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Resetting Jian'an literature under the conceptual background of "individual consciousness", this book uses a thematic breakthrough writing method to study the changes brought by the concept of individual consciousness to the life attitude, aesthetic attitude and political attitude of Jian'an writers from four aspects: death writing, famous writing, women's writing, and political writing, as well as the impact of this change on literary writing attitudes, techniques and creations. Influenced by style, it is believed that the fundamental motivation of Jian'an literati's creation is to contend with the fear of death. By revealing the material-self relationship and the relationship between men and women in Jian'an writers' attitude towards releasing desires and enjoying this world, it explains the deep reasons why they had a flexible outlook on life and a dual mentality of independent personality in the process of devoting themselves to politics and pursuing achievements.

This book is one of the "Research Series on Chinese Poetry Narrative Tradition" project of the National Publishing Fund, that is, the research results from the mid-Tang Dynasty to the late Song Dynasty. Clarify the concepts of "narrator" and "narrative perspective", and summarize the occurrence of Chinese poetic narrative tradition and its evolution and development in various dynasties. The nine chapters of the main text include a special chapter on characters (Du Fu, Li He) and a special chapter on poetry (Yuanhe style) to explore the narrative elements in Tang poetry; it also discusses the narrative style of Tang and Song Dynasties; then it uses biographical poems, travel poems, dream poems, chronicle poems and other types of poems in the Song Dynasty to explain the narrative characteristics of Song poetry; finally, it conducts a narrative study of poem titles, poem prefaces, and poem notes in Tang and Song poems.

The book "Fu Bi and Xing: Research on the Narrative Tradition of Poetry in Pre-Qin and Han Dynasties" is the pre-Qin and Han volumes of the "Research on Narrative Tradition in Chinese Poetry" series funded by the National Publishing Fund. It is the result of teamwork led by Yang Xiuli, associate professor of the School of Liberal Arts of Shanghai University. It is divided into the following four parts: the budding of ancient songs and poetic narrative tradition in the Zhouyi, the foundation of the Book of Songs and the narrative tradition of poetry, the evolution of the Songs of Chu and the narrative tradition of poetry, and the inheritance and new changes of the Qin and Han Dynasties and the narrative tradition of poetry.

This book elaborates on the inheritance, evolution and development of narrative poetry in the modern Chinese poetry tradition. It analyzes in detail the impact of social, historical, and cultural changes on the development and creation of Chinese narrative poetry. It analyzes modern Chinese narrative poetry from multiple angles and levels, and provides a good summary of the modern transformation of the narrative tradition of Chinese poetry.

This book combs the growth and evolution of the lyric and narrative traditions in Chinese poetry creation since the "May 4th" New Culture Movement. It focuses on the new poetry theory and creation of representative poets Hu Shi, Li Jinfa, Mu Dan, and Yuan Kejia who emphasize narrative reasoning. It analyzes the trend of modern new poetry toward "narrativeness" as an inherent requirement for the development of poetry. It also explores the implicit tradition of "narrativeness" in traditional old poetry. This book also focuses on the controversial and important issue of whether Hu Shi or Guo Moruo was the origin of new poetry. This book is suitable for readers who are interested in poetry.

What determines the life or death of a novel? In the process of writing eight novels, the author found the answer: structure, and the rhythm of the story determined by the structure. Only by deeply understanding the story structure can the writer grasp the order and timing of various plots and freely control the rhythm of the story. The author combines concepts such as three-act structure and plot pain points to explain in detail the principles of story operation and plot arrangement methods. Through in-depth interpretation of four case works such as "Pride and Prejudice", the author demonstrates the various possibilities of story structure and plot shaping. As long as you control the rhythm of the story well, you can mobilize all the potential of the story and make the readers' hearts beat with the rhythm of the novel.

This is a novel writing book. The lessons in this book are arranged in the order of "Making the Overall Story Process" → "Making the Main Characters" → "Determining Details and Performances", but it does not necessarily have to be in this order. You can start reading from the place you are struggling to write now, or you can start reading from the place you most want to write. Each lesson is in the form of exercises, specifically recording the order of "this way you can write it". Please be sure to actually write it.

This is a novel writing book. This book details templates for disasters, romantic comedies, heroes, partners, and success stories that can be used in a wide range of modern novels. As long as you understand the structure and writing method, you can expand your story creation repertoire a lot. Each chapter of this book has an exercise section. Don't feel troublesome, please be sure to write it yourself.

This is a novel writing book. In order to write "stories that captivate readers," this book teaches you 9 ways to write stories. For writing novels, on the basis of keeping the characters and story frame unchanged, through various adaptations, even the atmosphere and the feeling after reading will change. Just like the same curry with different ingredients, it can be made into curry chicken or beef curry. When used as seasoning, it can be made into curry-flavored salad dressing. Please start writing now.

