Library

"Human Words" is a masterpiece of Chinese classical literary aesthetics and has milestone significance. Since it was published in the "Journal of Chinese Quintessence" in 1908, it has attracted much favor and attention from the public. To this end, we have re-edited this book, hoping that more people can appreciate Wang Guowei's classic ci theory. In the process of editing this book, we selected complete manuscripts to recreate its true appearance. The book is divided into two parts. The first part is composed of 64 items of "Human Words" published in "Journal of Chinese Culture" by Wang Guowei, and the second part is unpublished and deleted manuscripts. Each original text is followed by an appreciation text, which provides appropriate analysis of the original text, explains the main theoretical viewpoints, and further expands the original text. In addition, we have selected more than 100 exquisite illustrations to illustrate the text and help readers understand the artistic conception of the words in an intuitive and vivid way.

"The Most Ecstasy of Yuan Songs" written by Wen Shu uses a unique style and richly emotional prose to depict the beautiful and touching historical love pictures behind scenes of classical poems through each composer and Yuan Yuan song, leading readers to listen to classic and shocking romantic past events. It talks about the vicissitudes of people in ancient and modern times in a romantic style, with a unique writing perspective, and the language is more concise and soft, which is thought-provoking and worth reading carefully.

From the perspective of Sino-Soviet literary relations, this book comprehensively examines the dissemination and acceptance of Soviet writer Sholokhov's works in China as a system. This book is divided into two parts. The first part focuses on the study of translation and interpretation, and the second part focuses on the study of influence and reception. On the basis of empirical evidence, the first part combs the historical context of the dissemination and interpretation of Sholokhov's works in China, summarizes the inherent regularity of Chinese literature's acceptance of Sholokhov, and the construction and evolution of the recipient's own literary concepts in the process of absorbing the nutrients of foreign literature. The next article selects Zhou Libo, Ding Ling and other Chinese writers who were deeply influenced by Sholokhov as research cases, and through specific text interpretation, carefully analyzes the origins, relationships and innovations between their creations and Sholokhov's works. Through the spread and acceptance of Sholokhov's works in China, it triggers thoughts on issues such as cultural dissemination and literary acceptance, cultural filtering and literary misreading.

"Guoyu" is an extremely important collection of "language" documents and historical materials from the pre-Qin period of my country. Except for a very small amount of Warring States texts, most of the chapters in the book are original records from the Western Zhou and Spring and Autumn Periods. It embodies the level of prose at that time and can be said to be a living fossil and living specimen for studying the development of prose in the Western Zhou and Spring and Autumn Periods in my country. It has a unique status that cannot be replaced by any other pre-Qin literature and has important value in the history of Chinese literature. Based on the research of previous scholars, this book is based on the reality of "Guoyu", starting from the nature of the "language" literature of the book, combined with its special compilation purpose, to conduct a comprehensive analysis of the literary characteristics of the book, correct some deviations in previous studies, and re-evaluate its literary value and status, in order to achieve something. The first chapter mainly discusses the political and cultural factors and historical opportunities for the compilation of "Guoyu". The second chapter mainly discusses the structure of "Guoyu". The third chapter mainly discusses the reasons and specific manifestations of the differences in writing styles in various parts of "Guoyu". The fourth chapter mainly analyzes the reasoning art of "Guoyu". Chapter Five mainly analyzes the narrative and writing art of "Guoyu". Chapter six analyzes the aesthetic style of the language of "Guoyu". The remaining part mainly reflects on Liu Zongyuan's criticism of "Guoyu" in "Non-Guoyu".

Since the new century, China's social and cultural context has undergone great changes. The rise of Internet culture, consumer culture, popular culture, visual culture and other cultural forms has constituted a multicultural context, which has had an important impact on the production, dissemination, acceptance and criticism of Chinese translated literature. This book is written from the perspectives of translation studies and comparative literature. Systematically studies the generation, development, dissemination, influence and interaction of Chinese translated literature in the multicultural context of the new century. The research scope covers the current development status of Chinese translated literature in the new century, the theoretical construction of Chinese translated literature in the new century, the development of Chinese literary translation in the new century, the development of Chinese online translated literature in the new century, the development of Chinese online literature translation and criticism in the new century, the development of Chinese popular translated literature in the new century, etc. It focuses on the emerging development patterns of Chinese translated literature since the new century, namely the prosperity of online translated literature and popular translated literature.

