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This book is divided into five chapters, including: New Century Poetry and Internet Context, Theme Categories of New Century Poetry, New Century Poetry and Regional Culture, Postmodern Writing in New Century Poetry, and Female Writing in New Century Poetry.

This book is an academic work that studies the female consciousness of Beauvoir and Eileen Chang. On the basis of referring to a large number of literature, the author systematically analyzes and summarizes the female consciousness in the literature of Beauvoir and Zhang Ailing. Combined with the current background of globalization and China's social transformation and change, the author compares, draws on and critically absorbs the reasonable core of the two female consciousness, which is of certain significance for the study of women's consciousness.

The articles included in this book include: "Review of Hong Kong New Poetry in the 1980s", "Research on Overseas Chinese Literature in the Global Context", "Exploration on Nonsensical Culture", "On the Basic Connotation and Expression Forms of Cross-Cultural Communication of Overseas Chinese Literature", etc.

This book takes the poetry of the Creation Society as the research object. It is not intended to position individual poets or even the entire group of poets in the Creation Society in literary history. Rather, it aims to reflect on the difficulties encountered in the development of new Chinese poetry through some key issues of the poetry of the Creation Society, examine how these difficulties change in specific contexts, and explore the impact of their emergence on Chinese poetry.

Based on the practical background of contemporary world literary theory and domestic literature and art, this book comprehensively and three-dimensionally examines the spiritual outlook, ideological pedigree, and literary concepts of this trend of thought through specific research on historical literature, historical turn, and new historicism and the complex relationships between them, as well as the comparison and mutual verification between historical philosophy, critical schools, and creative practice. , Creative practice, critical exploration and value effects, explore possible ways of in-depth dialogue and integration between historical rationality and humanistic spirit, poetic wisdom and historical logic, standardize and guide the theory and practice of historical literature, and promote the new historicist literary and artistic trend to exert greater positive energy in the process of Chinese cultural inheritance and innovation.

The author of this book mainly puts forward his new insights on the metrical issues of modern poetry and long and short sentences (words), such as the entering tone characters of modern poetry, the use and format of flat and oblique, special sentences, the theory of rescue, Guping, Sanlianping, They all put forward their own unique views on aspects such as oblique sentences and oblique sentences, rhymes and rhyme patterns, antiphons, and singing, as well as the word cards, categories, structures, rhythmic sentences, oblique sentences, lead characters, antithesis, rhyme, and word filling of long and short sentences (words).

This book collects more than 20 Chinese literature research papers. From the perspectives of literary history, work prototypes, literary imagery, etc., It deeply analyzes and studies hot issues in the current Chinese literature research community, and describes the development overview and current situation of Chinese literature, so as to deepen Chinese literature researchers' understanding of Chinese literature and gradually form a new vision for Chinese literature research.

The contents of this book include: graceful and implicit rhetorical strategies, exciting rhetorical strategies, new and clever rhetorical strategies, neatly-formed rhetorical strategies, and humorous and humorous rhetorical strategies.

This book focuses on Lu Xun's translation and dissemination of Chuchuan Baicun, and deeply explores the two's various achievements in literary and artistic thought and the transformation of national character. Taking the literary thoughts of Chugawa Hakumura and Lu Xun as the context, and from the perspective of the dialectical relationship between literature as a symbol of depression, it reveals the historical process and major variables of Chinese and Japanese literary theory and Chinese and Western literary theory in the rapid changes in Chinese and Chinese culture.

This book is a self-selected collection by the famous classical literature researcher Jiang Yin. It uses "The Road of Chinese Poetics" to summarize the main direction of his scholarship for decades, and uses "Between History, Culture and Aesthetics" to show his basic understanding and research path of Chinese poetics. The author's poetic research mainly includes three categories: poetry theory, poetry creation and poetry history. Based on this, the book is divided into four parts. Six articles including "Ancient Chinese Understanding of the Meaning of Life in Poetry" examine poetic issues from the perspective of the history of mentality; six articles including "Du Fu and the "Old" Realm of Chinese Poetry Aesthetics" use Tang poetry as the object to study poetry creation; "Discovering the History of Criticism in China" and other six articles are research results on the history of poetry from the perspective of classical poetry theory; and "Qing Dynasty Poetics and the Construction of Regional Literary Tradition" and other six articles focus on the study of the history of poetry in the Qing Dynasty. The author is good at discovering major issues hidden in the study of Chinese poetry, and conducts multi-angle, all-round, in-depth and detailed exploration and examination from history, aesthetics, and culture. The conclusions he draws are often pertinent and refreshing. This book also reflects the author's great concern for the modernization and "modernity" of Chinese poetics, pointing this path of poetics to the future.

