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This book draws on Western feminist theories and perspectives to analyze the differences in expression forms, development characteristics, spiritual connotations, contents and propositions of Chinese and Western ecofeminism in literary works. The ecological characteristics are first reflected in the "naturalness" of contemporary literature. Nature is "reenchanted" and regains its spirituality. The concept of treating nature as a resource and profit-making tool has been criticized; the core beliefs of ecology such as equality between species, harmonious coexistence between man and nature, obeying the laws of nature, and maintaining natural restraint have also penetrated into contemporary literature. Secondly, the relationship between human nature\u002F sensibility and social nature\u002F rationality has been reorganized. The author believes that the propositions of ecological literature are consistent with the traditional Chinese spirit, and it is possible for Chinese literature to develop ecofeminism with national characteristics.

This is the first research monograph in China on the British writer George Gissing (1857-1903). This book shows that as an indispensable part of the British cultural landscape in the late 19th century, Gissing's novels profoundly pondered the cultural proposition of the "writer's existential crisis" in the process of British modernization. These works not only vividly presented the writer's danger and opportunity in modern mythology, but also dissected the causes of the crisis in rich images. In the reflection and challenge of modernity in British literature in the 19th century, Gissing was unique and carved an indelible mark in the history of British progressive thinking.

In the 21st century, China faces both challenges and opportunities. What basic stance should be determined to understand history, think about the present, and explore the future? The author of this book adheres to the values of modernity and studies some important issues in the development of modern Chinese literature, such as the inherent stipulations of modern Chinese literature, the emergence of cultural conservatism, and the popularity of secularization. He also explores enlightenment modernity and revolutionary modernity from the perspective of the historical evolution of modernity. Relationship and its far-reaching historical influence, emphasizing the historical status of the May 4th literary revolution as the starting point of modern Chinese literary history, and using the perspective of modernity to select new literary journals to examine the spread and acceptance of Russian and Soviet literature in China, and study the ideological exploration and artistic innovation of modern writers such as Lu Xun. Problem-oriented, hot-spot attention, cutting-edge tracking, the combination of rational thinking and aesthetic analysis, you can always see sparks of thought.

This book accurately analyzes the phenomena of copying, misunderstanding, correction, and elaboration that occurred in the process of China's acceptance of Russian literary theory, conducts an in-depth analysis of the causes, and demonstrates the gains and losses of China's acceptance of Russian literary theory. It believes that China's acceptance of Russian literary theory not only promotes the modern transformation of Chinese literary theory, but also encourages the growth of instrumental theory in Chinese literary theory, thus providing experience that can be used as a reference for the current development of Chinese literary theory. At the same time, this book also conducts a detailed combing of the materials on China's acceptance of Russian literary theory and completes the chronology of China's acceptance of Russian literary theory.

This book combs through the first and second waves of American ecocriticism over time, and extracts the basic category of American ethnic minority ecocriticism - "environment". It then constructs an American ethnic minority "environmental text library" with "explicit\u002F implicit environmental texts" in novels, poems, dramas, and non-fiction works. It selects representative writers and works from them to comprehensively and systematically explore ecological ideas in American ethnic minority literature from the dimensions of "environment and place," "environment and gender," and "environment and national boundaries."

This book mainly studies the Russian formalist poetics which has global influence. Russian formalism is considered by Western literary theory to be the beginning of literary theory in the 20th century. This book includes the aesthetic origins of formalist poetics; special studies on the main representatives such as Shklovsky, Eichenbaum, Dignanov and Yakobson; the interpretation of the core concepts of formalism such as "literariness" and "defamiliarization"; the relationship between formalist poetics and other poetics, and its impact on the development of Russian poetics in the 20th century. The author not only affirms the importance of formalist poetics attaching importance to literary characteristics, but also points out its shortcomings of ignoring social, historical and cultural context.

