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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

"Zhou Nan" and "Zhao Nan" (referred to as "Er Nan") in the "Book of Songs" are the most important content of "national style" in the "Book of Songs" and the most controversial part in the study of "The Book of Songs". Although the previous research has achieved some results, it is not macroscopic and systematic enough. Moreover, the data is relatively scattered and requires further in-depth research. This book uses literary geography and literary and historical textual research methods to analyze the name, region and era of "Er South" in the Book of Songs from a multidisciplinary perspective, combined with local literature and historical materials; sort out the content, characteristics and research value of "Er South" research from pre-Qin to modern times; explore the cultural evolution of "Er South" poetry, and analyze the intersection and influence of Chu culture and Zhou Wenhua in the Han River Basin. Combining the specific works of "Er Nan", this paper analyzes the relationship between "Er Nan" and the Han River Basin from the perspective of marriage and love culture, sacrificial culture, animal and plant culture, reveals the regional cultural characteristics of "Er Nan" in the Book of Songs, and analyzes the aesthetic characteristics of "Er Nan" and the poetry of the Han River Basin. This book also combines the content of "The Book of Songs", from folklore to historical relics, and selects Bao Si, Yin Jifu, Zhongshanfu, Zhao Bohu, etc. Who had an important influence in the Han River Basin for research. Explore the hometown of Bao Si, trace the traces of Yin Jifu and the Book of Songs, comment on the historical significance of Zhongshanfu and Zhao Bohu in opening up the southern frontier of the Zhou Dynasty, and analyze the inheritance of folk songs from the Han River Basin to the folk songs of the Book of Songs.

Based on the analysis of novel texts and historical materials, this book focuses on sorting out the basic status of novel creation in Henan from the 1950s to the 1990s, and conducts case analysis of representative works of each period. It discovers some relatively prominent creative phenomena and existing problems in Henan's novels, and summarizes certain "features" and "laws" related to the Central Plains region. In terms of research methods, this book tries its best to avoid the advance intervention of concepts and the selection of materials to demonstrate opinions. It tries its best to start from the "site" of the work, discover problems based on reading a large number of texts, and use "problems" as a breakthrough point to seek the basic appearance of Henan's novels.

This book embeds the investigation of the relationship between old and new literature into a three-dimensional social network. Starting from the Enlightenment trend of thought in the late Qing Dynasty and the early Republic of China, it examines the old and new literature, the newspaper and periodical market, and the publication and dissemination of old-style poetry, showing the complexity of the blending and interpenetration of the old and the new in social life. On this basis, the rather complex relationship between classical Chinese and vernacular, new literature and old literature, tradition and modernity is analyzed.

This collection includes the author's two monographs on Russian and Soviet literary critics. "Lenin's Literary Thoughts and Contemporary Times" is the research result of the "Eighth Five-Year Plan" National Social Science Fund project hosted by the author. It was published by Beijing Normal University Press in 1997. "Modern Interpretation of Lunacharsky's Literary Theory Criticism" is the research result of the "Ninth Five-Year Plan" National Social Science Fund project hosted by the author. It was published by Peking University Press in 2001. Here are selected the author's "Introduction: Lunacharsky the Person", "Part I: Lunacharsky's Literary Thoughts", "Middle Edition: Literary Critic Lunacharsky"

This book introduces speech act theory into narrative research, treats narrative as a speech act, brings into play Austin's view of language's construction of the world, examines the constructive function of textual discourse on stories and readers, and proposes a basic theoretical framework of narrative performativity. From the perspective of speech act theory, this paper analyzes the role of discourse in constructing stories, explores how discourse constructs the story world from both the elements of the story and the language form of the text, highlighting the difference between the story world within the text and the real world outside the text. Pay close attention to the internal correlation between speech act theory and narrative research, and use the narrative turn as the background to explore the embodiment of narrative performatives in classical narratology and post-classical narratology. The constructivist characteristics of speech act theory and its possible contribution to constructivist narrative research and literary theory are discussed.

The development of the imperial examination system in the Song Dynasty promoted the rise of the common people's landlord class, and the status of the common people quietly changed, entering the era of "civilian development". The folk life of ordinary people has received increasing attention, and folk poetry flourished in the Song Dynasty and became a prominent literary phenomenon. In the study of ancient literature, the intersection of literature and folklore is a research perspective with attractive development space. Folklore researchers often use the perspective of folklore to observe the folk phenomena and folk concepts presented in poetry. This book is different from this type of research method, but takes literature as the basis to study the characteristics of folk poetry in the Song Dynasty and how the poets in the Song Dynasty used the folk customs they saw and heard as the key response objects of poetry. It also analyzes the poet's own active observation of folk customs presented in the folk poetry in the Song Dynasty. Focusing on the Southern Song Dynasty, we observe how the poet's secular mentality and strong concern for folk customs affected the changes in poetry subject matter, aesthetics and poetic style during the important period of poetry evolution in the Southern Song Dynasty.