This book uses the method of comparative literature to study the literature of Ozaki Momiji, a representative writer in Meiji literary circles in Japan. The first chapter attempts to explore the relationship between Ozaki Momiji literature and Japanese classical literature; the second chapter explores the relationship between Ozaki Momiji literature and "A Dream of Red Mansions", "Strange Stories from a Chinese Studio", "Gu Wen Lu" and Ming and Qing note novels from the perspective of Ozaki Momiji literature and Chinese classical literature; the third chapter is the work theory of Ozaki Momiji's representative work "Golden Yaksha"; the fourth chapter discusses the China derived from "Golden Yaksha" The works of film and television dramas are sorted out to understand the spread of "Golden Yasha" in China and East Asia; Chapter 5 expands the research to the surrounding literature of Ozaki Momiji, exploring the literary historical significance of modern Japanese writers Masaoka Shiki, Izumi Kyoka, etc. And the Sino-Japanese Sino-Japanese Sino-Japanese War, the literary historical significance of Ozaki Momiji and Futaba Tei Shimi, and the connection between the literary creations of Ozaki Momiji and Koda Rohan and "Mrs. Lee" and "Song of Everlasting Regret".

"Exploring the Origins of Tang Poetry in Western Guangdong and the Poets' Tracing" compiled by Professor Mo Daocai of Guangxi Normal University is a collection of papers summarizing the study of the Tang Poetry in Western Guangdong. It includes fifteen papers by scholars such as Ye Jiaying, Tozaki Tetsuhiko, Tao Min, and Sun Changwu. The book is divided into three parts: "Poetry Road and Poetry Creation in Western Guangdong" mainly discusses the poetic works on the Tang Poetry Road in Western Guangdong and the poets' emotions and historical and cultural backgrounds they reflect; "Poetry on the Poetry Road" mainly examines the historical facts, whereabouts and remains of the poets of the Tang Dynasty on the Tang Poetry Road in Western Guangdong; "Poetry Road Collection in Western Guangdong" examines the general direction, relics and culture of the Tang Poetry Road in Western Guangdong.

During the Song and Yuan Dynasties, literary studies developed, and grammatical theory became the core content of literary studies. This book focuses on the study of Song and Yuan grammatical studies, mainly focusing on the current situation of the Southern Song Dynasty. It treats the Song and Yuan grammatical theories as a whole, and includes the literary theories of Ouyang Xiu, Su Shi, Huang Tingjian and others in the Northern Song Dynasty. Based on the actual situation of the construction of the Song and Yuan grammatical theory system, it focuses on the identification of the object of study, focusing on the establishment of "article orthodoxy", "austere words and bitter words" and " Contents such as the differences and conflicts between grammatical concepts such as "simple but methodical", etc., Reinterpret the "big method of composition" based on "natural writing" from the perspective of literary studies, and introduce the exploration and theoretical summary of "determined methods" such as word training and chapter arrangement by Song and Yuan literary scholars, which fully demonstrates the theoretical level and dynamic development process of Song and Yuan grammatical theory.

Zhou Bangyan's person and his poetry have always been one of the "excellent studies" in the study of poetry, and he has a lofty status in the history of poetry that integrates his great achievements and serves as a link between the past and the future. Modern Ci scholars such as Zheng Wenzhuo and Wang Guowei even referred to Zhou Bangyan as "Lao Du in Ci", which shows his high status in the history of Ci. The book "Research on Zhou Bangyan, the Lao Du in Ci", combs through the chronology of Zhou Bangyan's ci writings, the compilation and dissemination of ci collections and literary evaluation, ideological interest, ci studies and aesthetic standards, artistic style innovation and philosophical significance, the positioning and influence of ci history, etc., Sorting out the style of ci studies in the two Song Dynasties. Develop the evolution, explore the relationship between Ci style and other literary styles (especially poetry) and philosophical trends, and then discuss the theoretical construction of classical interpretations in the Qing Dynasty and modern times, and the modern transformation of Ci writing methods, providing a more multi-dimensional, broader and three-dimensional vision for the study of Zhou Bangyan and his Ci.

Fanli is a literary style placed at the beginning of the volume to reveal the purpose, main content and compilation style of the book. During the Ming and Qing dynasties, writers were far more conscious than previous generations about writing rules and regulations. Writing rules and regulations became a popular practice and reached its peak. The richness of the content and the strictness of the style of the rules were unprecedented, and the compilation of collections of works was no exception. In terms of literary scholarship, Jibu's works are by no means limited to explanatory texts introducing book compilation styles and techniques. Instead, they contain rich contents of literary criticism and embody the author's views on many fundamental issues in literature. Therefore, this book starts from literary theory and literary criticism and conducts in-depth discussion and research on the content and style of collections in Ming and Qing Dynasties.

This book is named "Nine Schools of Reading Du Fu's Poems" after the Song Dynasty scholar Guo Zhida's "Nine Schools of Annotations on Du's Poems". It is edited by Tian Xiaofei and includes articles by nine scholars including Yuwen Suo'an, Alan Nuo, Ni Jian, Wang Dewei, Luo Jiwei, Chen Wei, Pan Gerui and Lu Bende, who carefully read Du Fu's poems from nine perspectives. It presents the subtle tensions between place and empire, politics and individuals, religion and literature in Du Fu's poems, and extends the reading of the text to topics such as poetry and visual art, tradition and modernity, touching on the contemporary acceptance and reconstruction of Du Fu. Although the nine authors have different perspectives, they are committed to discovering the true image of Du Fu who is "buried" under the stereotype of "Confucian poet". The book focuses particularly on Du Fu's works in Kuizhou before and after the Anshi Rebellion. While staying away from his former residence in Chang'an, Du Fu also distanced himself from elite literary institutions, which instead made him a pioneer, introducing a new form to Chinese poetic discourse: his detailed attention to daily reality and family life reflected another complex image of a poet that was completely different from the "poetic saint" and "poetry history".