This book takes inner form in poetic form as its main research object. There are four chapters in the book. The first part introduces the basic concepts of internal form in poetry and the history and current situation of internal form research. The second part introduces the large inner form among the inner forms of poetry, paving the way for the subsequent exploration of the small inner form. The third and fourth articles go deep into the text of modern poetry and observe the characteristics and laws of its internal structure. This book first mentions the poetic concept of "small inner form" (as opposed to "large inner form"), and also mentions the concept of "meaning section" in poetry (opposed to the "syllable" of traditional poetics and the "formal section" formed by mountain divisions). This book believes that the small internal form of poetry is mainly composed of three basic meanings of poetic speech (codenamed A, B, C in the book), which constitute its regular form and variation; an independent "ABC combination" is the process of poetic speech, a surge of poetic thoughts, a three-level progression, and "innovation". , This process forms the "meaning section" of a poem (that is, the meaning section that transcends the "formal section" seen with the eyes and the "syllables" heard by the ear and must be perceived by the mind); the meaning section of the poem, like the "DNA" of the poem, determines the existence of the "poetic meaning" of the poetic text. In modern times, with the great liberation of poetic styles and other major trends, the external form of poetry, as well as rhyme, meter and even "new meter", etc., No longer have the regulatory power of poetic speech. The only universal observance that remains after the art of poetry has been so forged is the small internal form of poetry. The formal construction of Chinese poetry must bid farewell to external formal construction and step into internal formal construction.

This book mainly studies the image of the West in Chinese novels in the first decade of the 20th century. In the specific historical and cultural context of the collision of Chinese and Western cultures, through the text-based reading of representative works of important writers of the late Qing Dynasty, the Western image and its characteristics in different novels are sorted out and analyzed, as well as the reasons for the formation of the Western image and the internal relationship between the self-image.

As Africa's first "Nobel Prize" winner, "Africa's Shakespeare" and "the father of English African drama", Nigerian writer Wole Soyinka's writing has typical post-colonial cultural characteristics. His "black skin, white mask" syndrome manifests itself in the fact that he is both rooted in African cultural resources and fused with European literary traditions since ancient Greece, resisting colonial authority as a "cultural hybrid". Soyinka constructed the "Yoruba mythical world" from the resources of his own national religious mythology, formed his own unique "mythological aesthetics", and creatively created a new form of "ritual drama". Soyinka is also a thinker and political activist who emphasizes the "political intervention" of literature. His works and cultural treatises are of distinct realistic and political nature, and he deeply reflects on the core issues of post-colonial Africa such as colonial history, political tyranny, language integration and independence.

Since the 1840s, China's modernization process has caused great shocks in the countryside. Rural transformation has immediately faced a series of difficulties. China's backbone figures - the forefathers of rural construction, Liang Shuming, Fei Xiaotong and Lu Zuofu, and leaders of the Communist Party of China have consciously devoted themselves to this process of historical changes. With the general theme of "Where is China going?", They actively explore the way out for China's rural areas. In this context, Zhao Shuli occupies a position that cannot be ignored. What this book will discuss is that although Zhao Shuli's fame mainly comes from his literary achievements, he is also of great significance as a long-lasting concern and participant in China's rural issues. Through Zhao Shuli and his works, we can see the inevitability of the collapse of the old Chinese countryside, and we can also see the substantial changes that the Chinese revolution brought to farmers and villages. What is particularly valuable is that Zhao Shuli's works profoundly touch upon China's rural reform, especially the deep-seated issues in the practice of collectivization. Therefore, re-examining Zhao Shuli's life course and his literary world is still of great reference significance for China's current rural governance and construction.

In the context of the growing middle class in Britain in the 19th century, this book focuses on a number of typical novel texts to examine the development trajectory of the concept of "interest" in 19th-century British literature. It pays particular attention to the dialogue between the above-mentioned class anxiety and other social ideologies (such as science, music, aesthetics, etc.) To discover how the middle class gained its own cultural identity during this special period of social transformation and became an integral part of the British cultural outlook in the 19th century. In our country, discussions on "interesting" topics have long become an integral part of public life and are closely related to the construction of public culture. Therefore, in order to grasp the current emotional structure of our society and promote the construction of public culture, it is necessary for us to understand the discussions involving "interest" and its development trajectory in British literature in the 19th century, and use this as a reference.

The development process of British and American literature shows the development and interpretation process of humanistic thought, providing a medium for readers to understand the Western humanist ideological tradition. In British and American literary works, humanistic ideas are widely expressed, deducing humanistic complexes with specific literary forms. This book selects several representative works in British and American literature, and explores the development process of humanistic thought in Western culture by explaining the humanistic complex in these works.

