture" as the core, this book aims to place Chinese novel texts since 1949 in the context of the development of the relationship with Buddhist culture, and examine how Buddhist story prototypes, basic concepts, and discourse expressions shape the ontology of the story and the spiritual connotation of the novel; its significance in the creation of the narrative style, time and space structure of contemporary Chinese novels; and the generation and exploration of specific images, artistic conceptions, and language expressions. By sorting out the relationship between contemporary Chinese novels and Buddhist culture in diachronic and synchronic dimensions, it breaks through previous evidence-based research and case studies of writers' works, and deepens and expands this research dimension that has not yet been fully developed. It not only explores the opening up of the aesthetic paradigm of contemporary Chinese novels by Buddhist culture as a part of traditional Chinese culture, but also further considers anthropological propositions such as the sacred and secular, the ultimate concern of literature, and the possibility of Chinese literature dialogue with the world on a metaphysical level.

Zen Buddhism belongs to religion and poetry belongs to literature. The combination of the two finally blooms into the beautiful flower of Chinese poetry - Zen poetry. Zen poetry has the dual attributes of religion (Zen) and literature (poetry). It is a special creation that integrates religion (Zen) and literature (poetry). It is "literature" and "Zen". This book places the literati Zen poetry of the Tang Dynasty in the broad background of the development of literature and Zen Buddhism in the Tang Dynasty. From a macro perspective, it conducts a relatively concentrated, systematic and comprehensive study of the development and value of the literati Zen poetry of the Tang Dynasty from the aspects of its classification, typical imagery, unique artistic conception, aesthetic qualities, and the acceptance and absorption of Buddhist Zen classics, in order to be beneficial to the study of Tang Dynasty poetry and Chinese literature.

Based on research on Lawrence at home and abroad, this book relies on literary geography criticism methods, takes Lawrence's short life course as its longitude, and uses the geographical environment where he lived as its latitude. It examines the profound impact of the geographical factors that the writer experienced on his creations. Starting from a close reading of the text, we studied the geographical spaces such as mining areas, villages, cities, lakes and islands constructed in Lawrence's novels, and explored many profound natural images in these spaces, demonstrating the unique artistic style and charm of his novels.

At the beginning of the 20th century, under the background of "Western wind spreading eastward", Western fairy tales began to enter China. The development of Chinese fairy tales is inseparably related to Western fairy tales. This book mainly discusses the diachronic acceptance process of Western classic fairy tales in China and its multiple influences on Chinese fairy tales from the perspective of reception research. It specifically analyzes the independence of Western fairy tale genres and the generation of classic works, China's choice of Western fairy tales before and after the "May Fourth Movement", the spread and acceptance of Western fairy tales in China in the 1930s and 1940s, and the integration and development of Chinese and Western fairy tales in the new era.

Research is a value presupposition. Tracking and investigating the evolution of Chinese prose in the past thirty years, the deeper meaning is an in-depth investigation of the people's life, mental state, national soul, and personality thoughts during the transformation of China's society in the past thirty years. It is also a correction of the relative marginalization and limitation of contemporary Chinese prose research. "Spiritual ecology" is the field of prose evolution confirmed by the author, and he explores the ideological state of the creative subject, that is, the intellectual group, the related social existence and the fission of cultural thoughts from the six dimensions of "spiritual dimension", "spiritual expression", "spiritual return", "spiritual diversity", "spiritual watch" and "spiritual fragments". During the research process, the author organically integrated the history of contemporary thought and the history of prose genres in the form of a study of period genre history, and extracted specific prose forms relevant to this study, such as "New Enlightenment" prose and "witness" prose, old writers' prose, "multiple" prose period and cultural prose, Jiangnan garden prose, and little woman prose. , "Non-fiction" prose and presenceist prose, ideological essays, new rural prose, etc.; In addition, attention is also paid to "new" creative prose (such as new prose), regional prose, and women's prose, effectively constructing the logic of the relationship between the evolution of prose and the spiritual ecology of intellectuals, which constitutes the main content of the research.