The declaration of creative writing is: "Everyone can become a writer", "Writing can be taught", "Writers can be cultivated", "Writing is a craft that can be acquired through repeated training". "Story Creativity Guide: Writing Methods for Scripts and Novel" starts from the writer's psychological quality, from story conception, outline creation, character creation to writing, and provides writers with a complete, practical and down-to-earth writing tutorial in a step-by-step manner. It aims to help writers have an overall understanding of the creation of novels and scripts, and be able to write their own stories.

My novel submission was rejected but I don't know why; I'm writing a novel for the first time, and I want to seek guidance from experienced writers, but there are so many writing books on the market that I don't know how to choose; the terms and conditions are too rigid, and I want to learn writing happily... If you have also encountered the above situation, maybe this book can make your novel creation path suddenly clear. Different from most writing books, this book takes a new approach in guiding novel writing, showing the editor's "eyesore" - 200 representative fragments of bad novels. By reading these fragments and pungent and humorous comments, readers can clearly know what content will ruin the novel, which places can be deleted, and which ideas may seem brilliant but are just self-admiration... Learn to avoid the minefields and misunderstandings of creation, and write excellent novels that are good enough for publication.

Since the 1920s, with the arrival of Yosano Akiko, Mori Michiyo and others in China and the publication of related works, women began to appear in the field of China-related writing that was originally "exclusively dominated" by Japanese male writers. The climax of Japanese female writers coming to China occurred after Japan launched a full-scale war of aggression against China in 1937. Nobuko Yoshiya, Fumiko Hayashi, Yoko Ohta, Haruko Ushijima, Kikueda Koizumi, Inoko Sata, Shigure Hasegawa and others came to China one after another and created a large number of literary works. Based on an overall review of Japanese female writers' opportunities to come to China, their footprints in China, and their works related to China, this book mainly conducts case studies focusing on specific writers' war writings.

"Writer's Writer" Borges, transcript of a Columbia University writing class. Talk about novels, poetry, and translation, break the rules of writing, and teach the secrets of becoming a master. Jorge Luis Borges was a world-class writer who knew the rules of writing and knew how and when to break them. He is a magician of language, like all the best jugglers and poets. Once the trick is revealed and the poem comes out, he will make us feel that this has always been there, somewhere in our hearts, but we have not been able to express it. In the spring of 1971, Borges was invited to lecture at a writing class at Columbia University. He analyzed his own work and used examples to help others improve theirs. Each lecture focuses on a theme: talking about writing novels, talking about writing poetry, and talking about translation. Everyone present was given Borges's short story "The Duel (Part Two)" and six of his poems, as well as examples of different translations of Borges's works. Borges commented line by line and explained the creative process in detail. "Borges, Writing Lesson" is based on the audio transcript of the lecture, and has not been edited in order to preserve the originality. The original Spanish text and English translation of the examples given in the class are also attached for comparative reading.

This book is divided into two parts. The first part is about the "Collection of Heyue Yingling" and the comments and textual research by Yin Fan, the editor and selector. The second part is the collation and proofreading of "The Collection of Heyue Yingling". "Heyue Yingling Collection" is a kind of Tang poetry selected by the Tang Dynasty. It has a special status in the history of Chinese poetry and literary theory. It not only preserves a number of poems from the Tang Dynasty, but also has important documentary value. The theories of Xingxiang and Rhythm proposed by it also clearly reflect the creative characteristics and theoretical characteristics of poetry at the peak of the Tang Dynasty. This book explores and studies the value and characteristics of "The Collection of Heroes in Heyue", and sorts it out to restore its original appearance. It also combines several versions circulated in the Ming Dynasty to compile and proofread it, in order to provide a solid material basis for theoretical discussion.

The concept of "Contemporary Chinese New Poetry" is based on the inherent interactive structural relationship between language and historical concepts and spiritual orientations, with language changes as the basis, aesthetics as the core, and history as the background. This book uses a holistic concept to discuss Chinese poetry in the past 40 years represented by a series of generational terms such as "Misty Poetry", "Third Generation Poetry", post-70s, and post-80s, and attempts to outline the appearance and achievements of contemporary Chinese new poetry in the past 40 years. The book divides contemporary Chinese new poetry into four basic types, namely: "Following the trend and coordination: the type of intertwining between contemporary new Chinese poetry and mainstream concepts", "exploration and excavation: the type of reflection and dialogue between contemporary new Chinese poetry and mainstream concepts", "autonomy and independence: the type of contemporary new Chinese poetry returning to individual daily life and spiritual construction", "language games: the type of contemporary new Chinese poetry reshaping the ontology of poetics".