In the history of contemporary Chinese literature, the emergence of avant-garde literature and avant-garde literary criticism once shone brightly for a while, but its brilliance seems to have completely faded to this day, but its profound influence has never been erased. "Research on Avant-Garde Literary Criticism in the 1980s" introduces people to the concept and research status of avant-garde literary criticism; the background of avant-garde literary criticism in contemporary literary history, the context of its formation, the emergence of representative writers, core viewpoints, historical contributions, and the need for reflection.

The author uses several keywords such as manuscripts, editions, languages, writers' theories, original texts, and text close reading as a perspective, intervention method, and research method to form a methodological system for grasping the development process of contemporary Chinese novels and their gains and losses. He adheres to the principles of mutual corroboration of historical documents and arguments, and the simultaneous generation of problem discovery and interpretation to engage in novel research, and thus begins to re-evaluate the value of important ideological trends, phenomena, and writers' works of Chinese contemporary novels.

This book is one of the most important works on Homer studies in the twentieth century. It was first published in 1980. In the study of Homer at that time, Mycenaean land ownership, Bronze Age archaeological excavations, and the intricate details of stylized language - these specialized and technical issues almost crowded out the place of poetry. The author of this book, Gaspar Griffin, brings Homer's epics back to people as a great literary work. The author returns to the simple research method of close reading of texts, but this is not a fantasy out of thin air, but is supported by a large amount of academic evidence. In particular, he focuses on life, death and gods in Homer's epics, which are very distinctive areas of ancient Greek thought. Therefore, the author's interpretation not only allows us to further appreciate the benefits of Homer's epics, but also obtains enlightenment for modern life.

Imagination has accompanied mankind from ancient times to the future, and our modern fantasy journey is intended to explain the birth and development of "modern fantasy literature" based on imagination, to depict the heroes and heroines who took turns on the stage in a literary sense, and to depict one fantasy masterpiece after another that has gone down in history. This collector's edition, in addition to supplementing and improving the grand development of Western fantasy outlined in the nine chapters of the first edition, the author has written a special book and added 80,000 words of new chapters to describe the large-scale and self-contained Chinese fantasy literature and culture.

This book contains twelve literary essays by the famous Russian literary theorist and critic Belinsky. Among them, "Fantasy of Literature", "Concept of Art", "Classification and Division of Poetry" elaborated on the current situation, historical evolution and basic theoretical issues of literature in Russia and the West at that time; "Contemporary Heroes", "Collected Poems of Lermontov" (Short Commentary), "Collected Works of Alexander Pushkin" and other special topics are profound. It discusses the ideological tendencies and artistic characteristics of the classic works of great Russian writers. Papers such as "Reply to "Muscovites"" convincingly comment on the literary opinions and debates of the Western European and Slavic schools in Russia at that time, as well as the similarities and differences in the humanistic characteristics and literary tendencies of the two cities of Moscow and Petersburg. The contents of many articles in the book play an important role in helping ordinary literature lovers understand Russian literary masterpieces.

Wang Hui's early masterpiece of "Lu Xun Studies" is also one of the model works that re-understand Lu Xun from an inner perspective in the new era. With a groundbreaking research perspective and theoretical paradigm, the author reveals the contradiction, complexity and paradoxical characteristics of Lu Xun's spiritual structure through an in-depth analysis of Lu Xun's thought and literary world and their interrelationships, as well as the profound connotation of his historical "in-between" consciousness and his philosophy of life of "resistance to despair"; and in this way, he presents the cultural and psychological content of Lu Xun's novels in terms of narrative principles and narrative methods. This time, a newly revised edition is launched. For the first time, the reference materials attached to the author's doctoral thesis in 1988 are supplemented, and the preface, introduction, postscript and postscript of the first three editions are also presented.

In 1879, Wundt founded the world's first psychology laboratory in Leipzig, marking the birth of the modern discipline of psychology; in 1908, Freud published "Writers and Daydreams", kicking off the emergence of literary psychology; in 1924 In 1936, Lu Xun translated "The Symbol of Depression" by the Japanese scholar Kukawa Hakumura and taught it in university classes, becoming the first person in China to introduce the systematic theory of literary psychology; in 1936, Zhu Guangqian published the first monograph on "Literary Psychology" by a Chinese scholar. Since then, this subject has been silent in China for nearly half a century. In the 1980s, literary psychology was rebuilt in China. As one of the representatives of this stage, Lu Shuyuan made great contributions to the rich accumulation of Western psychological resources. He scanned and sorted out constructivist psychology, functionalist psychology, behaviorist psychology, psychoanalytic psychology, and the "Vileru" school one by one with great interest, and compiled it into "Psychological Interpretation of Literature and Art", which provided a solid theoretical foundation for psychological criticism of contemporary literature and art.