The 1980s to 2010s were 30 years of rapid growth and development for children's literature in China. During this period, children's literature became richer and more mature in content and form, and a huge conceptual change occurred in creation. This book's investigation of childhood narratives in children's literature is placed in the historical and cultural context of Chinese society from the 1980s to the 2010s. It takes the different development stages of childhood narratives in children's literature as clues, focuses on the spiritual vision of writers at different stages and the construction of children's subjects and the construction of literary dialogue relationships, and examines it from the perspectives of history, culture and aesthetics. He examines the creation of Chinese children's literature in four periods: the early 1980s, the mid-to-late 1980s, the 1990s, and the beginning of the new century to the present. It presents the differences in childhood narratives in children's literature in different periods, analyzes the impact of different discourses on writers' construction of children's subjects, and looks for clues and trajectories of the changes in dialogue relationships in children's literature in different periods.

This book is based on Tanizaki's short stories, takes the artistic research of his short stories as the object, and uses text close reading as the basic method. From six aspects, the artistic characteristics of Tanizaki's short stories are deeply and systematically explained, the dominant artistic style of Tanizaki's short stories is revealed, and his artistic creation path of "combining East and West with the East as the main focus" is presented, thereby presenting the unique artistic charm of Tanizaki's short stories.

In the 1940s, Chinese liberal literature entered a new stage of development. This book attempts to place liberal literature in a specific historical context, examining the pressures and challenges it faced in the 1940s, how it positioned itself in different political environments, and how it adjusted the relationship between writers, literature, society, eras, and even nations. This book attempts to transcend the binary opposition between literature and politics, clarify the literary thoughts and political ideals of liberal writers in the 1940s from a historical and aesthetic standpoint, analyze the complex relationship between liberal literature and left-wing literature, and reveal the complexity of liberal literature in the 1940s.

The devil's contract as a literary motif has existed before the Middle Ages and can be traced back to certain chapters of the Bible. The devil's contract motif keeps pace with the times and remains timeless. It is active in literary creation in Germany and other countries around the world across time and space. On the basis of referring to existing literature, this book conducts a comprehensive study on the Devil's Contract motif: on the one hand, it looks at the changes of the motif itself from the origin and development of the Devil's Contract, and makes a horizontal comparison of Devil's Contract texts in the same literary period, exploring the diversity of the same motif under the interpretation of different writers; on the other hand, This book takes Goethe's "Faust", Chamiso's "The Adventures of Peter Schlemiel" and Gotthelf's "The Black Spider" as examples to analyze and interpret the basic elements of the devil's contract: the image of the devil, the signer, the content of the contract, the form of the contract, the ending of the contract, etc., Focusing on the topic of redemption in the story of the devil's contract.

As a famous Sichuan poet, literary theorist, and folklorist Li Tiaoyuan who lived roughly in the same era as Yuan Mei, Zhao Yi, Jiang Shiquan, Wang Wenzhi, Yao Nai and other famous Qianjia figures, academic research on him has not been sufficient. Based on this consideration, this book conducts a relatively comprehensive study and evaluation of Li Tiaoyuan from the aspects of his life story, poetry creation, poetic theory, opera aesthetics, folklore, etc., And classifies the relevant materials and documents related to his study at that time and in later generations. The content of this book has certain reference value for contemporary scholars engaged in research on Qing Dynasty academic culture, literature and art.

"The person who writes the text is moved by emotion and then quits writing, and the person who reads the text writes the text to be emotional." The relationship between emotion and text is the most basic and core issue in literary research, and exists in all aspects of literary activities. Important theories such as poetry expressing ambition, innocent thoughts, observing people's resentment, gentleness and sincerity, "motivating from emotion, stopping from etiquette and justice", writing books with great enthusiasm, Yuanqingqiluxi, theory of human nature, etc. Are all elucidation of the relationship between love and literature from various angles. As the final period of Chinese traditional culture, the Qianjia period systematically summarized and developed the theory of love literature. This book conducts in-depth research on the Qianjia love literature theory from multiple perspectives such as sex and reason, emotion and illusion, temperament and style, emotion and fiction.