The Ming Dynasty was the peak period of friendly exchanges between China and North Korea in ancient times. Ming poetry played an important role in the history of poetry development and cultural exchanges between China and North Korea. After Ming poetry was introduced to North Korea through various channels, it had a great influence on the Korean literary world. When North Korean poets accepted and studied Ming poetry, they criticized Ming poetry based on the actual development of their country's literary world and their own poetic concepts. This book takes ancient Korean poets' acceptance and criticism of Ming poetry and Ming poetic theory as the research object. It uses documents as a basis to find out the reasons why ancient Korean poets criticized Ming poetry, how to accept and interpret Ming poetry, how to develop existing theories of Ming poetry and put forward new insights, and what impact it brought to China, North Korea and the East Asian poetry world. It uses methods such as communication and hermeneutics to conduct research on ancient Korean poets' criticism of Ming poetry's retro, temperament, and style, and summarizes the characteristics, value, and significance of criticism.

This book contains many achievements in the research of "Journey to the West". Its main features are new articles, new materials, new perspectives, and new viewpoints. On the basis of clarifying the exact year when "Journey to the West" was written, combined with newly discovered ritual documents related to "Journey to the West", the collected articles conduct an in-depth and novel discussion on the writing process, version, ideological connotation and text interpretation of "Journey to the West", deepening and enriching the research on "Journey to the West". The appendix at the end of the book includes three newly compiled ritual documents related to "Journey to the West".

The issue of narrative in ancient China had already taken shape before the Qin and Han Dynasties. This book focuses on this issue and mainly discusses the categories and characteristics of early narrative styles such as oracle bone inscriptions and inscriptions, the process of evolution from early styles to later mature styles, and the impact on later styles. This mainly solves two problems. The first is to explore the phenomenon and characteristics of narrative style that appear in inscriptions; the second is to compare the style of inscriptions with the style of later mature periods, analyze its evolution process, and understand the internal mechanism of changes in narrative style, so as to provide a basis for establishing new style classification standards that are in line with the development laws of Chinese literature.

For more than five hundred years from the Eastern Han Dynasty to the Liu Song Dynasty, dynasties changed frequently and political turmoil was dark. This realistic environment full of uncertainty forces writers to think about death and human mortality, thus forming the unique literary theme of "final thoughts". This book focuses on several writers who lived in the political chaos of the Han and Jin Dynasties, such as Wang Yi, Ruan Ji, Tao Qian, Xie Lingyun and others. It combines their life stories and trends of the times to learn about people and the world, and deeply analyzes the literary works from a new perspective. The origins and implications explore the worldview, mental state and life attitude of the ancients, and explore the literati's thinking on issues such as the end of the individual, the end of the dynasty, the end after death, and man's position in the universe, reconstructing the profound and unique spiritual world of the ancients.

In recent years, the "Road of Tang Poetry" has become a hot topic in academic and cultural circles. Professor Hu Kexian of Zhejiang University's new book "Research on Tang Poetry Roads and Literary Space" takes the five Tang Poetry Roads that were the most important in the Tang Dynasty, had the most preserved poems, and had the greatest influence on later generations as the entry point, with literary implications as the research content, and spatial geography as the research dimension. This study attempts to conduct interdisciplinary comprehensive discussions and research on important issues such as the poetry scene, poet groups, poetry distribution, poetry art, etc. In the Tang Dynasty through the integration of "poetry" and "road". It expands the spatial aesthetic dimension of poetry road research, and uses archaeological results to expand the pattern of poetry road research, showing the splendor and elegance of the Tang Dynasty in a three-dimensional way, which is extremely pioneering and innovative.

Ci is one of the main genres of Chinese classical literature. It rose with the Tang and Five Dynasties, and reached a peak in the Song Dynasty, leaving many classic works. Words have unique institutional characteristics. "Ten Lectures on Ci Studies" is an introductory book about the knowledge of Ci explained by Mr. Long Yusheng, a famous contemporary Ci study expert. This book is revised based on the lecture notes given to students at Shanghai Theater Academy. The content of the book mainly includes the history of the development of Ci in the Tang and Song Dynasties, the relationship between tone and rhyme, length of phrases, rhyme selection, and the impact of literary techniques such as antithesis, bixing, and word generation on emotional expression. The author integrates his decades of research experience and lyrics writing experience, and talks about it in a clear and simple way, which is very helpful for readers to appreciate the lyrics. Since its publication, this book has been very popular among ordinary readers and also highly recognized by professionals. It is a classic introduction to poetry knowledge.

"Qi Gong Talks about Tang Poetry" is mainly based on the content compiled by Mr. Chai Jianhong based on Mr. Qi Gong's lecture notes, including Qi Gong's Talk about Tang Poetry (four lectures in total), Qi Gong's lecture outline of Du Fu's preparation, and eight quatrains on Tang Poetry. This compilation also adds two articles by Mr. Qi, "Grammatical Issues in Parallel Prose in Ancient Poetry" and "From the Flexibility of Single Characters to Rhetorical Issues in Old Style Poetry" originally included in the "Chinese Phenomenology Series", in order to show more of Mr. Qi's unique insights on the art of poetry and poetry writing. Mr. Qi Gong has a profound academic background and a profound understanding of the issues in classical poetry. The content described in this book is easy to understand and has high academic value and is also very interesting to read.