This book mainly discusses literary appreciation, text interpretation and writers' works, focusing on interpreting the aesthetic theory and practice of "seeking understanding and self-understanding". The whole book can be divided into four parts: The first is "Theory of Elements of Literary Appreciation", including image and poetic context, literary context and connotation, sequence and rhythm, text color and grammar, etc. The second is "Text Interpretation Characteristics Theory", including changes in contemporary views on text interpretation, reaction exchanges and open activities in literary interpretation, "fusion of visions" in text interpretation, the psychological schema of subject reading, and different interpretations of poetry, prose, novels, and dramas. The third is the "perspective theory of writers' literary works", including the older generation of prose writers who create innovative artistic prose, the new era prose writers with unique individual aesthetic styles, and the young and middle-aged prose writers who have opened up a new realm of scholarly prose. The fourth is "Artistic Appreciation of Works", including "Introduction to Classical Masterpieces" and "Appreciation of Masterpieces from Hong Kong and Taiwan".

This book is an introduction to "Chinese Theories of Literature" (Chinese Theories of Literature) by Mr. Liu Ruoyu, a classic of literary theory in the 20th century and a famous overseas sinologist. It is suitable for literature lovers, researchers of literary theory, and teachers and students of liberal arts in colleges and universities. The title of the book "Borrowing Stone to Attack Jade" has two meanings: First, Liu Ruoyu draws on Abrams's "Four Elements" analysis diagram to reconstruct the four-dimensional circular framework of "universe? Writer? Work? Reader? Universe" to explain the metaphysics, determinism, and expression of classic Chinese literary theory. Theory, technique theory, aesthetic theory and pragmatism; secondly, this book is based on Liu Ruoyu's four-element framework and six theories, and introduces "Preface to Poems", "Classics Essays", "Books with Yang Dezu", "Wen Fu", "Literary Heart Diaolong", "Poems", "Twenty-Four Poems", "Article Style Identification" Classic chapters such as "Preface", "Reading the Calligraphy of the Fifth Talent", "Summary of the General Catalog of Siku" and other classic chapters, through "the heart is the ambition, the speech is the poem", "the meritorious service and the speech are the common people", "the words are used freely, there are many changes", "poetry is a technique, you can know it", "there is no fixed style, the general outline" There must be classic propositions such as "Literature is difficult to judge, who says it is easy to distinguish", "Discuss flaws and merits, distinguish authenticity", "Look to the present to make wonders, refer to the ancients to determine the law", and re-examine the ontology, value theory, creation theory, writer theory, work theory, acceptance theory, criticism theory and adaption theory of Chinese literary theory.

In China's transformation from a dynasty and empire to a nation-state, the masses, as a central concept, have become the imaginative carrier for modern intellectuals to think about themselves and the country, and to explore enlightenment and revolution. Through a close reading of novels, philosophy, poetry, and psychological treatises, this book analyzes the centrality and historicity of the masses in modern Chinese cultural and political imagination. It also places Chinese mass discourse in the global intellectual context of the first half of the twentieth century and explores overlooked transnational interactions and differences. This is an interdisciplinary study that synthesizes literary studies, intellectual history, critical theory, and the history of human science, highlighting the entanglements between modern forms of human scientific knowledge, emerging artistic expressions, and changing political demands. As the first in-depth study of mass aesthetics and politics in modern Chinese literature and thought, this book examines the promises and fetters of modern collective imagination in the revolutionary period, and looks at the rethinking of collective life in the post-revolutionary period.

"Early Chinese Literature and Historical Criticism" is edited by Fu Daobin, a professor at the School of Liberal Arts of Harbin Normal University. It includes 17 academic papers and reviews at home and abroad on the formation of early civilization, historical operation, unearthed documents, textual research, ritual and music systems, early book version generation and writing methods, early literary research, etc. The book is divided into six columns: "Six Classics and Literature", "Zixue Era and the Literature of Various Scholars", "Unearthed Documents and Classical Scholarship", "Early Literary Theory and Criticism" and "External Sinology". It aims to describe the grand atmosphere of early Chinese literature with ritual and music culture as the soil, the city-state spirit, artifact art, text writing and the formation of the classic era, explore the unique implications of Chinese classics, and seek methodological breakthroughs in the study of early Chinese literature.

In this book, Foucault provides a detailed interpretation of metaphors, silences, and puns in the works of French writer Raymond Roussel. Raymond Roussel was a French poet, novelist, and playwright. He was a contemporary of Proust, another great French writer, and had contacts with the latter. He had a great influence on French literature in the 20th century, including Andre Breton of the Surrealist movement, Georges Perec of Oulibeau, and Alain Robbe-Grillet of the New Novel School. Russell's works are always full of language games. He was not well-known during his lifetime and his works were not well received. In 1933, he was found dead in his hotel room. Through his interpretation of Raymond Russell's works, Foucault reveals to us the relationship between language and death. He believes that the real task of literature is not to express or reflect the reality of "things", but to show the process of its flash and diffusion, creating a "blank" that language is eager to enter. In other words, if we look at literature from the opposite direction, that is, using the method of Raymond Russell, we will find that language actually expresses nothing at all. Language just keeps itself a "hole". In this sense, language has been sentenced to "death". It is language itself that has sentenced itself to death. Russell not only reveals the "emptiness" of language, but also the "emptiness" of the "things" spoken of by language. In Foucault's mind, this is the core of Raymond Russell's literary creation. He invented a language machine, but this machine has no secrets. There is only a relationship between language and death that language tries to maintain, unravel or re-establish, or repeats endlessly.