This book provides a relatively comprehensive and vivid outline of Lope de Vega's tortuous, romantic and desolate life experience, fully comments on his creative experience, and reviews and analyzes his dramas by category and point by point. He wrote more than 1,800 plays in his lifetime, which were not only huge in number but also of extremely high taste. It can be said that he has made outstanding achievements and is known as the "Father of Spanish Drama". His poetry creation is unique and his achievements are also extraordinary. His fame and status rival those of Cervantes.

"Modern Interpretation of Ancient Views on Reading" focuses on an in-depth analysis and study of the reading experiences of Chinese scholars of all ages from the perspective of academic rationality and from a modern perspective. China is a country that attaches great importance to reading. It has an excellent reading tradition and a long history of reading. In China's scientific examination era, there was a very popular saying: "Everything is inferior, but reading is high." For this reason, farming and studying has become a historical and cultural tradition in China. As long as we pay a little attention, we will find that in the vast sea of ​​ancient Chinese books, many readers' experiences about reading have been recorded. In the process of exchange of reading experiences between generations of readers who have influenced each other and inherited them, distinctive reading concepts have emerged as the readers' life experiences, cultural knowledge, and artistic accomplishments have grown. This book academically sorted out the seemingly random reading comments made by readers of all ages, and classified them into categories according to aspects such as "people and reading, reading purposes, reading methods, reading language, interrogating the author, reader choice, and asking for meaning". It then conducted in-depth academic analysis through systematic logical thinking, thus constructing a relatively complete cognitive and cultural system for ancient Chinese reading research.

Based on sorting out Liu Zhenyun's creative process, this book summarizes seven key words in Liu Zhenyun's novels: power, ethics, history, hometown, religion, human nature, and existence. The appearance of these seven keywords in his novels has a creative sequence and internal logic, which reflects Liu Zhenyun's in-depth thinking about Chinese reality. This book's overall study of Liu Zhenyun's novels will help readers deeply understand the evolution of the writer's thoughts.

In the poetry world of the late Ming and early Qing dynasties, competing schools of poetry emerged, but in the end they were inseparable from the debate over the Ming Dynasty retro-poetry school. The Gong'an School and Jingling School in the late Ming Dynasty and even the Shen Yun theory in the early Qing Dynasty appeared, either to attack its shortcomings or to form its own theory, and there is no doubt that it is inseparable from the poetic propositions of the Retro Poetry School. Shen Deqian of the Qing Dynasty was the summarizer of the debates in poetry circles in the late Ming and early Qing dynasties. Shen started from refuting Li Panlong's statement that "there were no five-character ancient poems in the Tang Dynasty but had its own ancient poems", advocated "poetic education" as a way to break through the gaps in Tang poetry, and proposed the poetic methodology of "transporting ideas with ideas", aiming to break through the shackles of the retro poetry school on poetic theory and lead the poetry world on the path of creation. On the other hand, Shen proposed a creative transformation of the "style theory", the core poetic concept of the retro poetry school. Shen advocated the mutual complementarity of "gentleness and honesty" and "style theory", and moved these two poetic concepts as the benchmark for his poetic criticism. Shen's more comprehensive response to the poetic debate can be found in his comprehensive anthology. From the analysis of poetic theory to the attitude, principles and orientation of poetry selection, it demonstrates the insight and persistence of a literati scholar with great character.

The birth, development and growth of Shaanxi female writers are closely related to the development of the times. The magnificent development, influence and creation of Shaanxi female writers in different eras. Some of them lead the literary world, some work quietly, some work steadily, and some have outstanding insights. From the content point of view, some of them attach great importance to urban development and elaborate on the historical turning point of Xi'an; some focus on rural areas and sing in a low voice for the transformation of modern rural areas... Their aesthetic characteristics are based on the development of the times and are elegant and upright. They are a strong note in the Chinese literary world.

This book mainly studies the image of the United States in American and Chinese literature, and is composed of two parts: the first is the geographical image of the United States from a spatial perspective, such as the images of ancient tombs and sieges, the small illusions of heaven and hell, the image of the American homeland, etc.; The second is the image of various ethnic groups in the United States from the perspective of ethnic sociology, such as the image of Chinese immigrants, the image of white "saviors", the image of Jews, and the image of black people. With the help of image research methods in comparative literature, this book conducts an in-depth discussion of the complex and ever-changing images of the United States in American-Chinese literature.