Written by Chen Xin and edited by Qi Yongxiang and Wang Lan, "Golden Clothes Have a Golden Needle: Chen Xin's Collation of Ancient Books and Research on Classical Literature" compiles the important papers, prefaces and postscripts of Mr. Chen Xin, a retired editor of People's Literature Publishing House, during his lifetime, and is divided into "Collation and Research of Ancient Books" It consists of six parts: "Research on Sikuquanshu", "Compilation and Research of Complete Poems of the Song Dynasty", "Research on Ancient Novels", "Compilation and Research on Ancient Poems and Prose", "Selected Letters from Mr. Chen Xin", and the appendix "Chronology of Mr. Chen Xin" compiled by Zhou Xinhui. The articles included in it are a summary of Mr. Chen Xin's experience in the four books and actively participated in various academic and editing work such as the collection and research of ancient books. The content is extensive and profound, full of insights, and has reference and guiding significance for the current collection and collation of ancient books.

"Jia Xuan Ci Shu" and "Dongpo Ci Shu" are two short books written by Mr. Gu Sui, a famous expert in classical literature research, in the 1930s. Mr. Gu is good at composing lyrics and has very high attainments in the study of lyrics. His way of speaking emphasizes interest and understanding. "Jia Xuan Ci Shuo" was published one after another in the "Min Yuan" supplement of Tianjin's "Republic of China Daily", starting from September 3 to November 8, 1947, and was published twenty-five times in total. "Dongpo Ci Shuo" was published in the "Literature" supplement of "North China Daily" on July 11, 1948, but its content was not fully published and was not fully published until later. These two small books embody his way of speaking and his views on poetry. His way of speaking and viewpoints still have a very high reference value for contemporary readers to appreciate words, and are very suitable for general readers. "Jia Xuan Ci Shuo" was written first, and "Dongpo Ci Shu" was written later. The latter often supplements and echoes the former, so the order of the book cannot be adjusted arbitrarily. Today, people often use "Su Xin Ci Shuo" as the title of the joint publication, which seems inappropriate. Today, the author's original intention is still followed to determine the order.

Zhou Benchun is a famous contemporary scholar of classical literature and history. This book is divided into twenty chapters, including "Talking about Ping and Lei in three words and two words", "Duality and rhymed poetry", "Poetry composition and lyrics", "Talk about calligraphy practice", "Critical characters in poetry", "Application of numbers in poetry", "Issues about plants, trees, birds and fish", "Issues about time and place", "Talking about topic introduction" , "Talk about the structure of short poems", "Analysis of litigation problems", "Implicitness and happiness", "Inheritance and change", "Talk about the use of allusions", "Emotion and reason", "Talk about broad knowledge", "Concealment and expression", "Dreams and poetry", "Painting and poetry" and "New poetry and old poetry" and other interesting topics. The author is proficient in poetry creation. He has compiled various poems and collections. He is familiar with the inner texture and creation secrets of poetry. His detailed decisions are all based on his unique experience and refinement. His writing style is elegant and gentle. Scholars have commented that this book is a "poetry learning guide truly written by everyone."

"Sixteen Lectures on Wen Yiduo's Tang Poems" is a masterpiece of Wen Yiduo's research on Tang poetry. He used the insight of a great poet to point out the beauty of Tang poetry, which makes people feel hearty when reading it. What's so good about Li Bai's poems? The good thing about Li Bai's poems is that they are immortal. Li Bai is an unruly genius. His poems are clear and clear, with a sense of heroism. His five rhymes can be said to be the soul of ancient poetry covered in the body of the near body, with the decoration of the near body. It is both beautiful in form and simple in momentum. What's so good about Du Fu's poems? The good thing about Du Fu's poems is that they are deeply rooted in reality. Du Fu had both a great personality and outstanding talents. His writings have penetrated into the vast society and people. For the sake of this society and people, he shares its joys and sorrows, and exclaims with them: "There are tens of thousands of vast buildings, and the great shelter of the poor people in the world makes them happy! The wind and rain do not move, as peaceful as the mountains." What is so good about Zhang Ruoxu's poems? The good thing about Zhang Ruoxu's poems is that they have a broad layout. In "Moonlight Night on the Spring River", facing love, he realized the principle of "eternity" in the finite and infinite, sentimental and ruthless, and wrote the eternal famous saying "Life is endless from generation to generation, but the river and the moon are only similar every year." Wen Yiduo commented that this poem has a strong cosmic consciousness and opened the way for the poetry of the prosperous Tang Dynasty. Open this book and see that Wen Yiduo has described the beauty of Tang poetry very accurately, praised enthusiastically, and commented rationally!

As a writer who advocates reason, Ayn Rand's primary contribution in this book is that she completely demystifies writing. She firmly believes that writing is a skill that can be learned and anyone can learn it as long as they master scientific methods and are guided by rational principles. This book is compiled from 10 "Novel Writing Classes" lectures given by Ayn Rand to friends. First, Ayn Rand discussed the relationship between the subconscious and inspiration in novel writing. She pointed out that inspiration is not obtained deliberately, but is the natural result of the continuous accumulation and polishing of materials in the subconscious. Afterwards, Ayn Rand gradually and in-depthly analyzed the four key elements of novel writing in a clear context: theme, plot, characterization and style. She started from her own creative experience, and at the same time, she also compared and analyzed passages of works of multiple creators in detail, and gave readers unique and practical writing suggestions.