What are the new horizons for the study of educated youth literature? This book jumps out from the perspectives of revolution, politics, class, etc. To comprehensively sort out the experience of educated youth working in urban and rural areas. It is based on the examination of the complex relationship between the private experience of educated youth writers and social history and geographical space. It follows the thinking direction of "spatial migration-urban and rural experience-literary writing" to explore the research path of "society-culture-aesthetics" and activates the potential value of educated youth literature from both cultural poetics and aesthetic poetics. By drawing the "time-space" research pedigree of educated youth literature, we solve the dilemma of previous studies on educated youth literature that were too ideologically colored, and propose and demonstrate new propositions such as field studies, nostalgia aesthetics, and intergenerational research in educated youth literature.

This book takes novels and poetry in eastern Guangdong since the new century as its main research object. It not only provides an overall discussion of regional phenomena, but also provides case studies on novelists such as Chen Jiping, Lin Yuanye, Chen Chongzheng, Lin Peiyuan, Wu Chun, and Chen Runting, and poets such as You Zijin, Huang Wan, Ruan Xuefang, Lu Yanjiang, and Xin Qianer. Microscopically witness the spiritual tide of narrative and lyrical fields in eastern Guangdong in recent years.

Virginia Woolf was both a stream-of-consciousness novelist and an accomplished prose essayist. Her origins as an intellectual aristocrat, her unique experience, her talent as a writer, and her extraordinary love and defense of reading and writing made Woolf both an "ordinary reader" and a literary critic. Woolf's literary criticism essays include not only critical articles about the writer's works, but also essays explaining literary concepts and related literary topics. This book takes the reading standpoint of an "ordinary reader" as an entry point, and provides an existential and poetic interpretation of Virginia Woolf and her literary criticism essays from four aspects: the growth of the "ordinary reader", the "ordinary reader" from different perspectives, the literary world of the "ordinary reader", and the sexual and emotional discourse in in-depth interpretation.

Based on the selection of major literary phenomena in the poetry world such as enlightenment poetry, symbolic poetry, left-wing poetry, the aesthetic connection between modern Chinese poems and Japanese haiku, the wave of studying in Japan in the 20th century and the resonance of the artistic image of new Chinese poetry, this book systematically sorts out and discusses the historical facts of the frequent influence and integration of Chinese and Japanese modern poetry, and explores the cultural motivations and variations beneath the surface of the literary phenomena of both sides. Using a variety of effective comparative literature research methods, we examine the poetic landscapes of China and Japan in the synchronic and diachronic cultural contexts, explore the differences between literature and culture, and describe the virtuous cycle of cultural significance formed by literary communication and exchange under the interaction between China and Japan, and promote the development of literature and culture to a farther, higher, and broader space.

This book uses a comprehensive perspective and systematic method to address the lack of essentialist literary concepts and cultural studies. Starting from the intention of relationship reflection and theoretical construction, through three levels (formal expression, relationship form, and cause explanation), this book makes a relatively comprehensive and in-depth analysis, discussion, and new interpretation of the complex relationship between literary reception, literary form, and ideology under the five most important literary concepts in the history of Western literary theory (imitation theory, pragmatism theory, expression theory, objectivity theory, and acceptance theory), and proposes a series of unique insights. Through analysis, it is pointed out that the core element of the main literary concepts in ancient and modern times is "relationship", and the theoretical proposition of moving towards "relational poetics" is put forward.

The creation of traditional historical novels has been one of the hot topics in the contemporary literary world since the new era. Academic circles call it the third wave of Chinese historical novel creation. The creation of traditional historical novels is full of the writer's deep concern for the nation, the country, and the people, as well as the ambition to reconstruct the national culture after more than a century of great changes like a phoenix nirvana. Excellent works have been produced one after another and have received rave reviews. Because of such creative intentions, traditional historical novels have shown an overall thick, profound, and rich style. Taking the theory of subjectivity as the logical starting point, and from the historical trend of the overall development of Chinese literature in the 20th century, we explore the reasons why contemporary traditional historical novels have become the third wave of Chinese historical novel creation, sort out the cultural thoughts expressed by writers through artistic images, and provide historical examples of artistic efforts for the current and future cultural construction, and then explore a creative paradigm for historical novels that perfectly unifies aesthetics, entertainment, and high ideological quality based on profound cultural heritage under new historical conditions. This is the main goal of writing this book.

"The Initial Construction of the Narrative Type of Modern Chinese Novels" takes novel representatives of far-reaching modern Chinese classic writers as the interpretation object in a broad historical context, and comprehensively examines the initial construction process and narrative characteristics of the narrative type of modern Chinese novels in stages.