The interdisciplinary perspective of literature is the inherent requirement and development direction in the context of the construction of new liberal arts. Combined with the development of the humanities and social sciences, this book focuses on several classic writers of modern and contemporary British and American literature such as D. H. Lawrence and Evelyn Waugh. It mainly uses the body, space, memory, narratology and other multi-dimensional and interdisciplinary critical perspectives in British and American literary studies as theoretical resources. It explores "Lady Chatterley" on the basis of full investigation, arrangement and analysis of existing research. "The Lover" and "Old Place Revisited" and many other works strive to break down the barriers of literature, history, philosophy, sociology and other disciplines in the process of comprehensively, profoundly and critically grasping literary texts, and highlight the intersectionality, permeability and mutual illumination between literature and other disciplines, in order to provide new ideas and references for the study of British and American literature under the guidance of new liberal arts, interdisciplinary and interprofessional.

"Ten Lectures on Chinese Literature" is a classic work of literary history by Mr. Hu Yunyi, one of the founders of modern Chinese literary history research. The book has a total of 10 lectures, which are basically positioned and laid out according to "literary nature" and divided into four major parts: poetry, prose, novels, and operas, with special emphasis on novels and operas. This is a "pure literature" work that closely adopts a "pure literary view of history" and has been translated into Japanese and published in Japan.

This book is a masterpiece of literary history written by American scholar and literary critic John Macy, which took four years to complete. After its publication in the 1920s, it once became popular in Europe and the United States, and Macy became famous in the literary world. This book takes time as the main axis and uses story form to narrate from four parts: ancient literature, medieval literature, European literature before the 19th century, and 19th century and contemporary literature. It provides a detailed and in-depth description of the great writers, important literary works and their era backgrounds that have influenced the world for thousands of years. The author uses vivid and smooth writing to describe the history of literature in a poetic and picturesque way. This is a compendium of literary history that is very suitable for general readers to get started.

Starting from the origin of Tang poetry, it systematically introduces the development of Tang poetry through the early Tang, prosperous Tang, middle Tang and late Tang periods, studies the different styles of Tang poetry in different periods, and introduces in detail its characteristics, development causes, overview and factions. It also uniquely introduces the poems of Tang Dynasty poets, palace ladies, ladies and other women. Covering all aspects of Tang poetry, it can be called a mini-encyclopedia for the study of Tang poetry. It is a classic selection for reading and appreciating Tang poetry with high influence in contemporary times!

"Wen Xin Diao Long Translation and Annotation" compiled by former Shandong University professors Lu Kanru and Mou Shijin is a classic reading material for reading and studying "Wen Xin Diao Long". It was selected as the "most important book" and "the best book" in the first batch of outstanding Chinese traditional culture books in 2021. This book is very suitable for general readers. There is a very comprehensive and systematic "Introduction" at the front of the book, which introduces in detail the era of production, theoretical system, and main points of "Wen Xin Diao Long". There is a "Problem Solution" before each article in the main text, which summarizes the main ideas of the article. The annotations are concise and accurate, and the translation is faithful and smooth, making it very suitable for ordinary readers.

"Sven" is a special issue on ancient prose research founded by the Institute of Ancient Literature, School of Liberal Arts, Beijing Normal University, the Ancient Chinese Prose Research Center, and the Ancient Chinese Prose Society (in preparation). This journal aims to create an academic platform to actively promote the study of ancient prose, deepen the understanding of China's excellent traditional culture, and continue the spiritual blood of the country and nation. This journal adopts the concept of large prose, including ancient prose, parallel prose, fu, eight-part essay, etc., In order to expand its horizons and fully take into account the complexity and historical development of ancient Chinese prose. This journal has published nine series. Starting from the ninth series, it will be published by The Commercial Press. It is planned to publish two series every year. This collection has six columns in total, namely stylistic research, literary thought research, literary history research, literature review, prose research reviews, and book reviews, totaling 15 articles.

The study of this book has interdisciplinary characteristics, but focuses on formal structure, so the tentative title of the book is "Into the Structure of Form". This book has the following parts: 1. "Academic Development Process", which includes four articles: Preface to "Crossing Disciplinary Boundaries" (diachronically describing the author's interdisciplinary academic research process from undergraduate to present day), and Postscript to "Research on the Dual Narrative Process of Short Stories" (diachronically describing how the author has developed from revising Western authoritative theories step by step from his doctoral studies to the present) The process of leading research at the forefront of Western academics), "Innovation at the International Frontier - Speech at the 20th Anniversary of Peking University School of Foreign Affairs" (introducing his own growth process starting from his experience of studying at Peking University, focusing on the struggle at the international frontier), "On Four Ways of Foreign Language Scientific Research Innovation" ("Foreign Language and Foreign Language Teaching", introducing the author's scientific research innovation experience as of 2000). 2. Introduction, including the following introductions: Introduction to "Crossing Disciplinary Boundaries", Introduction to "New Developments in Western Stylistics", Introduction to "Ambiguous Discourse: Feminist Narratology and British Women Writers", Introduction to "Stylistics of Novel". 3. Book reviews: The main review objects are new and influential academic works from abroad at that time. 4. Interview records. 5. Preface: The author has served as the president of the national narrative and stylistics associations for many years. The preface also includes these two fields. She wrote the preface for the proceedings of the international conference held in China. 6. Comments: Comments on formal structure research.