"Mainstream of Nineteenth-Century Literature" is a literary history full of poetry and passion, a landmark masterpiece. It is a high-rise and majestic book that vividly tells the life story of the writer and provides thoughtful analysis of the works. It vividly reflects the magnificent history of the European literary world in the first half of the 19th century, especially the youthful movement of Romantic literature. Although this book is divided into six volumes, each volume is an independent chapter. "Reaction in France" mainly analyzes the thoughts and creations of writers such as Joseph de Maestre, Bonnard, Chateaubriand, Madame Cludenay, Lamartine and other writers.

"Mainstream of Nineteenth-Century Literature" is a literary history full of poetry and passion, a landmark masterpiece. It is a high-rise and majestic book that vividly tells the life story of the writer and provides thoughtful analysis of the works. It vividly reflects the magnificent history of the European literary world in the first half of the 19th century, especially the youthful movement of Romantic literature. Although this book is divided into six volumes, each volume is an independent chapter. "Exile Literature" focuses on the ups and downs of French exile writers such as Chateaubriand, Rousseau, Nodier, Constant, and Madame de Staal, and praises their independent and uninhibited spirit of struggle. The translator, Mr. Zhang Daozhen, is not only a master of English but also a master of French translation. His translation is elegant and smooth.

"Mainstream of Nineteenth-Century Literature" is a literary history full of poetry and passion, a landmark masterpiece. It is a high-rise and majestic book that vividly tells the life story of the writer and provides thoughtful analysis of the works. It vividly reflects the magnificent history of the European literary world in the first half of the 19th century, especially the youthful movement of Romantic literature. Although this book is divided into six volumes, each volume is an independent chapter. "Romanticism in Germany" analyzes the creations of German Romantic writers such as Holderlin, the Schlegel brothers, Tieck, Hoffmann, Chamisso, Novalis, Eichendorff and their origins with writers such as Shelley. The translator Liu Banjiu is the poet Luyuan, and his translation is both rational and poetic, complementing the original work. "Mainstream of Nineteenth-Century Literature" was published by Lu Yuan in our publishing house in the 1980s.

"Mainstream of Nineteenth-Century Literature" is a literary history full of poetry and passion, a landmark masterpiece. It is a high-rise and majestic book that vividly tells the life story of the writer and provides thoughtful analysis of the works. It vividly reflects the magnificent history of the European literary world in the first half of the 19th century, especially the youthful movement of Romantic literature. Although this book is divided into six volumes, each volume is an independent chapter. What Brandes calls "naturalism" is roughly equivalent to what we often call "romanticism." This volume focuses on the development of British Romanticism, from the tranquility and self-admiration of the Pastoral and Lakeside Poetry Schools, to the emergence of Byron and Shelley, who have a universal mind.

"Mainstream of Nineteenth-Century Literature" is a literary history full of poetry and passion, a landmark masterpiece. It is a high-rise and majestic book that vividly tells the life story of the writer and provides thoughtful analysis of the works. It vividly reflects the magnificent history of the European literary world in the first half of the 19th century, especially the youthful movement of Romantic literature. Although this book is divided into six volumes, each volume is an independent chapter. This volume talks about "Young Germany". The author concludes: "Among this group of writers there is no first-rate great figure in poetry, but only one high-level person, and that is Heine. This group of writers did not leave behind any truly great works. Most of their functions were negation, cleansing, destruction and the removal of the old and the creation of the new. Their strength lies in their suspicion, their hatred of servility and their individualism."

"Mainstream of Nineteenth-Century Literature" is a literary history full of poetry and passion, a landmark masterpiece. It is a high-rise and majestic book that vividly tells the life story of the writer and provides thoughtful analysis of the works. It vividly reflects the magnificent history of the European literary world in the first half of the 19th century, especially the youthful movement of Romantic literature. Although this book is divided into six volumes, each volume is an independent chapter. This volume analyzes the thoughts and creations of French writers such as Charles Nodier, Vigny, Hugo, Musset, George Sand, Balzac, Stendhal, Mérimée, etc., Especially allowing us to see the "romantic" side of Balzac and others.

Zhou Ruchang is a master of contemporary Chinese studies of classical novels, and his lectures on CCTV's "Hundred Schools Forum" were interesting and exciting. This book is greatly expanded and further developed on this basis. It uses the "Four Great Masterpieces" of Chinese classical novels as the main framework, understands the significance and value of the novels in the context of Chinese history and culture, and uses a distinctive heuristic and discursive language to give a detailed interpretation of Chinese classical novels. It also provides modern transformations of many of China's excellent traditional cultures. It starts from the cultural, aesthetic, social and other elements of the novel, conducts a comprehensive multi-perspective understanding, and believes that "Three Talents", that is, the "three talents" of heaven, earth, and man, is the soul of Chinese classical novels and the core idea of ​​the connotation of Chinese culture. This book allows readers to enter the colorful world of Chinese classical novels through the "Four Great Classics", and gain a broad understanding of the rich connotations of Chinese classical novels such as their origin, development, essence, and characteristics. This book pays tribute to Chinese culture and promotes the spirit of boxing in the family, country and the world. For today's readers to read and appreciate Chinese classical novels and carry forward China's excellent traditional culture, this book is a rare work and a representative academic popularization work. Let's relive the charm of Chinese classical novels and let Chinese classical wisdom enter our daily lives.