This book is produced based on the revision of my doctoral thesis "The "Anti-Logocentrism" Poetics of "The Wise Child"". This book is the first monograph in China that conducts a poetic study of Angela Carter's "The Wise Child" and explains its anti-logocentrism connotation, which has the value of filling in the gaps. The innovation of this work is also reflected in: 1. The new style of "The Wise Child" was investigated, and based on a large number of materials, it was identified as a classical Zhuangxiong style, and its anti-logocentrism spiritual essence was further revealed. 2. Using the method of cultural poetics, based on the examination of cultural history, this paper summarizes the new non-blood kinship family view in the novel, and conducts an in-depth discussion of its constructive role in anti-logos poetics.

The theoretical study of poetic sound is an important dimension in the interpretation of Chinese poetics. It is a microscopic, deep and precise study. It is closely related to the evolution and development of the joy and separation of traditional Chinese poetry. The sound of poetry is the sound of poetry, mainly rhythm. It is mainly formed at six levels: rhyme, rhythm, calligraphy, syntax, composition, and style, and is mainly presented as natural sounds and man-made sounds. The theory of poetic sound in the Ming Dynasty was rich. The Ming Dynasty connected poetics with philosophy, aesthetics, etc., And discussed it from several aspects such as the relationship between sound and breath, the relationship between sound and meaning, the relationship between sound and emotion, and the relationship between sound and shape. The theory of poetic sound in the Ming Dynasty not only tended to return to traditional poetics, but also further developed to the highest realm of poetics - Shen Yun. In short, the theory of poetic sound in the Ming Dynasty and the corresponding practice of poetry creation are quite distinctive and valuable. The author first carefully examines the prosperity of poetic voice in the Ming Dynasty and its reasons from a diachronic perspective, then extracts some main propositions from the scattered and complicated poetic materials of the Ming Dynasty to explore the general appearance of the poetic voice theory in the Ming Dynasty in a case-by-case manner, and finally discusses the main issues concerned by the poetic voice theory in the Ming Dynasty and its poetic achievements.

This book takes the eight commonly used color words "white, black, red, purple, green, green, yellow, and green" in Ming Dynasty drama libretto as the main research object. It describes their semantic system, calculates their semantic significance and generality, examines their pragmatic characteristics, and on this basis shows the unique value of commonly used color words in Ming Dynasty drama libretto.

This book mainly examines the relationship between Du's poetry and Chang'an culture. The first chapter outlines the significance of Chang'an culture in the development of Tang poetry, the second chapter summarizes the relationship between Chang'an culture and Du's poetry, and the third to fifth chapters specifically discuss the connotation of Chang'an culture in different periods and its impact on Du's poetry to show the significance of the Chang'an cultural spirit in the development of Du's poetry.

Argentinian writer Ricardo Piglia has won important awards such as the Spanish "Literary Criticism Award", the "Romulo Gallegos International Novel Award" and the "Argentine Writers Association Highest Honor Award", and occupies an important position in the contemporary Argentine literary world and even the Spanish literary world. The novel "Artificial Respiration" was published in 1980. It is Piglia's most representative work and is known as one of the 10 most outstanding novels in contemporary Argentina. For more than 30 years, literary critics have conducted multi-dimensional interpretations of the novel, mainly focusing on historical perspectives, postmodern literature, and metafiction. After carefully studying previous research results, we tried to find a unique way to interpret "Artificial Respiration" from the perspective of postmodern detective novels. Through text analysis of this work, we explained the creative characteristics of Piglia's detective novels. We believe that "Artificial Respiration" subverts the traditional detective novel model in terms of mystery setting, images of detectives and criminals, and narrative structure. It is a work with the characteristics of postmodern detective novels. In addition, "Artificial Respiration" is also a literary vehicle for Piglia to display his creative concepts such as "two stories", "literary detective" and "detective reader", focusing on the unique charm of the author's detective novel creation.