The "Road of Tang Poetry in Eastern Zhejiang" is a cultural road that poets of the Tang Dynasty frequently traveled to and from Eastern Zhejiang due to their wanderings, official careers, seclusion, and relegation. It is also a cultural treasure house that integrates Confucianism, Buddhism, poetry, calligraphy, tea ceremony, pottery, folk customs, dialects, legends, etc. Over the past thirty years, whether in the academic circles of universities or in local literary and historical circles, there has been an upsurge in research on the path of Tang poetry in eastern Zhejiang, and fruitful results have been achieved. It has also driven research on various poetry paths across the country. From these results, this book selects 24 papers by famous scholars such as Fu Xuancong, Chen Shangjun, Yu Xianhao and others, organized into seven topics, revealing the trajectory of the development and evolution of research on Tang poetry in eastern Zhejiang.

"Back to Literary Research" is an academic work that explores literary research itself. This book summarizes the gains and losses of literary research in the modern academic context over the past hundred years, points out shortcomings, and explores new paths. The author points out that under the cultural background of globalization, Chinese academics need to deal with three points: returning to literature-based research; literary research needs to establish "techniques"; and civilization and cultural circles should be the basic units of research. This book is divided into four series, namely "Biezai Pseudo-Style and Fengya: A Tribute to the Forefathers", "How Much Do Poets Know about Guan Nao: Criticizing the Tradition", "The Six Classics Enable Me to Reveal a New View: A New Theory of Classics", and "Surely Dongguo Interpretation Poems: Inside and Outside the Yu Territory". Each series contains four or five articles on related topics. The first volume analyzes the history of modern Chinese academics since the 20th century, and points out from a high position that the shortcomings of contemporary academics are the lack of literature-based research, and mostly impressionistic and empirical criticism. Inheriting the research methods of "using poetry to prove history" and "using poetry to discuss poetry" pioneered by senior scholars such as Chen Yinke and Cheng Qianfan, we call for literary research to return to its roots and create new ones, establishing "laws" that belong to Chinese literature itself, rather than relying on the Western academic discourse framework. The second volume discusses the modern value of traditional Chinese literary criticism, proving that it is instructive for current literary research to return to literary standards. The third volume is a study of the works of Tao Yuanming and other writers, aiming to implement the operational possibility of "returning to literary research" and provide an example for the study of literary ontology. The fourth volume breaks through the limitations of domestic academic circles and examines literary research from the perspective of Chinese cultural circles such as China, Japan, and Korea.

Chanting, as a creative method of ancient scholars, can be conscious or passive. Depending on the background of the chant, the content and form of the chant are also different; it also has different impacts on the chanter's life value and artistic positioning. As a cultural phenomenon, it requires in-depth discussion from different levels in order to accurately determine its connotation. Therefore, "The Theory of Chinese Troubadour Culture" specifically examines the relationship between troubadour and all aspects of the life of ancient Chinese literati from seven aspects: "troubadour and roaming", "troubadour and study tours", "troubadour and rushing for exams", "troubadour and going to office", "troubadour and relegation", "troubadour and exile", "troubadour and wandering"), and interprets the cultural connotation of troubadour. Exploring and studying the chanting life of ancient Chinese literati is of great benefit to understanding and interpreting the ancient people's way of survival, life orientation, value pursuit and cultural mentality. At the same time, it also has certain enlightenment and reference significance for the lifestyle of modern Chinese people.

Some scholars believe that Hu Yunyi is the consolidator of the "modernization" of Ci studies after Wang Guowei and Hu Bu. This book has pioneering significance in the history of modern Chinese poetry. It demonstrates the historical position that Song poetry should occupy in the history of Chinese literature, and praises the bold and unrestrained school, contrary to the traditional concept that the graceful school is literary authentic. The first part, "General Theory of Song Ci", explores the origin, characteristics and development rules of Ci from a macro perspective, and also elaborates on the overview and evolution of Northern Song Ci, and cites the Ci of the Southern Song Dynasty as heroic Ci literature; the next part, "Critical Biography of Song Ci Writers", has a positive review of Liu Yong , Zhang Xian, Ouyang Xiu, Su Shi, Qin Guan, Zhou Bangyan, Li Qingzhao, Xin Qiji, Jiang Kui, Wu Wenying and other poets have special chapters. In addition, Sumen poets, mid-Northern Song Dynasty poets, Xin School poets, Nandu poets, late Song Dynasty poets, etc. Are comprehensively discussed.