Note novels are short classical Chinese novels that center on the activities of characters and narrate human affairs or strange stories in the form of casual notes. They are one of the basic types of novels in the Tang and Five Dynasties. They include two categories: ghost novels with ghosts and spirits as the theme, and anecdotal novels with human activities as the center. The traditional patriarchal religion, witchcraft culture, Buddhism, Taoism, folk religion and other religious cultures of the Tang and Five Dynasties had a profound impact on the creation of notebook novels. On the basis of examining the current research status of notebook novels, this book systematically sorts out the concept, collection scope, and research history of notebook novels. It also uses the method of religious studies to comprehensively interpret the notebook novels of the Tang and Five Dynasties from the perspective of religious culture and religious narrative, reveals the religious psychological mechanism of their creation, restores the essence of religious narratives in novels, and makes a positive and useful exploration and attempt to understand and grasp the notebook novels of the Tang and Five Dynasties from multiple perspectives.

"Perspective from the East: A Collection of Research Essays on Mo Yan's Novels" contains 18 essays by scholars from mainland China, Hong Kong and Taiwan over more than 30 years. These papers conduct in-depth thinking and discussion on Mo Yan's works, and present us the most enlightening research results on Mo Yan's novels from three aspects: macro, micro and comparison. The macro research results cover topics including Mo Yan and the Chinese spirit, Mo Yan's inspiration, magic, localization, folklore, narrative perspective, historical philosophy, aesthetic trends and stylistic innovation. The micro research results focus on an in-depth analysis of Mo Yan's novels. The novels involved mainly include "Transparent Carrot", "Life and Death", "The Red Sorghum Family", "Big Breasts and Wide Hips", "Wine Country", "Sandalwood Punishment", "Frog", etc.

The love story between Emperor Xuanzong of the Tang Dynasty and Concubine Yang Guifei became a subject of literati chanting during his lifetime. After the Mawei Rebellion, the story of Li Yang was written in Tang poetry with great splendor. "A Study of "Song of Everlasting Sorrow" and Tang Poems on Li Yang's Themes" is a systematic and targeted academic treatise based on Li Yang's story, with "Song of Everlasting Sorrow" and Tang poems on Li Yang's themes as the research object. The author combines the development of Li Yang's story and the characteristics of the social culture of the Tang Dynasty, and depicts the overall style of Tang poetry based on Li Yang's story from multiple aspects such as text structure, theme direction, literary poetry, artistic charm, creative personality, and later influence. This article examines the cultural connotation behind the Tang poems about Li Yang, discusses the theme of "Song of Everlasting Sorrow", studies the perspectives and praise and criticism of many famous writers on the selection of Li Yang's themes, and examines the impact of the Tang poetry writing of Li Yang's story on the literary creation of the same theme in later generations.

"Knowing People, Commenting on the World and Expressing Self" is a literary criticism volume in the "Identity Community·Post-70s Writers Series", which includes the representative literary theories of young critic Rao Xiang. The author believes that looking back at modern times, from the literary criticism of Wang Guowei, Lu Xun, Li Jianwu, Shen Congwen and others to the "golden age" of literary criticism in the 1980s, all have taken into account both "knowing people and commenting on the world" and "self-expression". In the era of "after theory", when we "desperately" return to literature itself, or when we "remain true to our original aspirations" and pick up tradition, we may also gain something from it.

"Frontier Issues in Contemporary Chinese Literature" by Li Yunlei* is one of the volumes of Chinese literary criticism in the "Identity Community: Series of Post-70s Writers". Discussing cutting-edge issues in contemporary Chinese literature, a collection of essays by Li Yunlei. The articles cover novels, essays, literary history, drama, etc., With rich and profound content and high readability.

"Professional and Amateur Novelists" is one of the literary criticism volumes in the "Identity Community·Post-70s Writers Series". It contains more than 40 literary criticism essays written by Zhang Dinghao, a critic born in the 1970s, in recent years, covering the author's favorite writers and works from Zhang Ailing, Qian Zhongshu to Zhang Yiwei, from "Young Marshal" to "Flowers". This is a book of writing as well as a book of reading.

"Wild Power" is one of the Chinese literary criticism volumes of "Identity Community·Post-70s Writers Series". Includes nineteen pieces of literary criticism written by Zhang Li, a critic born in the 1970s, in recent years, covering the works of writers such as Mo Yan and Su Tong to Zhou Xiaofeng and Liao Yimei. It also describes the occurrence of modern female writing and contemporary literary hot spots.

In addition to a few old works by Guo Pingru, "Traditional Light and Shadow" contains basically all the author's papers since 2013. The content roughly covers three aspects: a macro study of the "narrative tradition" and narrative characteristics of contemporary novels; taking "narrative tradition" as the focus Starting point case studies and some short essays related to the study of literary history, and the papers collected in the collection have been published in "Literary Review", "Literary Research", "Modern Chinese Literature Research Series", "Literary Controversy", "Journal of Sun Yat-sen University", "Southern Literary Circle" and other publications.