This book is a systematic study of structuralist poetry. Firstly, it expounds the characteristics of the internal structure and external structure of poetry, and proposes that poetry is a literary category that can adjust itself, has a center, has levels, and is universal and eternal. Secondly, it focuses on analyzing the fourteen forms of poetry structure, and puts forward the view that under the influence of structure, each poem becomes a complete and self-sufficient artistic whole. This book believes that changes in the poet's emotions are the main elements that constitute the internal structure of poetry, because the poet's self-aesthetic emotions serve as a "medium" to convey the aesthetic information of poetic language to readers. In addition, the book classifies various techniques of poetry creation into the external structure of poetry to examine, and believes that various aesthetic techniques of poetry contribute to determining the theme and meaning of poetry. Regardless of whether these techniques are static or dynamic; instantaneous or eternal, they are all integral parts of the structural entity of poetry. This book also uses the method of close text reading to analyze the works of nearly a hundred Chinese and foreign poets as cases, trying to prove the rationality of what is discussed in the book.

Metafiction is "a novel about a novel, a novel that focuses on the fictional identity of the novel and its creation process." It is a typical style of postmodern literature. The greatest characteristic of metafiction is "reflexivity", that is, it has a clear self-awareness of its own nature as a fictional artifact and exposes its own fiction. In the opinion of many researchers, metafiction thus cuts off the connection between novels and reality, highlights the self-awareness and text form of novels, and carries the formalist tendency and nihilistic color of postmodern literature. But the problem is that formalist texts may not be irrelevant to real politics. Form embodies reality and participates in real-world struggles. Based on the method of combining classical narratology and post-classical narratology, we conduct ideological analysis on the basis of formal analysis, trying to reveal the reflection of the formal experiment of metafiction, a "formalist text", on social ideology and its active intervention in social politics under the cover of "self-reflection".

The study of national imagination was once the focus of modern Chinese literary research, but there is still room for development and advancement. The special context of the Anti-Japanese War and the Civil War gave birth to new literary ideas and expressions, and also influenced subsequent literary transitions. The 1940s can be called the most important stage of the national imagination in modern literature. This book examines literature in specific historical situations, uses various documents, and uses literary and historical evidence methods to discuss the understanding and conception of New China by different intellectual groups, and carefully examines the intrinsic relationship between literature and politics, thereby revealing the complex features of modern literature and intellectual traditions.

The "Manchurian" Korean humanities during the Puppet Manchukuo period have unique significance in the history of Korean literature. It is a precious legacy in the history of Korean and Chinese literature. This book classifies and studies "Manchu" Korean humanities during the Puppet Manchukuo period according to four themes: "leaving home and homesickness, taking root and integration, confrontation and struggle, compromise and escape". It also deeply analyzes the literary themes, structural patterns and artistic techniques of each part, and strives to promote the development of thematic research on literature in this period in an in-depth direction.

The book focuses on the transformation of literary theory in the social and cultural context of the 1990s. It not only describes it at a macro level, but also examines it in detail. The author believes that literary theory in the 1990s is not a single existence, but consists of some specific and differentiated academic discourses and intellectual events. However, due to the rise of popular culture, reflection on modernity and the prominence of identity politics, contemporary literary theory has shown certain commonalities, leading to transformations in terms of research objects, research methods, value orientations, identity, functional positioning, etc. "Big literary theory" can be used as the intellectual form of literary theory after transformation. Specific theoretical discourses such as theoretical criticism, cultural studies, cultural poetics, postcolonial criticism, and feminist criticism must be placed in this knowledge type to gain practical understanding. The legality and justification of the transformation of "big literary theory" is still a basic issue that requires the attention of the literary theory community. In a certain sense, it will have a lasting impact on the context and direction of current and even future literary theory.

As an Indian-born British writer, Naipaul has won the Booker Prize, Maugham Prize, and the Nobel Prize for Literature. His marginalized status as a native of a Latin American colony created various obstacles for him to enter the mainstream of British literature. This book discusses Naipaul's literary creation from the aspects of ordinary people and writers, history and literature, society and self. Compared with existing research works on Naipaul at home and abroad, this book focuses on the analysis of the relationship between Naipaul and India, showing the author's unique academic vision.