This book mainly discusses the issue of "sin" in literature. "Sin" is not only an ancient topic in human life, but also an eternal motif in literature. As the opposite of human "good", "sin" and "evil" precisely define the boundaries of human beings to a certain extent. The issue this book focuses on is, as the birthplace of Western literature, the "Two Greek" traditions, in the fusion of "Two Greek" cultures, from a literary perspective, how did the "errors" of ancient Greece "evolve" into "sins" in the Christian sense? In other words, how can the separation of man and Zeus in the Greek cultural context be unified with the unity of man and God in the Hebrew cultural context? A further question is, how did poets and city-state citizens gradually "turn" an ethical view of "sin" into a religious view in practice during the Hellenistic and ancient Roman periods? In contrast, "sin" in ancient Chinese literary works places more emphasis on conscience condemnation. The pursuit of "sin" does not focus on the "guilt" confession of the soul as in the West, but focuses on a functional elimination of "sin". The purpose is not to "take guilt" but to "mitigate sin" and thereby obtain peace of mind. This book will conduct a comparative analysis and study of the writing of "sin" in classic Chinese and Western literary works of various periods, trying to construct a history of the concept of "sin" in literature.

Ancient Chinese poetry is an outstanding achievement in the literary creation of the Chinese nation and a treasure of traditional Chinese culture. It is "a literary festival that the Chinese are proud of, a landscape that remains most beautiful after thousands of years, and a hospitality that remains pure for generations." The author has long been committed to the research and exchange of traditional Chinese culture. He especially loves ancient Chinese poetry and has done a lot of research. He also loves to read and write poetry on weekdays. The author has created a unique set of "industrial production standards" for the creation of Chinese metrical poetry. Ordinary Chinese with a little knowledge of Chinese can master the creative elements of ancient poetry in a short time and get started quickly with a little study. It is difficult to write a good poem that will last forever, but you can also write an ancient poem that meets the standards.

Why aren't the stories you write popular? What kind of stories make publishers, producers and other professional readers spend money? What are the key factors that influence the success of a work? This book is the representative work of Eric Bock, a well-known Hollywood screenwriter, producer, and author. The author talks about and answers various misunderstandings and problems in story creation with ease, and uses a set of precise and practical creative writing techniques to help you write a good story that will grab people.

This book selects a number of outstanding achievements in the field of symbolism literature from European and American circles. The content mainly involves the analysis of key concepts, research on aesthetic connotations, cross-sectional inspections of the flourishing period, case studies, and discussions on the relationship with other literary trends and artistic fields. As a collection of essays, this book presents a broad academic vision and a sense of expanding the boundaries of the topic. Although the specific problems and research methods are different, it all shows the rich potential of literary research and helps people to further explore and explore the problem. This book strives to be both academically rational and readable, and has high practical value in teaching symbolism in the classroom.

A concise and vivid introduction to literary theory and an important document for the study of Lao She's early literary and artistic thoughts. Mr. Lao She synthesizes ancient and modern times, conducts comprehensive and unique thinking on literature from the perspective of a writer, and turns dull theories into thinking full of wisdom. It is a rare introductory book on literary theory. The book uses the form of 12 lessons to let Mr. Lao She, the people's artist, tell you what literature is? The book involves the discussions and works of more than 140 scholars and writers.

This book mainly uses literary ethics criticism methods, combined with psychoanalytic criticism, gender discourse research, etc., And takes contemporary African American novel texts as the research object. It excavates and explains the survival ethics, identity and ethical choices of contemporary African American residents, the ethical dilemmas they face, and the relationship between the ethical norms of African American family and community and the construction of individual identity, and explores the continuity and evolution of ethical narratives in contemporary African American novels. In addition to political and aesthetic values, this book attempts to rediscover the value of African American novels from an ethical and moral perspective. In addition to some classic texts in contemporary African American novels, this book attempts to cover some important novels that have been ignored by the academic community, re-evaluate their value, and fill the gaps in related research at home and abroad to a certain extent. This book is suitable for relevant researchers to read.

Gogol, Goncharov, Tolstoy, Chekhov, Bely, Mayakovsky, Mandelstam, Akhmatova, Yesenin, Bulgakov... The 12 fates of 12 writers connect the urban and rural narratives in Russian literature in the 19th and 20th centuries. In the long and tortuous process of Russian modernity, the transformation of narrative space from countryside to city has constructed a network of relationships between literature and modernity. By summarizing the different strategies used by Russian intellectuals from all walks of life to write about cities and countryside over the past two centuries, this book shows that as a late-developing modernizing country, Russia's progress has been difficult and its path tortuous. This is precisely because the conflicts between the official and the private sector, political circles and ideological circles on fundamental issues of modernity such as "city and countryside", "peasants and land" and "Westernization and tradition" have never been reconciled. The awakening, passion and inertia, resistance, destruction and compromise of modern people in this vortex of conflict are typical experiences of modernity. Anna Karenina on the train is a perfect metaphor for this experience.