There is nothing here but the residual pleasure of reading. To judge whether an author is to your liking, don't read that tome yet. Find an article that talks about reading and the author. If you feel excited after reading it and don't go downstairs to pick up the express delivery, then put it aside for now. Chen Yikan, a former editor, current translator and commentator, who makes a living by writing, captures the excitement of reading into words, tempting us to face literature, believe in literature, and then believe in reading.

Meng Jiao (751-814), courtesy name Dongye, was a great poet who pioneered the poetic style of the mid-Tang Dynasty. He was the leader of the "Han-Meng Poetry School" together with Han Yu. It is often called "Jiaodao" together with Jiadao, and there is a saying that "the island in the suburbs is thin". There are many famous lines in Meng Jiao's poems, such as "The spring breeze is proud of the horse's hooves, and you can see all the flowers in Chang'an in one night" and "Whoever speaks of the heart of an inch of grass can reap three spring rays." However, his poetry writing does not mainly rely on cleverness and wit. His unique artistic style is instantly recognizable. More than a thousand years have passed, and waves of poetry styles have washed away the faces of many poets, but they cannot wash away the voice and style of Meng Jiao. Han Yu once expressed his willingness to be Meng Jiao's "little follower": "I would like to be a cloud, and the east field will become a dragon, and I will chase the east field up and down in all directions."

The period from the end of the Eastern Han Dynasty to the beginning of the Sui Dynasty was the Six Dynasties period in literary history. The literature of this period achieved artistic achievements that cannot be underestimated. The individual consciousness of literati began to awaken. The great poet Tao Yuanming and many literary groups emerged one after another, creating gorgeous and exquisite parallel prose, and also promoted the prosperity of five- and seven-character ancient poems. The Six Dynasties was an era that advocated beauty, and the beauty of the literature of the Six Dynasties fascinated all living beings. Poems include Cao Pi's "Yan Ge Xing", Zuo Si's "Ode to the Epic", Xie Lingyun's "Wandering to the South Pavilion", Bao Zhao's "The Difficulties of Traveling"... Novels include Ji Kang's "Book of Breaking Diplomacy with the Mountain Juyuan", Tao Yuanming's "Come Back and Coming Back", Wu Jun's "Book of Thoughts with Zhu Yuan", Yu Xin's "Preface to the Ode to the South of the Yangtze River"... Novels There are Liu Yiqing's "Shishuo Xinyu", Zhang Hua's "Natural History", Qian Bao's "Sou Shen Ji", Wang Yan's "Ming Xiang Ji"... In this book, Professor Dai Jianye uses his unique interpretation method and beautiful and witty language to tell the evolution, characteristics and charm of the poetry, prose and novels of the Six Dynasties.

There are so many ancient Chinese classics, which are the treasure house of thousands of years of knowledge in our country. However, if you don't read correctly, you will get nothing. The classification of classics is like a guide in the sea of ​​books, revealing the methods of reading and guiding the path to study. This book discusses the classification of knowledge and classics in ancient China, examines the characteristics and evolution of the two main classifications of "Seven Strategies" and "Four Parts" in ancient times, and traces the ideological and cultural origins of this classification, clearing away the fog on the road to knowledge and guiding us on the path to school.

The two Song dynasties were the golden age for the development of poetry. Song poetry broke through the barriers of Tang poetry and opened up a new and vigorous realm; Song poetry developed from Xiaoling to Manchu poetry, and became the benchmark of a generation of literature. The author of this book, Dai Jianye, has selected one out of hundreds of thousands of poems from the Two Song Dynasties that have been circulated to this day, including more than 50 famous writers such as Su Shi, Li Qingzhao, and Lu You, and selected 272 poems to tell the development trajectory of poetry in the Two Song Dynasties. Reading this book can not only review great works of poetry, but also gain a glimpse of the overall development of poetry in the two Song Dynasties over the past 300 years.

"Xian Qing Ou Ji" is my country's first monograph advocating leisure culture. It describes at large length some aesthetic phenomena and laws that are closely related to people's lives, such as opera, singing and dancing, clothing, grooming, gardens, construction, flowers, maintenance, and diet. This "Xian Qing Ou Ji Quan Jian" is a carefully compiled and translated version. It selects the essence of the original book and explains it through the three sections of the original text, annotations and translations, so that readers can understand the author's views and the customs and sentiments of the time, and absorb the nutrients.

"\u003CA Dream of Red Mansions\u003E An Examination" is a monograph on Red Studies, covering "research on the author and his family background", "character research", "comprehensive research", "art research", "research on the history of Red Studies", etc. There is both examination and argumentation, and equal emphasis on examination and argumentation is the outstanding feature of this book; the academic philosophy of distinguishing chapters and examining the source is the academic philosophy followed by the author. The book not only discloses newly discovered historical documents, but also provides explanations of important documents on red studies. It also provides the first comments on the academic contributions of red scholars. It also contains several refutational articles that clarify the source and clear up the fog of red studies. All of this shows the author's relatively solid academic skills and broad academic vision.