The "artistic outlet" of Chinese literature in the 20th century is a huge academic proposition. This thesis attempts to grasp several knots of the huge network of "artistic outlet" for literature, and sort out an exploratory answer that is not exhaustive through the holographic presentation of typical literary cases. The treatise is divided into four chapters, each of which provides an in-depth explanation of four pairs of literary propositional elements, namely "mystery" and "sacred", "tragedy" and "tragedy", "life" and "life", and "misreading" and "correct interpretation" in the direction of criticism through the analysis of rich literary examples. As a guide for "artistic outlet", the author believes that Chinese literature in the 20th century must achieve a connotative and continuous development. Only by moving from "mystery" to "sacred", from "tragedy" to "tragedy", from "life" to "life", and from "misreading" to "correct interpretation" can it be possible to regain the glory of Qinzao and promote the nobility of literature.

E. M. Forster was a famous novelist and novel critic in the Edwardian era in Britain in the 20th century. Not only his novels, such as "A Passage to India", have become classics handed down from generation to generation, but his collection of critical essays "Aspects of the Novel" is also regarded as "the cornerstone of British and American novel criticism." Forster's theory of novel rhythm and its ingenious application in novel creation are recognized as one of his greatest achievements. This book systematically discusses the use of rhythm in Forster's five major novels and the resulting artistic and aesthetic effects. First, based on Forster's theory of simple rhythm and complex rhythm, the subtle use of these two rhythms in his novels and the artistic effects produced are discussed. In addition, as a supplement and improvement to Forster's "dual theory" of novel rhythm, and from the perspective of Genette's theory of narrative movement rhythm and narrative repetition rhythm, this book explores the application of these two narrative rhythms in Forster's novels and their strengthening and improving effects in promoting the evolution of the novel's storyline, integrating thematic ideas, and deepening ideological connotation.

There are five chapters in this book. The first chapter briefly introduces the name, connotation, development process and main writers of Chinese American women's literature. Most Chinese-American women's novels reveal themes by telling stories and reshaping the images of Chinese characters. Therefore, Chapter 2 analyzes the images of Chinese mothers, daughters, and fathers in Chinese-American women's novels. Chapter Three discusses the themes of Chinese-American women's novels. Identity and the "American Dream" are the two major themes. Chapter 4, after analyzing the narrative strategies of "The Joy Luck Club", "The Warrior Girl", "Inspiration Girl" and "Bone", summarizes the most significant narrative features of Chinese women's novels: family narrative and autobiographical narrative. Chapter 5 takes the new works of old writers and representatives of new writers as examples to analyze and summarize the new trends in Chinese American women's novels in the first decade of this century: the combination of ethnicity and universality, inheritance of tradition and personalized writing, and equal emphasis on diversity and literature.

This book is the final result of the National Social Science Fund project. Its main content includes two parts: "Theoretical Discussion" and "Critical Practice", covering the two disciplines of "Literary Studies" and "Contemporary Chinese Literature". In "Theoretical Discussion", on the basis of drawing on previous research results in literature, art and literary criticism, the principles of Marxist values ​​were used to explore the reconstruction of the literary value evaluation system, and a multi-complex "Chinese contemporary literary value evaluation system" and its various constituent elements were proposed; issues such as values, value positions, value scales, value orientations, literariness, literary value, and aesthetic value in literary creation and literary criticism were re-examined. In "Critical Practice", the "Seventeen Years Literature", "Cultural Revolution Literature" and "New Era Literature" in contemporary Chinese literature are re-considered using the reconstructed value evaluation system of contemporary Chinese literature; the value of "new realistic novels" and "new historical novels" are re-evaluated.

This book strives to return to the historical hinterland where contemporary poetry grew up, and deeply explores the uniqueness and complexity of the contemporary song phenomenon from aspects such as the selection and reconstruction of poetry resources, the connection between cultural mobilization and poetry reading and dissemination, the reconstruction of poetry debates and writing paradigms, the creation of poetry classics and the transformation of creative subjects. It focuses on presenting the complex process of contemporary poets constructing a "new people's poetry" poetic system and poetry form, promoting the production, dissemination and reading of poetry rich in era and national characteristics, and building "consensus" through poetry debate and canonization, as well as the profound traces this process leaves on the writing subjects.