In the history of world literature in the 20th century, American literature was a dark horse that suddenly emerged and had an important and far-reaching impact on the birth and development of new Chinese literature. Among the more than 300 writers in the history of Chinese new literature, more than 150 have studied abroad, and more than 30 of them have studied in the United States. Coupled with the introduction and translation of American literary works, Chinese new literature is inevitably influenced by American literature. This book starts from the perspective of reception aesthetics and explores the acceptance and reference of American literature by modern Chinese writers.

Lu Xun is the cornerstone and pinnacle of modern Chinese literature, and the ideas behind his literature also have cornerstone and pinnacle significance. But no matter which one is more important, his thought or his literature, for readers, the unavoidable entanglement is that Lu Xun's thoughts are often expressed in specific literary forms, and Lu Xun's literature is often rooted in specific logical constants in his thoughts. Therefore, how to reach the secret of Lu Xun's thought through the literary form created by Lu Xun has become a very important topic. This book focuses on this, carefully combing through the relationship between literary forms and ideas in various texts left by Lu Xun, and exploring an important ideological context of Lu Xun's literature, that is, in modern China, faced with the changes and turmoil brought about by the intersection between ancient and modern China and the West, how is action possible? This book first discusses the basic aspects of Lu Xun's thoughts during his stay in Japan, outlines the relationship with Zhang Taiyan's "self-nature", and demonstrates Lu Xun's understanding and desire for action at the ideological level. It then discusses the subject construction issues related to "self-nature" in "Weeds", "New Stories" and old-style poems, focusing on analyzing the relationship between thought and literature, and developing Lu Xun's reconstruction. Ideological dilemmas, historical philosophy and self-comfort when action is possible, and finally, in the context of literary analysis, we discuss some of Lu Xun's novels in the novel collections such as "The Scream" and "Wandering", start a close reading of the novels in a specific historical context, clarify Lu Xun's understanding of the Revolution of 1911, and discuss his thinking on how action is possible from the perspective of historical practice and the characteristics of the corresponding literary form. In short, this book attempts to trace the basic ideological thread behind Lu Xun's literature based on the basic question of "how is action possible", with a view to triggering different discussions on Lu Xun and modern Chinese thought and literature.

This book is the first volume of Zhang Xudong's "Lu Xun Trilogy", analyzing how Lu Xun's literature "became himself" from 1924 to 1927, marked by "essay consciousness". The author shows that the unprecedented external challenges and internal pressures faced by Lu Xun's literature during this period brought about a series of profound and irreversible choices, decisions and mutations in the history of style and literary principles. Through an overall critical approach that combines auteur theory, textual analysis, and theoretical interpretation, this book explores the syntactic and phenomenological structure of Lu Xun's essays with stylistic mixture and the political ontology of writing as the core. The conclusion is: it is necessary to analyze and grasp the essay, a stylistic experiment and style movement that is higher than the "pure literature" establishment and its ideology, in the context of the history and axiology of new literature and modern world literature, and at the level of the philosophical proposition of "the end of art." This "intermediate breakthrough" in the internal interpretation of Lu Xun's literature opens up historical depth in the second volume's "critical philology" investigation of Lu Xun's writings in the "Shanghai Period" (1927-1936), and presents a broader social and political vision and a more complex critical narrative relationship between reality and its appearance under the title of "The Freedom of Essays". Lu Xun's short stories, prose poems and autonarrative creations will be specially analyzed in the third volume "Enlightenment and the Plastic Art of New Literature". Each volume of the "trilogy" unfolds along six interlocking propositions: the primacy of literature in the study of Lu Xun; the primacy of essays in Lu Xun's literature; the modernism and nature of world literature in Lu Xun's literature; the biological determinism and temporal structure of Lu Xun's literature; the political ontology of Lu Xun's literature; and the "consistency of writing and translation" characteristics of Lu Xun's literature.

This book focuses on the connection and characteristics between Confucianism and literature in various periods from the early Tang Dynasty to the middle and late Tang Dynasty, and re-considers the historical form, function and status of Confucianism in the Tang Dynasty under the social and political backgrounds of different eras, such as the construction of identity in the early Tang Dynasty, the dispute between "classical" and "contemporary" during the period of Emperor Gaozong and Wu Zetian, the cultural spirit of poetry in the prosperous Tang Dynasty, the transformation of literature and Confucianism in the middle and late Tang Dynasty, etc. It not only pays attention to the investigation of the general relationship between literature and politics, but also pays attention to its significance as "political action". While paying attention to the influence of Confucianism on literary concepts, themes, styles, styles and even cognitive models, we also pay attention to the value of literature as "a way of thinking".