The difference in the way of thinking is the most essential difference between Chinese and Western poetics. Perception is a way of thinking that makes Chinese poetry unique in the world, and it is also the advantage of Chinese poetry over Western poetry. Based on this advantageous thinking, constructing a poetics of perception full of modernity may provide a new path for the construction of current original poetics after resolving the theoretical relationship between nationality and modernity. At the beginning of the 20th century, Wang Guowei initiated the modern transformation of perceptual poetry. A group of later theorists have further promoted the modern transformation of poetics of perception in multiple dimensions. Zhu Guangqian and Liang Zongdai set out to refine the Western concept of perception. Zong Baihua focused on the creative transformation of traditional perception resources. Zhu Ziqing and Wen Yiduo conducted useful explorations of the methodology of poetry of perception. Li Jianwu's impressionistic criticism can be regarded as a successful practice in the modern transformation of poetics of perception. However, understanding the modern transformation of poetics is still an unfinished task.

This book selects 16 outstanding figures in the history of Chinese and foreign literature, including Zhuo Wenjun, Bai Juyi, Liu Yong, Li Qingzhao, Zhu Shuzhen, Duan Sheng, Li Shangyin, Lu You, Nalan Xingde, Su Manshu, Hu Shi, Dai Wangshu, Xu Zhimo, Xi Murong, the British poet Mrs. Browning and the great Indian poet Rabindranath Tagore. An outstanding poet with an important position, rich love experience, and outstanding achievements in love poetry provides a detailed interpretation of his love experience and excellent love poems, trying to help readers think about love through aesthetic appreciation and comparative reflection, thereby constructing a healthy and harmonious love concept and life concept.

This book attempts to trace the specific cultural situations and theoretical genes that generated the core concepts in Zhong Rong's "Shipin" with an open vision, and focuses on elucidating the aesthetic implications and life experiences they contain, so that they can be reactivated in the dialogue with the research subject, thereby combining traditional poetic wisdom with current living experience. Therefore, in the specific research process, the core concepts in "Shipin" are mainly examined in the vertical historical river of Chinese aesthetics and literary theory and the horizontal cultural atmosphere of the Wei, Jin and Six Dynasties. In the study of specific concepts, the spirit of the times and the historical and cultural heritage of the object are reflected. At the same time, when analyzing the respective connotations of the core concepts of "Shipin", we should examine the connections between them and regard the concepts of "Shipin" as an interrelated theoretical whole. This will break away from the limitation of studying a certain individual concept and avoid severing the integrity and organic nature of its theory.

Cultural materialist Shakespeare criticism is a genre of Shakespeare criticism that emerged in the UK in the 1980s. It conducts meaningful explorations of Shakespeare's texts from a radical political perspective and deepens and develops Shakespeare studies. The contemporary nature of its perspective, the comprehensiveness of its methods, the spatialization of the field of criticism, the perspective of criticism, and its inherent humanistic spirit are all outstanding features of this critical school. This book uses a dialogue method to analyze the content and characteristics of cultural materialist Shakespeare criticism, thereby activating the intellectual space of the text and developing one's own poetic thinking and realistic concerns. This book is divided into five chapters. The first chapter, the introduction, governs the entire text, pointing out the origin and basic characteristics of cultural materialist Shakespeare criticism. The second chapter mainly grasps the characteristics of cultural materialist Shakespeare criticism from a macro perspective and interprets it in combination with specific texts. The third chapter analyzes the approach and characteristics of cultural materialist Shakespeare criticism from a micro perspective. The fourth chapter mainly analyzes the ideological nature of the cultural industry involved in cultural materialist Shakespeare criticism. Chapter 5: The conclusion summarizes the full text and points out the essence of cultural materialist Shakespeare criticism. This book has reference value for both Shakespeare research and literary theory criticism.

The information in this book is comprehensive and informative, the analysis is detailed and rich, and it is full of original ideas. Zhou Zuoren is one of the most controversial writers in the history of modern literature. The origins and influence of tradition on him are both deep and wide. The author places Zhou Zuoren in the specific context of the collision and intersection between tradition and modernity, politics and aesthetics, literature and culture, and clearly and multi-layeredly reveals the development and evolution of his individualistic thoughts in the first half of the 20th century, bringing enlightenment to a deep understanding of Zhou Zuoren and the complex relationship between tradition and modern literature. I believe that this book not only shows a new and important aspect, but also the chapters that discuss the origins of the new literary movement are indispensable for those who treat modern literature.