This book organizes common literary terms in teaching and learning in alphabetical order, and describes them in easy-to-understand language, avoiding the boringness of lengthy articles and satisfying the basic needs of literature lovers. The book received strong support from Northwest University for Nationalities and great assistance from Professor Jim Rogers of Utah State University. However, due to my limited level, errors in the book are inevitable, so please correct me!

The development of new Chinese poetry in the 20th century was a process of continuous modernization, and the modern symbolist poetics placed in it also had strong demands for modernization, which was highlighted by its eager attention to and active construction of the "poetry ontology". This book takes the exploration of "poetic ontology" as the starting point for the interpretation of modern Chinese symbolist poetics. It focuses on the core propositions of poetry's essence, artistic form, aesthetic value, etc., And interprets its full poetic connotation in the ever-improving ontological consciousness of symbolist poetics. It examines its mirror image of existence in poetry writing, poetry criticism, poetry debate and other dimensions, revealing the complex situation of the construction of the modern symbolist poetics system and the tortuous process of obtaining its "legitimate" status.

Based on the cross-cultural perspective and the historical context of the theme, this book follows the historical trajectory and logical process of the life-transcendence theme prototype and its replacement and transformation, examines the life consciousness and cultural connotation of the life-transcendence theme in Western literature, sorts out the different forms and basic frameworks of the evolution of the life-transcendence theme in Western literature, and constructs a research system on the life-transcendence theme. Through the genetic interpretation of the theme of life's transcendence in Western literature, we trace the consciousness inducements and materialized forms formed by the theme of life's transcendence; through its archetypal interpretation, we discover the archetypal meaning of the theme of life's transcendence; through the metaphysical appeals it reflects, we explore the symbolic pedigree and value orientation of the theme of life's transcendence in Western literature. It puts forward the view that the theme of life transcendence has become the profound theme and the highest state of literary expression because of its metaphysical nature. This book highlights the aesthetic and cognitive role of the theme of life transcendence in guiding and improving the human spirit and soul. It can have a positive impact on inspiring people to explore the meaning of life, and can also provide useful inspiration for promoting the humanistic spirit.

Over the years, the special needs of national ideological self-construction and the participation of too many people have made Lu Xun research increasingly appear to be in an awkward position in its development. Among the many remarks about Lu Xun's writing, the author of this book takes a unique approach and places his thinking on Lu Xun's writing in the context of the attitude of modern writers towards local folk cultural resources in the process of Chinese literary modernization (or globalization). From the perspective of Lu Xun's writing, This article makes a relatively comprehensive and systematic discussion of the relationship between Lu Xun's writing and folk culture from eight aspects, including the occurrence of folklore interest, the influence of folk culture on Lu Xun's writing theory, Lu Xun's main treatment of folk culture, and the writing significance of Lu Xun's folk culture expression. The book is rich in writing materials, rigorous in structure, detailed in analysis, and powerful in argumentation. It uses smooth and highly textured text expressions from a special perspective to provide a lot of useful enlightenment for people to understand Lu Xun's writing and the modernity of modern Chinese literature.

The land reform movement was a major event in the process of modern Chinese history. It rebuilt the rural political order centered on equal distribution of land and transformed traditional cultural concepts. The policy changes and realistic complexity of the land reform movement brought about the richness of land reform literature. This book attempts to conduct a relatively comprehensive review of land reform literature from a diachronic and synchronic perspective based on a close reading of the text, outlines the evolution of narrative modes in different historical stages, explores the complex trajectory of literary development and evolution in the interaction between literature and ideology, writers and criticism, creative principles and policy regulations, and reveals its unique position in the history of 20th century literature.

The Chinese "modernist" group represented by Dai Wangshu, Bian Zhilin, He Qifang and others is an important poetry school in the history of vernacular poetry. With the increasing exchanges at home and abroad, overseas scholars have continued to conduct in-depth research on Chinese "modernist" poets, with increasingly fruitful results. In order to learn from foreign research results on Chinese "modernist" poets and promote mutual exchanges between domestic and foreign academic circles, it is more urgent to summarize the reception of Chinese "modernist" poets abroad. The purpose of this book is to sort out and summarize the research results on Chinese "modernist" poets in the English-speaking world from the perspective of spanning heterogeneous civilizations, hoping to promote exchanges and dialogue between Chinese and foreign academic circles.