This book is compiled based on the class recordings of the "Chinese Fu Studies" course taught by the lecturer. It is a new ten lectures after the ten lectures in the first and second parts: Ci Fu satirizes and admonishes, six meanings enter Fu, Fu traces and heart, Fu style is beautiful, the ending is elegant, the flow of ancient poems, reciting without singing, the body is bright, the ancestors show the Han Dynasty, Fu combines talent and learning. Focusing on the main characteristics of the art of Ci and Fu, with a strong awareness of issues, the lecturer selected major theoretical categories in the study of Ci and Fu to explain and analyze on the basis that the first volume focused on the knowledge of Fu and the second volume focused on the genre of Fu, vividly reproducing the history and criticism of Fu. In summarizing the theory of ancient Fu studies, this book not only expands its theoretical connotation but also grasps the key turning points with its broad vision and profound thinking, vividly showing the history and criticism of Fu studies. In the process of analyzing the scope of poetry and theory, the speaker uses humorous language, vivid examples, and detailed explanations, hoping to achieve a learning effect that connects ancient and modern times, appreciates both refined and popular tastes, and brings the joy of reading classics.

Professor Dong Xuewen has long been committed to the study of the nature of literature and aesthetics. In "The Essence of Literature and the Essence of Aesthetics", based on the ideological documents of classic Marxist writers, adhering to historical materialism and dialectics, he made a rigorous and in-depth discussion of the basic attributes of literature, the value and function of literature, and the relationship between literature and aesthetics, literature and ideology, and conducted a detailed analysis of aesthetic issues such as "practical ontology" and "practical ontology." "The Essence of Literature and the Essence of Aesthetics" has positive reference significance for constructing literary theory and aesthetic theory with Chinese characteristics in the new era.

This book selects seventeen newspaper cases to systematically examine the deep connection between literary newspapers and literary production in New China, and uses it to discuss how contemporary literature occurs and develops in the process of "mutual penetration, friction, adjustment, transformation, and conflict of multiple cultural components and forces." The careful review of this book shows that various heterogeneous "literary elements" such as "old liberated area literature and art" from different sources, liberalism, the left wing of Kuomintang-controlled areas, mandarin and butterfly traditions, folk popular literature and art, and personnel disputes that academic circles often hope to "filter out" all participate in this competition, and consciously use newspaper and periodical resources to compete for authentic status in the literary world, control the space for survival and development, and reconfigure literary interests through the construction of "correct" literary "knowledge." It can be said that the extensive and solid first-hand historical materials, the detailed examination "in front of the stage" and "behind the scenes", and the close connection with macro-level literary history issues, especially the use of the game theory perspective, make this book clearly demonstrate the efforts to get rid of the binary opposition thinking of official/folk, mainstream/heterodox, and represent a more exploratory path and orientation in the current literary research from the 1950s to the 1970s.

Since the late Qing Dynasty, especially since the May 4th Movement, China has been subject to many powerful impacts from foreign cultures. Foreign literature has had a profound impact on the enlightenment of domestic people's thoughts, and the Sino-Russian literary relationship is an important part of it. The author of "Ten Lectures on Sino-Russian Literary Relations" integrated a large number of historical materials on literary exchanges between the two countries, sorted out the history of Chinese and Russian literary translation from the late Qing Dynasty to the 21st century, and conducted in-depth research on the comparison of writers' works, styles and schools, and the intersection of ideological trends between Chinese and Russian literature. The book is divided into ten chapters, unfolding in chronological order: the early beginnings of Sino-Russian literary relations-literary relations at the end of the Qing Dynasty and the beginning of the Republic of China-Russian literary upsurge during the May Fourth Movement-early Soviet literature and Chinese left-wing literature-Russian-Soviet literature in China in the 1940s-Russian-Soviet literature in China in the 1950s-the frozen period of literary relations in the 1960s-Russian-Soviet literature in the early stages of reform and opening up-Sino-Russian literature after the collapse of the Soviet Union-Sino-Russian literary relations at the beginning of the 21st century.

2017 National Social Science Fund late-stage funded project "Qian Zhongshu's Poetry Methodology Draft". Behind Qian Zhongshu's scattered poetic discussions on the surface, there is a "latent system" of poetic methods. Its rich methodological thoughts are reflected in the form layer, subject layer, critical layer and logical layer of poetic discussion. The poetic form of analyzing the world, the subjective construction of interpreting people and art, the critical mode of multiple examinations, and the argumentative logic of thinking and turning have become the distinctive features of the "Qian Studies" methodology. This method system integrates science and humanity, and provides important inspiration for the methodological construction of contemporary comparative poetry in terms of improving the quality of the research subject, dialectical reflection on "systems" and "laws", and appropriately grasping the relationship between emotion and reason.