Mengjiao not only has a strong retro tendency, but also has a strong sense of adaptability. The deliberate chanting of suffering in the content of Meng Jiao's poems, as well as the painstaking efforts in conception, refining of words and sentences, have made him a model of "the master of strange and remote suffering". The "truth" side of Meng Jiao's personality makes his poems appear "corrected" and unfair; while the "good" side of his personality makes his poems exhibit "pure" beauty. The creation of "Han-Meng" couplets not only raised the couplet poetry style to a whole new level, but also influenced the creation of Meng Jiao and even the "Han-Meng Poetry School". Meng Jiao's poems have won a high reputation in the contemporary world, but the evaluations in later poetry commentators are mixed. Judging from the Tang poetry anthologies of the past dynasties, Meng Jiao's poems favored by poetry anthologists are mostly ancient and idle works, not the sour moans and groans that poetry commentators like to talk about. Later poets imitated Meng Jiao's poems, and the most attention was paid to its "archaic structure" formal characteristics.

Since the new era, when most writers have devoted themselves to learning artistic experience from Western literature, a group of writers represented by Sun Li and Wang Zengqi have created a large number of novels that are deeply influenced by traditional literature and art, especially traditional notebook novels. These creations transformed the influence of traditional literature from an undercurrent into an obvious trend of literary creation in the 1980s, and had a certain impact. These novels are called notebook novels or new notebook novels by some critics and readers. New Notes novels formed a unique landscape in the literary world in the 1980s. They not only achieved outstanding achievements and produced some excellent works, but also made useful attempts on how to inherit the tradition of Chinese literature. The experiences and lessons learned are worthy of careful summary. The manuscript of this book conducts an in-depth study of the new notebook novels. The first part has a detailed discussion on the creation of four representative new notebook novel writers, Sun Li, Wang Zengqi, Lin Jinlan and Jia Pingwa. The second part comprehensively discusses the creative achievements and literary historical influence of New Note Novels in inheriting Chinese traditional literature and art from the aspects of aesthetic category, writer's subjective spirit and the literary historical significance of New Note Novels.

Traditional Bixing poetics mainly develops from two levels, one is the value system of poetic education, and the other is the aesthetic attributes of literature. On the basis of sorting out the traditional Bixing poetics, this book examines seventeen-year poetry, hazy poetry and third-generation poetry. It presents the continuation, renewal and disappearance of traditional Bixing poetics in the contemporary era, and presents the anxiety of historical influence in the process of literary modernization, as well as the embarrassment of poetry writing after being far away from history. This book is based on the present, connects the past and present, and provides space for in-depth thinking for poetry research.

The main contents of this book are: First, the study of Chinese literary theory and criticism, including the composition of evaluation standards of literary criticism and its construction conditions, the internal logic of the construction of the core value system of Chinese literature, the construction of the subjective value orientation of the "Chinese experience" in contemporary literary criticism, and the multi-dimensional construction of the core value orientation of ancient Chinese literary criticism. The second is research on Western literary theory and criticism, including research on Eastern aesthetics from the perspective of Deleuze's philosophy, Deleuze's digital media poetics, emotion and form research, basic issues raised by Western modern art practice, and Schleiermacher's division of grammatical explanation and technical explanation. The third is ecological aesthetics and aesthetic anthropology, including the status of aesthetics in modern humanities, the debate over scientism in contemporary environmental aesthetics and its essence, body issues in environmental aesthetics, the cultural value of the natural beauty of Guilin's landscape, and research on the influence and variation of body writing in China. The fourth is research on literary theory and creative practice, including research on cyberspace and literary theory, cyber theory and cultural interpretation of daily life, postmodern multi-dimensional space and inter-literary nature, research on observation and imaging, as well as research on Xu Yigua's novel creation in recent years, research on Nagai's short stories, etc.

Gu Taiqing, Xu Can, Wu Zao, Concubine Dong E, Concubine Zhen Huan, Concubine Hua, Concubine Zhen, Chen Duansheng, He Shuangqing, and Lu Bicheng are ten talented women of the Qing Dynasty who have bloomed with dazzling brilliance and written poignant poems. Their poems are so beautiful, and their love is so deep. Since ancient times, sentimentality has left no trace of hatred. After suffering disasters and experiencing bitterness, their hearts have been purified in the ups and downs, and their love has deepened in the ups and downs. Before I had time to say goodbye, the seasonal wind hurriedly took away an encounter. The light sorrow is lingering, the flowers are blooming and withering, the deceased is depressed, there are no spring flowers and autumn moon, only the past has turned into frost and is lonely.