This book is a monograph that conducts a comprehensive and systematic study of Leo Tolstoy's masterpiece "Anna Karenina". For a long time, Chinese scholars have made numerous achievements in studying this famous work. However, these achievements are mostly presented in the form of single papers, which are scattered studies. However, the study of "Anna Karenina" in a holistic and systematic way appears weak. This book carries out a panoramic study from the creative process, ideological content, tragedy consciousness, death consciousness, character image system, scene description, eye description, psychological description, stream of consciousness, structure, character image comparison and other aspects of "Anna Karenina". This book can be used as a reference for professional researchers and is also inspiring for general readers who love "Anna Karenina" and Tolstoy's novels.

This book uses the ontology, evolution theory and media theory of modern Chinese prose art as the exposition framework, uses the theories and methods of historicism and modern media, and provides a reasonable and effective analysis and interpretation of the characteristics, formation and construction of modern Chinese prose art from the aspects of modern artistic style, style structure, aesthetic characteristics, etc. From the perspective of connecting ancient and modern times, integrating Chinese and Western things, and comparing and examining. Based on the restoration of the historical construction of modern prose with the help of original documents, this book focuses on the introduction of modern media theory into the study of prose art. It conducts a detailed exploration and examination of the deep and complex internal connections between modern media and modern prose art, as well as the different impacts of different eras and types of typical literary newspapers on the construction of prose art, and comprehensively explores the modernity, history, nationality and local character of modern Chinese prose art.

Academic circles generally believe that the literary aesthetics of the Frankfurt School is the continuation and development of the classic Marxist literary aesthetics. However, in the history of the development of the Frankfurt School, Simmel's name cannot be ignored. Simmel's influence enabled thinkers of the Frankfurt School to extend Marx's critique of capitalist political economy to the fields of sociology, aesthetics, culture and art. Based on the perspective of multi-disciplinary integration of literary theory, sociology, aesthetics, art theory, etc., This book conducts a systematic, comprehensive and in-depth study of the ideological connection between Simmel and the Frankfurt School from the perspective of cultural diagnosis, fragments of modernity, image of modern people, the aesthetic dimension of modern art and aesthetic redemption. This book focuses on exploring the connection between Simmel's literary theory and the Frankfurt School's literary theory from the perspective of multidisciplinary integration, and strives to establish the ideological connection between Simmel and the Frankfurt School in the fields of literary theory, aesthetics, art theory and other fields.

"New Space of Contemporary Literature" is a collection of literary theory and critical articles written by literary critic He Shaojun in recent years. He Shaojun emphasized the theorization and systematization of criticism. He believed that an important task of literary criticism is to discover new elements in literary practice with the keenest vision and to theoretically summarize these new elements, thereby providing theoretical support for expanding new spaces in literature. In this collection of essays, He Shaojun explains some of his literary discoveries through the textual interpretation of some literary works, such as the vision of world literature in new century literature, new political novels, new market novels, critical ethical issues in literary criticism, the revolutionary nature and postmodernity of online literature, etc. This is a collection of critical essays with a simple style and full of innovative ideas.

This work mainly studies the poets of the Tang Dynasty who accepted Taoist Taoist ideas and their poetic works. First, it briefly combs the reception history of poetry before the Tang Dynasty, and analyzes the core concepts of Taoism, Taoism, and Taoism. Secondly, it analyzes the social and cultural background and reasons why poets in the Tang Dynasty accepted Taoist thought. Thirdly, it deeply analyzes the form and core issues of the Tang Dynasty poets' acceptance of Taoist thought. Finally, it summarizes the rules by which poets in the Tang Dynasty accepted Taoist thought, and summarizes the new style of Tang poetry after accepting Taoist thought.