This book focuses on the connection and characteristics between Confucianism and literature in various periods from the early Tang Dynasty to the middle and late Tang Dynasty, and re-considers the historical form, function and status of Confucianism in the Tang Dynasty under the social and political backgrounds of different eras, such as the construction of identity in the early Tang Dynasty, the dispute between "classical" and "contemporary" during the period of Emperor Gaozong and Wu Zetian, the cultural spirit of poetry in the prosperous Tang Dynasty, the transformation of literature and Confucianism in the middle and late Tang Dynasty, etc. It not only pays attention to the investigation of the general relationship between literature and politics, but also pays attention to its significance as "political action". While paying attention to the influence of Confucianism on literary concepts, themes, styles, styles and even cognitive models, we also pay attention to the value of literature as "a way of thinking".

This book focuses on the connection and characteristics between Confucianism and literature in various periods from the early Tang Dynasty to the middle and late Tang Dynasty, and re-considers the historical form, function and status of Confucianism in the Tang Dynasty under the social and political backgrounds of different eras, such as the construction of identity in the early Tang Dynasty, the dispute between "classical" and "contemporary" during the period of Emperor Gaozong and Wu Zetian, the cultural spirit of poetry in the prosperous Tang Dynasty, the transformation of literature and Confucianism in the middle and late Tang Dynasty, etc. It not only pays attention to the investigation of the general relationship between literature and politics, but also pays attention to its significance as "political action". While paying attention to the influence of Confucianism on literary concepts, themes, styles, styles and even cognitive models, we also pay attention to the value of literature as "a way of thinking".

The book "Research on the Stylistic History of Chinese Short Stories in the 20th Century" adopts a method that combines macro-cultural perspective and micro-text analysis, starting from the perspective of "style function", using theoretical resources such as narratology, formal criticism, stylistics, and critical philosophy, and comprehensively analyzes and evaluates a large number of Chinese short story texts and research materials in the 20th century. The interactive relationship between the artistic form of the novel and the spirit of the times is sorted out and summarized. In the comprehensive examination of the mutual interpretation of the history of literary style and the history of thought, the manuscript comprehensively sorts out the artistic contribution of Chinese short stories in the 20th century, breaking through the dichotomy between thought and art in the traditional narrative of literary history, promoting the analytical thinking of bringing thought into form, and re-understanding the value of literary style in the history of thought. The manuscript is fluent in writing and highly readable. It is an academic work worth recommending as a reference for literary research and teaching.

"Concise Chinese Contemporary Literature" is a textbook suitable for Chinese people in Hong Kong, Macao and Taiwan, as well as in Southeast Asian countries. Among the two authors, Professor Cui Mingfen has been teaching in Macao for a long time, and Professor Shi Xingze has gone to Macao many times to give lectures and understand the local conditions. After years of accumulation, he has compiled this concise, plain, easy-to-understand, well-illustrated textbook, which adds new content to overseas Chinese education and provides local students with a clear and clear literary history.

This book contains twenty-one literary and artistic theoretical articles by Russian writer Leo Tolstoy. These include comments on his creation of "Childhood" and "War and Peace", as well as discussion articles on the creations of Maurossin, Gogol, Chekhov, Shakespeare and others. The evolution of Tolstoy's worldview and the evolution of his literary outlook go hand in hand. In the late 1850s, the "Speech at the Russian Literary Love Society" opposed exposure to literature, and in the 1960s and 1970s, the essays required writing for the people. Literary essays in the 1980s and 1990s emphasized that writers should clarify "the difference between good and evil" in the things they described, criticizing the view of "art for art's sake".

From the end of the 20th century to the new century, a major change in Shanxi's literary landscape has been the rise of female literature - Jiang Yun, Ge Shuiping, Sun Pin, Li Yanrong, etc. Have all gone nationwide, creating a strong shock wave. This book is based on the land of the Three Jin Dynasties, focusing on women's writing, tracing back to the early "talented woman of the Republic of China" Shi Pingmei, and tracking the "flying hand" Wang Zhangsheng in the middle period. It attempts to logically sort out the generation, development, and intergenerational genealogy of modern Shanxi women's literature from an overall historical perspective. The author of this book introduces the consciousness of literary history construction to this field for the first time, striving to trace the history, examine the origins, study the relationship between social and cultural trends of thought and literature in various eras, and describe the generational division and form of female literature in the Jin Dynasty, all of which show academic skills and unique insights.

This book contains 22 articles, 7 prefaces, 3 interviews and 2 autographs written by the author at the invitation of magazine editors and friends since 2011 but not included in other books. Since the issues discussed in these texts are mainly the subject construction of literary geography, they are named "Construction of the Discipline of Literary Geography". Focusing on the construction of the discipline of literary geography, the author focused on a series of major theoretical issues and answered a series of difficulties faced by the construction of new disciplines, such as the importance and necessity of the construction of the discipline of literary geography, the possibility of literary geography as an independent discipline, how to build an independent discipline of literary geography, the status of the discipline of literary geography in the literary discipline and its relationship with other literary disciplines, etc. With a broad vision and profound academic skills, the author has made a more in-depth, systematic and clear response to these major issues, and conducted in-depth analysis and demonstration.