Zhu Xi was the master of Song Dynasty scholarship and a famous thinker, philosopher, and educator. The annotated version he wrote for "Shi", China's earliest poetry collection, became "the standard reading book for hundreds of years" after his death (Hu Shi said). A major feature of the "Collected Poems" is to arrange "Ye Yin" for the poems in the "Poetry" to solve the problem that people at that time felt that the "Poetry" did not rhyme. This book is a study of Zhu Xi's academic achievement. The author uses methods such as literature research, historical comparison, mathematical statistics, analysis and induction, etc., And does not make baseless remarks or empty arguments. This book has important theoretical significance and academic value for re-understanding the sound of leaves in "Collected Poems" and its value in the history of ancient Chinese rhyme; for re-understanding Zhu Xi's historical contribution to the history of ancient Chinese rhyme; for re-understanding the history of Chinese ancient rhyme as well as the merits and demerits of important ancient rhyme experts and their role in the history of Chinese ancient rhyme.

"Research on Yuefu Poems of the Northern Dynasties" is a special study of Yuefu poems from the Sixteenth Kingdom to the Northern Dynasties. Focusing on the recording of Yuefu poems in the Northern Dynasties and the situation of music in the Northern Dynasty Yuefu, the source of music in the Northern Dynasty Yuefu, the concept of elegant and popular music in the Northern Dynasty, the Queen and the construction of the Yuefu in the Northern Dynasties, and the poetry collection system of the Yuefu, etc., And on this basis, the origin, development and emergence of the concept of music types in the Northern Dynasty were examined respectively. The historical opportunity and characteristics of the rise of Di Yue, the compilation background of "Zhenrendaige", the nature of the music and its recording issues, the concept of "Lianggujiao horizontal blowing music", its decomposition into music and its new changes, the creative environment of the literati group and Yuefu in the Northern Dynasties, the creation of old and new Yuefu in the Northern Dynasties, and the evolution of the literati Yuefu in the Northern Dynasties due to the integration of the north and the south.

Tang poetry and Song lyrics are two mountains in the development history of Chinese literature. One combines reality and romance, and the other reflects elegance and boldness. The pride of the Tang Dynasty created the magnanimity of Tang poetry, and the gentle breeze of the Song Dynasty created the charm of Song poetry. Rationality and sensibility, ambition and lyricism, artistic conception and mood... The two kinds of beauty are opposite to each other, but also complementary to each other and interdependent. They constitute the most pure and beautiful duet in Chinese classical rhythmic literature, which makes people feel refreshed and intoxicated. This book is based on historical events, uses poems as evidence, uses fantastic ideas as the pen, and uses deep emotions as the ink. It draws out the life trajectory and destiny blueprint of twenty-two famous poets of the Tang and Song Dynasties in a hearty and clear way.

This book contains twenty-four famous writers of the Tang Dynasty and hundreds of classic poems. There are rich historical stories behind every poet; the production of poems, the scenes of the poet's life, the pastoral landscape of the Tang Dynasty... There is history in the poems, and there are poems in the history. It is easy to read, so that Tang poems can be remembered in the heart and be used for life.

The book "Appreciation of Mao Zedong's Poems" selects Mao Zedong's poems, calligraphy, couplets, letters and other content. The explanations, annotations and comments on the poems are based on the principles of seeking truth, truth, novelty and beauty to fully demonstrate the most touching charm of the ideological and artistic nature of Mao Zedong's poems. At the same time, it is combined with Mao Zedong's poetry and handwriting to show the essence of Mao Zedong's calligraphy. In addition, a selection of some of Mao Zedong's couplets and his letters about poetry can fully demonstrate Mao Zedong's artistic views. Letting Mao Zedong's poems, lyrics and calligraphy return to the epochal sequence of the history of Chinese poetry and Chinese calligraphy in an atmosphere without publicity is a dual appeal for the clarity of the times and the self-confidence of the people; letting the appreciation of Mao Zedong's poetry and calligraphy become a common cultural meal for the Chinese public, with self-selection and self-taste, is an inevitable response to cultural dissemination and cultural acceptance.

Times are changing. The new era, new economic lifestyle, and new technical conditions have also prompted profound changes in the literary and artistic life of the people. When literature and art encounter new situations, what should we do? Some Western scholars have put forward the views of "the end of literature" and "the end of art". This "view of the end" actually reflects the changes in the three relationships between literature and art and aesthetics, the relationship between literature and art and the media as its carrier, and the relationship between literature and art and the concepts it reflects. Therefore, literature and art must adapt to new situations, and understanding literature and art also requires new knowledge. The necessity of letting the people master the knowledge about literature and art, and letting the people understand the new situation of contemporary literature and art, is becoming more and more urgent nowadays. Use easy-to-understand language to teach literary and artistic knowledge. It is actually not easy to turn the crystallization of experts' research results into the literary and artistic common sense of the people. It is very difficult to be light-weighted, popular but not superficial, cutting-edge but not impetuous, profound but not obscure. The principle of organizing the "Literary and Art General Books Series" is to ask everyone to write short books. The authors invited by the "Literature and Art General Series" are all famous scholars in related fields in academia. They are well-educated and have an in-depth understanding of the ins and outs of the subject. At the same time, they are academically able to both get in and get out. The purpose of the "Literary and Art General Books Series" is to build bridges from professional academics to the people in a language that the people can understand.