The four papers included in this collection were written between 2014 and 2016, and have all been published publicly. His research scope mainly focuses on the modernity issues of Chinese new poetry in the past 30 years, as well as the aesthetic characteristics of Chinese poetry in modern writing. This book is divided into four parts: Nothingness and "Blooming" - a modern perspective of contemporary Chinese poetry (outline); From "revolutionary literature" to "aesthetic ideology" - the paradigm shift of Zhang Zhimin's poetics and the aesthetic significance of the era of value generation; Lost: Causes and Consequences - the problem awareness of "the rise of new aesthetic principles" and the critique of aesthetic modernity; the construction of "Gaia" aesthetic and eco-critical poetics, a postscript to the fifth anniversary review collection of "7+2 Mountaineering Diary".

This book conducts a special study of urban narratives in modern Chinese novels. The author starts from the disease narrative, death narrative, desire narrative, power narrative, left-wing narrative, ritual narrative, "alienation" phenomenon, "water" image, narrative techniques, female image, etc. In the town narratives of modern Chinese novels, and conducts an in-depth discussion of the town narratives of modern Chinese novels from different angles. At the same time, the author puts forward the concept of "Chinese modern town literature" in the book and elaborates on the connotation of this concept. By proposing the concept of "Chinese modern town literature", it breaks through the understanding of the binary oppositional division model of "native literature - urban literature" in modern Chinese literature in previous literary history works, and forms a new understanding of the three-dimensional division model of "native literature - town literature - urban literature" in modern Chinese literature. This book is the first research monograph on "town narrative in modern Chinese novels" in domestic academic circles. The research results of this book have broadened the research horizons of modern Chinese novels, deepened the research on the history of modern Chinese literature, filled the gaps in the current academic circle, and have important academic value.

Literature pays attention to "people", especially to express the "three natures" of people, namely: "animal nature", "human nature" and "divine nature". Setting the standard of "divinity" is not to achieve "divinity", but to obtain "humanity" and avoid being in "animal nature". In this sense, when literature expresses "human nature", it cannot leave the standpoint of "divinity"; literature is a "human science" and must always have a "theological" reference. This is the charm of literature. This book believes that compared with realist essences such as "enlightenment", "revolution", "criticism" and "survival", the power of contemporary Chinese literature also comes from "fraternity" at the theological and spiritual level, and "fraternity realism" has become a definition of realist literary form.

Shakespeare criticism has always had the characteristics of advancing with the times and constantly interpreting new things, especially in twentieth-century Shakespeare criticism. This book takes the history of Western Shakespeare criticism in the twentieth century as the research object, and takes important Shakespeare critics such as Bradley, Stoll, Tillyard, Knight, and Greenblatt as cases, and strives to show the main context of the development of Shakespeare criticism in the broad perspective of the changes in literary criticism in the twentieth century.

This book systematically combs the early rise of Australian literary criticism and its development over the past century or so. It covers the main figures, schools, ideas, issues and methods that emerged in the four historical stages. The book takes the history of Western literary criticism in the twentieth century as a reference, and from a Chinese perspective, focuses on examining the process of Australian literary criticism transplanting foreign ideas and methods and localizing them.

Russian literature is the carrier of the country's ideological culture. This book studies the growth chart of "modern intellectuals" composed of "new superfluous people", sinkers, "underground people" and traditional watchmen in the representative works of writers such as "Booker Prize" and "Masterpiece Award" winners V. Markkanin, Vik Pelevin, Ta Tolstoya, Yu Polyakov and other writers, as well as the belief changes, dystopian thoughts, nihilistic thoughts and post-modern thinking of "modern intellectuals". Through the issue of intellectuals in literature, this book explains the impact of the influx of Western culture on the spiritual world of Russians represented by intellectuals and the changes in Russian social and cultural ecology.

This book collects 17 original and representative academic criticism articles on epic research published by Chinese scholars from 1949 to 2019. It outlines the academic process and basic overview of Chinese epic research since the founding of New China. The authors of the selected articles have made great contributions to epic research in their respective academic fields, and their achievements have been recognized by the academic community. The selected articles not only cover the academic critical results of the research on epics of various ethnic groups in China and the research on epics from outside the country, but also take into account the academic critical results of Chinese epic research at different stages, fully demonstrating the diversity and richness of the fields, types, and levels of academic criticism on Chinese epic research.