This book attempts to get rid of the "hundred-episode-based" thinking in the field of "Journey to the West", pulls the focus away from the hundred-episode novels, and further restores the research object from "novel" to "story". From a cross-textual perspective, using the evolution and dissemination process of "Journey to the West" as clues, the three text systems of novels, operas, and raps are placed on the same plane for investigation, and their general rules and individual characteristics in the process of retelling and reproducing the story are studied. The book is divided into two parts: the first part is a historical description. Through the macroscopic grasp and microscopic examination of the "initiation period", "convergence period", "finalization period", "continuation period" and other evolutionary stages, especially through the key analysis and interpretation of opera and rap texts in the "post-hundred chapters period", the coordinate matrix of the entire historical trajectory is improved to restore the true ecology of the formation and development of the story community as much as possible. The second part is case analysis, taking "The Story of Monk Jiangliu" and "The Story of Liu Quan Jingu" as cases, advancing the lens to specific unit stories, and conducting a more in-depth and detailed sorting and comparison of the novels, operas, and rap texts surrounding them. On the one hand, it explores the logical connections between texts of different eras and genres, describing the story's origin trajectory and evolution process; on the other hand, it uses it as a model to more prominently present the impact of "cross-text" interpretive behavior on the shape of the story.

There were a large number of ethnic minority writers in the Yuan Dynasty, mainly involving Mongolian, Khitan, Jurchen, Hui, Uighur and other ethnic minorities. Their Chinese poems were very large. However, so far, many of these writers and their works have not been further verified and sorted out. The data on these poems need to be systematized and improved. This book studies the rhyme used in Chinese poetry of ethnic minorities in the Yuan Dynasty. An important step is to collect and organize all relevant poets and poetry materials of this period. Therefore, collecting, organizing and researching rare books of poetry and prose of ethnic minorities in the Yuan Dynasty will help protect and inherit the traditional literature and culture of ethnic minorities in the Yuan Dynasty.

This book is a biography of a famous literary figure in the Wei and Jin Dynasties. The book brings together nearly seventy literary figures and draws on the model of "The Biography of Talented Scholars of the Tang Dynasty" written by Xin Wenfang of the Yuan Dynasty to provide evidence and research on each figure's life and works. This book is based on official historical records such as "Book of the Later Han", "Chronicles of the Three Kingdoms", "Book of Jin", and "Zi Zhi Tong Jian", and integrates the research results of modern scholars, plus the author's views, to form the main body of the notes. At the same time, it also adds information from literature and research for easy retrieval. Each important figure is followed by relevant references. On the basis of "The Biography of Talented Scholars of the Tang Dynasty", the late famous literary historian Mr. Fu Xuancong continued to add details and compiled "The Biography of the Talented Scholars of the Tang Dynasty" and "The Biographies of the Talented Scholars of the Song Dynasty", which gained recognition from the academic community. This book was written at the initiative of Mr. Fu. It is also the first work at home and abroad to use the Jian Zheng style to study the literature of the Wei and Jin Dynasties.

The main goal of this book is to examine the process of symbiosis and separation of poetry and music in the historical context of the parallel, intersection and mutual transformation of poetry and music communication and text communication in the Han, Wei and Six Dynasties, as well as the internal connection between the various communication methods of poetry and the evolution of poetry literature: Chapters 1 and 2 systematically sort out the major oral communication methods and their history of poetry in the Han, Wei and Six Dynasties, such as soundtrack singing, solo singing, and recitation, and clarify the early forms of several major methods of poetry text communication such as stone carvings, wall inscriptions, copying, and collections during this period. And communication characteristics; the third chapter discusses the creation mechanism of Han soul poetry and the cross-communication form of poetry, music, and text; the fourth and fifth chapters provide a communication interpretation of two important phenomena in the history of poetry in the Han, Wei and Six Dynasties: "Jian'an style" and "official poetry"; the sixth chapter discusses the relationship between the invention and use of paper in the Han, Wei and Six Dynasties and the dissemination of poetic texts, and the significance of the popularization of poetry text dissemination to the formation of the poetic outlook of disciples in the Han, Wei and Six Dynasties; the seventh chapter discusses the development and changes of the postal system in the Han, Wei and Six Dynasties and the relationship between the dissemination of poetry in other places.

It is generally believed that the real establishment of the Tongcheng School in the Qing Dynasty began with Yao Nai's intentional shaping of the "Tongcheng Cultural Tradition" during the Qianlong period. So what was the history of the "Tongcheng School" before Yao? The author believes that from the time when Dai Mingshi, Zhu Shu and others brought tribute to the Imperial Academy in the 25th year of Kangxi to the 50th year of Kangxi when the case of Dai Mingshi's "Nanshan Collection" occurred, there was a group of Jiangnan scholars in the literary world with Dai Mingshi and Fang Bao as the core. Similar origins, similar aspirations, overlapping experiences, and deep friendships make them an influential and inheriting group of writers. The whole book describes the literary activities of this group from three aspects: era background, stylistic theory, and author theory, fully demonstrating their motivation and practice of striving to "correct their voice" at a time when "the world is full of miscellaneous articles for pleasure".