This book conducts a comprehensive investigation and analysis of the novels of Katherine Mansfield, a New Zealand-born British short story writer in the early 20th century, from the perspective of aesthetic modernity. The main contents include the aesthetic modernity of modernist literature, the relationship between Mansfield and modernist literature, the modernist style of Mansfield's novels, the modernist themes of Mansfield's novels and the modern aesthetic paradigm of Mansfield's novels. Through the investigation of the above issues, this book aims to illustrate that although Mansfield's novels are short stories, they embody a high degree of unity in form and theme, and have the characteristics of typical modernist literature. Formally, the unique modernist styles of Mansfield's novels such as structure, narrative, language, and discourse make them reflect the typical aesthetic paradigms of modernist literature such as irony, decadence, grotesqueness, and fear. Thematically, the expression of modern people's negative emotions such as trauma, depression, death, disillusionment, anxiety, and alienation, as well as the description of living conditions such as self-division, self-loss, and subjugation to things, make her novels implicitly negate and reflect on enlightenment modernity, highlighting the characteristics of aesthetic modernity.

This book describes and analyzes the evolutionary path and evolution characteristics of the basic elements such as theme, characterization, plot structure, and narrative mode of modern Xiaoxie novels from the classical paradigm to the modern paradigm, and then reveals and demonstrates the adjustment process and reasons of modern novels in terms of novel concepts, creative connotations, formal systems, language models, communication methods, writer teams, readership groups and other constituent elements. From this, four basic laws of the transformation of modern novels can be summarized: complexity and twists, gradualness, traditional regulation, and random motivation of explicit factors. This leads to the conclusion that the general theme of the era of transformation from traditional society to modern society is the fundamental driving force for all literature, including narrow evil novels, to move towards modernity. It provides a detailed empirical example and idea for further exploring the relationship between ancient and modern literature.

This book introduces academic discourses such as "cultural ecology" and "poetry character" to explore the "Song Xian spirit", "Song poetry paradigm", Song poetry "weather" and its development process contained in Song poetry, and explores the conditions, joints and generation mechanisms of Song poetry's characteristics and their development. The research conclusion of this book is that the "poetic character" of Song poetry, such as subject matter, themes, expressions, and poetic realm, as well as its development and change process, are closely related to the "cultural ecology" categories such as the political and cultural systems, political events, regional culture, poetry cultural functions, scholars' humanistic concepts, and Neo-Confucian cultural trends in the Song Dynasty. This book also explores the complex relationship between the cultural ecology of the two Song Dynasties and the character of Song poetry. It confirms that the basic ways and mechanisms of the relationship between the two mainly lie in: the identity of the social practice subject and the poetry creation subject, the poetry creation subject's cognitive function of poetry and poetry practice, and the practice subject who has both social practice and poetry creation identity to realize the connection between cultural ecology and poetry character in an aesthetic way. This book builds a research system based on "scattered perspective", refines research questions by focusing on "focus issues", strives to innovate the research structure, and deeply explores the major academic topic of "Song Poetry Character and Song Culture".

In the process of opening up to the wisdom of all mankind, contemporary Chinese literature must not only "think beyond the bounds" and draw from the vast ocean to seek new knowledge, but it also needs to have a clear-headed stance and critical attitude of "thinking about the past" and drawing on the past to enrich the present. In fact, contemporary literature contains the traditional roots of Chinese literature and the classical factors of artistic aesthetics, and has an inseparable flesh-and-blood connection with thousands of years of glorious classical literature, classical aesthetics, and classical literary theory. The inherent logical relationship between the two has rarely seen rigorous academic explanations and eloquent scientific judgments. Based on re-reading history, re-reading texts, re-examining issues, and re-investigating meanings, this book adheres to the academic proposition and original spirit of "respecting tradition and opening up gaps". It explores the development path of contemporary Chinese literature from the connection of traditional Chinese literary resources and the localization strategy of contemporary creation through four major chapters: "Connecting Tradition," "Continuation and Recall," "Wing Feng Zao" and "Sharing Time and Space." And aesthetic experience: from the integration of ancient and modern academic connotations, it interprets important propositions such as "Chinese character thinking", "landscape spirit", "classification" and "pursuit of the sublime", and embodies the "classical echo" through the analysis of typical cases: from the concern of the community of destiny for contemporary Chinese literature, it studies the literary phenomenon in Taiwan that follows the predecessors, so that they share the literary time and space of the great nation. This book pays attention to the integrity of cultural thinking and the richness of ancient and modern dialogues. It has a broad vision, a mixture of "virtual" and "real", and an elegant and smart writing style, making it a highly readable academic monograph.

