Library

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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