The poetry of the Southwest Rear Area is an important stage in the development of modern Chinese poetry under the background of the Chinese nation's all-out Anti-Japanese War. This book draws on cultural ecology ideas and literary ecology methods to break down the investigation of the literary ecology of the Southwest Rear Area Poetry into the elements of poetry creation activities, and strives to present an ecological picture of poetry creation during this period.

This book mainly studies Zhou Libo, a famous modern Chinese writer, and conducts in-depth analysis and research on his life and creation. The main body is divided into two parts: author identity research and work research. A large amount of historical data proves that Zhou Libo is a writer who adheres to a left-wing stance and can reproduce the life of his era in a timely manner. He has a distinctive personality and his works are both contemporary and literary. This book starts from the writer's creative personality and text, and believes that his position in the history of modern literature is indispensable. At the same time, from the perspectives of typography and sociology, Zhou Libo's pursuit of literary and artistic aesthetics in the turmoil of the times was affirmed.

This collection is divided into seven columns, among which "Style Research" is the focus of this collection, which focuses on "early writing" and combines the generation methods, writing methods and changes from instability to convergence of ancient Chinese classics and documents to guide the discussion of issues to become more objective and in-depth; "Broad Vision" points out that the historical biographical literature in historical biographies has both historical records and The dual nature of literature and art sorts out the influence of historical and biographical literature on the style of novels; "Review of Prose Research Documents" is a background design for the ongoing research and collation of prose documents in the field of ancient prose research today; "Tongcheng School Research Special Topic" reflects on and cleans up many old prejudices in this field of research.

"Frontiers and Reviews of Ancient Literature" is sponsored by the Ancient Literature Department of the Institute of Literature, a dominant discipline of the Chinese Academy of Social Sciences. It organizes and publishes various academic reviews within the discipline (feature articles, written talks, book reviews, interviews, topic reviews, frontier reviews, meeting minutes, project updates, argument collections, new materials or special collections, etc.) As its basic method. It is committed to tracking the frontier status of the ancient Chinese literature discipline, reflecting on academic historical experience, and looking forward to future trends. This book is the second volume and is divided into seven special topics: special articles, special topics: commemorating the 120th anniversary of the birth of Mr. Sun Kaidi, a hidden gem in the ocean, special topics: new gains from the research on "Selected Works", special interviews, meeting minutes, and information index.

This book is a work that records the author's literary research career. The introduction chapter starts with the sudden rise of the Creation Society, its stages, and the literary and artistic thoughts of the Creation Society from encouraging diversified development to dominating popular literature. It talks about the history of the Creation Society, the controversies over the stages of the Creation Society, the literary and artistic thoughts of the Creation Society, and the creative activities of the Creation Society. Guo Moruo's chapter includes: It focuses on the preface and post-editing of Guo Moruo's research works, as well as the appreciation of Guo Moruo's famous poems, specific research on Guo Moruo's works, and the stance and attitude that should be adopted when studying Guo Moruo. Other writers' chapters involve the founders of the Creation Society, Yu Dafu, Cheng Fangwu, and Zhang Ziping, studying their works and contributions to the Creation Society, and Guo Moruo's relationship with them.

This book takes the contemporary Arab novels and poetry since the Third Middle East War in 1967 (the "June 5th War") as the research scope, explores the transformation and evolution of contemporary Arab literary discourse after this major historical event, and analyzes the efforts of the Arab literary community to rebuild a space of cultural resistance in the context of post-colonial and globalization. From the perspective of a Chinese scholar, the author examines contemporary Arab literature within the framework of the mainstream development of world literature. During the research process, he pays equal attention to macroscopic discussion and microscopic analysis, and deeply reveals the specific presentation of key topics in contemporary literary research such as modernity, identity, crossover, hybridity, and gender politics in contemporary Arab literary works.

This book is structured into two parts, upper and lower, each with three chapters. The first part discusses Sikong Tu's person, his poems, his articles and their relationship with Shi Pin. The main content is the study of Sikong Tu's life and poetry creation, the study of Sikong Tu's poetry creation and its connection with Shi Pin, and the exploration of Sikong Tu's Shi Pin and the development of his poetics. The second part focuses on the modern translation, English translation, back-translation and dissemination at home and abroad of Sikong Tu's "Shi Pin", including the annotation, modern translation and English translation of "Shi Pin", the back translation, modern translation and penetration of "Shi Pin", as well as the domestic and foreign translation and international communication research of "Shi Pin".