This book discusses Dugu Ji's ideological and literary status from five aspects, and points out that Dugu Ji is the epitome of a practical scholar in his era who promoted Confucianism and focused the Confucian ideas on paper into specific affairs. Dugu Ji's reasoned and energetic memorial writing style, his exquisite narrative writing skills in his prefaces and narratives, his realistic features of deposed epigraphs, his theme of resentment and the lyrical feature of "taking place due to circumstances" all make him a "major" writer of Tang literary works. The characteristics of some of his poems "using text as poetry" show that the poet's interest in recording life far exceeds the pursuit of poetic taste, while the characteristics of some of his poems as "high ancient style" reflect his efforts to consciously transcend the "Chinese customs" of the Dali period and seek a balance between quality and text. Finally, the book discusses Dugu and his relationship with the "Ancient Prose Movement" and questions the popular notion in academic circles that he is regarded as "one of the pioneers of the Ancient Prose Movement". He pointed out that the parallel prose he criticized, which only has the beauty of sound and form but no real content, is by no means synonymous with the commonly known parallel prose. It is true that compared to the writers of the Six Dynasties and his contemporaries, he did create a certain number of essays that narrate people and express his personality. However, this is actually closely related to the awakening of "humanity" and the rise of "humanity" at the turn of the prosperous Tang Dynasty.

This book chooses to enter from the perspective of family research, and examines the fate and achievements of Jin Dynasty literary families in the process of social life changes, national cultural integration and cultural transformation in the Jin Dynasty. It explains the changes in the status of family literature caused by the exchanges and interactions between northern nomadic culture and Confucian farming culture, the changes in Han family literary concepts and literary styles, and the contributions of literary families of different nationalities to the formation of the overall pattern and cultural construction of Jin Dynasty literature.

When interpreting the ancient Greek "political comedy" poet Aristophanes, this book attempts to go beyond the usual "micro-historical determinism" interpretation method used by classical scholars - using the historical conditions before and after the performance of each comedy as the decisive guiding clue for understanding each of Aristophanes' comedies. It is believed that the schism between Aristophanes and Socrates was the schism between wisdom and philosophy. Just as Mozi was an outlier among the thinkers of the pre-Qin period in China, Aristophanes was also an outlier among the thinkers of the classical Greek period. The essence of "a hundred schools of thought contending" lies in the cultural transformation and the ideological relationship between the interlocutors. Based on relevant ancient Greek texts, this book mainly discusses Aristophanes' responses to topics such as education, war and peace, Panhellenism, and theodicy from the perspective of "intellectual history", and preliminarily discusses the basic situation of "nomenclature" reflected in Aristophanes' plays.

People are all familiar with Yeats's touching love poem "When You Are Old," but when Yeats first became known to the Chinese in the 1920s, he was a member of the Irish National Renaissance Movement and deeply influenced China's modern drama movement and poetry creation. The multifaceted Yeats requires multi-dimensional perspectives to examine. This book interprets and studies Yeats's poetry, drama and literary theory from multi-dimensional perspectives such as postcolonial cultural theory, postcolonial translation theory, postcolonial ecocriticism, postcolonial feminism, Orientalism, cosmopolitanism and comparative literature, presenting to readers Yeats who is a poet, dramatist and cultural nationalism fighter. Through this investigation, Yeats's diverse creations have a unified point of observation, and his well-known works also take on new meanings.

As one of the earliest American writers translated into my country, Edgar Allan Poe's spread and acceptance in China involves rich and complex research content. His influence on China is part of his global influence. The study of Edgar Allan Poe's spread and acceptance in China is one of the important contents of international "Poe studies". However, research related to this topic at home and abroad began in the late 1980s, and was not fully developed, with not many scholars participating. This book is the first comprehensive and systematic study of this topic at home and abroad. It is a cutting-edge academic topic and is groundbreaking.

Since the new century, narrative research at home and abroad has shown a diversified development situation, with some eye-catching developments and changes in research objects, research scope, and research paradigms. This book covers the author's latest concerns in narratology research in recent years, including discussions on aesthetic cultural narratology, comparative narratology, poetic narratology, etc. Relevant discussions strive to carry out cross-research, comparative research, cross-genre and cross-disciplinary research in different disciplines under the multiple perspectives of narratology, and conduct theoretical discussions based on textual practice, in order to provide a reasonable explanation of the discussed issues based on the combination of theory and practice.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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