Since the 1980s, Chinese contemporary poetry, while maintaining the same direction as China's modernization drive, has encountered the risk of modernity - the cultural crisis of nihilism. In the process of revealing and confronting nihilism, contemporary Chinese poetry has created a number of outstanding poets and texts. "Nihility and Blossom - The Reconstruction of Modernity in Chinese Contemporary Poetry" takes the study of the generation path of contemporary poetry and the characteristics of the times in the process of China's modernization as the main line, combs the development and transformation of poetic aesthetics since Misty Poetry, and systematically reveals the cultural crisis characteristics of nihilism in contemporary Chinese poetry, as well as the aesthetic presentation in poetry writing and texts. The author pays full attention to the connection between historical context and the transformation of poetry. He interprets and interprets texts and theories from multiple perspectives such as social, economic, and cultural development, revealing the manifestations, historical roots, contemporary soil, and immeasurable harm of nihilism. He also proposes the aesthetic spirit of contemporary Chinese poetry to resist and transcend nihilism. "Nothingness and Flowering - Reconstructing the Modernity of Contemporary Chinese Poetry" is based on a lofty vision, has a broad vision, and is full of talent in text analysis and theoretical explanation. It shows a clear and strong awareness of problems and a constructive height for the future.

This book is the first domestic monograph on comparative literature thematics. It follows the spirit of the key textbooks for Marxist theoretical research and construction projects, strives to combine theoretical framework with practical research, respects "original history", "original classics" and "principles", and comprehensively constructs comparative literature thematics in the Chinese context.

"A New Theory of Poetry in the Han Dynasty" is different from other writings on the literary history of the Han Dynasty. It starts from the famous unsolved case in the history of Chinese poetry - whether the popular poems with names such as Li Ling and Ban Jieyu are forged or not. It uses half the space to tell why the poets of the Han Dynasty wrote poems without leaving their names, and the contradiction between the concept and reality of poetry in the Han Dynasty. On the one hand, the tradition of inheriting and developing the culture and art of the pre-Qin Dynasty gradually established the dominance of Confucian poetry. On the one hand, the truly dynamic "vulgar" poetry of the Han Dynasty was in a state of free development and free competition. With the support of the upper class, unintentional or intentional, it challenged the past "elegant and upright" poetry, and was finally recognized as "ancient poetry" and became a new elegant and upright form. The first three chapters of "New Theory of Poetry in the Han Dynasty" are "Poets Have No Laurels", "The Rigidity and Alienation of Four-Character Poetry" and "The Rise, Fall and Stereotype of Chu Song and Sao Style". They carefully analyze the undercurrents of literary development in the middle and early Han Dynasty. The fourth chapter is "The Challenge of Emperor Wu of the Han Dynasty - the Establishment and Abolition of the Yuefu Institution" , on the other hand, shows that under certain historical conditions, the emperor's will to revitalize the country, even his almost absurd behavior, can also be consistent with the direction of historical progress. The replacement and renewal of refined and popular is irreversible. The development of Han Yuefu undoubtedly proves this point. The last three chapters of "New Theory of Poetry of the Han Dynasty" vividly exaggerate the art and beauty of the poetry of the Han Dynasty. This beauty is not the shackles of beauty restricted by metrical limitations in later generations, but the lively and vivid vitality of the ancestors. As the author of "New Theory of Poetry of the Han Dynasty" has always wanted to tell readers, the poetry of the Han Dynasty has something that has been ignored for a long time, namely bloodiness, simplicity, innocence, and an important free and unfettered spirit. This is precisely the reason why poetry exists. The poets of the Han Dynasty were praised later because they followed human nature. Therefore, all kinds of poetry formats existed in the Han Dynasty, unlike the Tang Dynasty where neat verses flourished. The content and artistic expression of poetry are also diverse, such as most of the Han Dynasty Yuefu poems that are clear and clear, simple and exaggerated; the Five Ancients of the Han Dynasty, which are praised by later generations and are said to continue the coquettish style; the Han Dynasty miscellaneous ballads that can be allegorical, allegorical or even mixed with prophecies.

In the 20th century, the study of literature in the Sui, Tang and Five Dynasties underwent tremendous changes and developed rapidly, showing a trend of gradually expanding the scope of topics, constantly updating research methods, and significantly expanding the depth of research. During this period, a huge number of research results emerged, and there were many original ideas. It is an academic foundation that cannot be bypassed when engaging in research in this field today. This book reviews the academic achievements in the field of literary studies of the Sui, Tang and Five Dynasties in the 20th century from multiple dimensions, including the study of the dynasty literary history of the Sui Dynasty, the early Tang, the prosperous Tang, the middle Tang, the late Tang and the Five Dynasties, as well as the research on Wang Wei, Meng Haoran, Li Bai, Du Fu, and Bai Juyi. It is a systematic review and a relatively comprehensive summary of the research results in this field in the twentieth century. This book can guide researchers who are new to this field or a certain direction in reading, and it can also help them see clearly the ability of various academic viewpoints to withstand the test of time, and improve their discernment and judgment of academic value.