This book is a collection of literary criticism written by Xing Xiaoli, editor of the "Novel Review" magazine of the Shaanxi Provincial Writers Association and director of the Literary Creation Research Office of the Shaanxi Provincial Writers Association. It contains more than 30 critical articles written by the author in recent years. The author analyzes and thinks about the current situation and problems of modern and contemporary literature from several aspects such as literature and the literary world, works of writers and artists, research on Chen Zhongshi, and travels in the literary world. He also analyzes and studies the works of writers. It is academic and readable.

In the 1970s, with the in-depth development of the feminist movement in Europe and the United States, African American feminist criticism began to make its own voice. Among them, bell hooks, the academic representative, increasingly became the focus of American criticism. This book first introduces the development of Hooks' thoughts, and then sorts out Hooks's black feminist criticism into four topics: black women's writing, black women's tradition, black women's images, and sisterhood, and critically reflects on them, which has great academic value.

The purpose of this book is to break through the usual ideological limitations, to sort out the relationship between literature and politics in the context of restoration of historical complexity, and to use the new novels from 1902 to 1911 as the object of analysis to discuss the political and cultural psychology involved in the construction of "modern nation-states". "The wind and rain are like darkness, and the cockcrow is endless" ("The Book of Songs? Zheng Feng? Wind and Rain"), the new novels of the late Qing Dynasty that existed in the process of China's modernization, with its dual characteristics of cultural anxiety and cultural self-consciousness, opened the logical starting point of the "Chinese Dream", as the saying goes, "Although Zhou was an old state, its destiny was restored" ("The Book of Songs·Daya·King Wen").

This book is a collection of more than 20 papers written by the author on topics related to Qing Dynasty literature. It mainly discusses some basic issues concerning the evolution of literary history and the development of literary criticism in the middle and early Qing Dynasty, and provides a logical analysis and explanation of these issues. The selected problem domain is not broad, but it also accommodates many elements of academic analysis. Among them, the core is the study of Wang Shizhen's poetic thoughts, Shen Deqian's poetic thoughts, Yuan Mei's poetic thoughts, the significance of Du's poetics in "Reading Du Xinjie", the literary criticism of "Sikuquanshu General Catalog" and the comparable topics extended from it. From them, we can fully understand the relationship between Qing Dynasty literature and the literature of previous dynasties; the relationship between literary development and the ideological trends of the times; the relationship between literary criticism and academic thought; the relationship between literary classics and literary acceptance, etc.

"Using things" is a common artistic technique in Chinese classical poetry. The poet quotes "stories" from the past to create semantic analogies with the content described in the poem, euphemistically conveying his own aspirations, forming an elegant and implicit artistic charm. A large number of ancient poetic works have conducted long-term discussions on issues such as the definition, status, rules and interpretation of verbs, forming rich theoretical resources. Based on this, this book analyzes and interprets, clearly clarifies and corrects the vague and ambiguous concepts of usage in ancient poetry, and initially cleans up and reconstructs the system of usage concepts in ancient poetry, highlighting its important position and significance in Chinese classical poetry and aesthetics. It then attempts to explore some basic laws and important traditions of Chinese poetry, and provides theoretical reference for understanding and appreciating the art of usage by famous ancient poetry masters such as Du Fu, Li Shangyin, Su Shi, and Huang Tingjian.

This book mainly studies Guo Moruo's historical dramas from the perspective of "internal" dynamics. Guo Moruo firmly believes that literature and art occur "from within", and its true meaning lies in expression. This understanding runs through his historical drama creation practice. Based on this understanding, based on the different stages of his historical drama exploration, this book attempts to find the dynamics and value basis of his creation from the development and changes of his "internal" world, so as to re-analyze his historical drama. The development process of Guo Moruo's historical drama creation has been deeply marked by clear "internal" regulations, and hidden behind it is his spiritual redemption process facing history. For historical dramas, Guo Moruo closely integrated his thinking on the relationship between history, reality and art with his personal pursuit of life, making his historical dramas not only have distinctive personal colors, but also have universal social and cultural implications.

This book contains nineteen research papers on Russian-Soviet literature and literary theory by Mr. Wu Yuanmai, an expert on Russian-Soviet literature, which can be roughly divided into three parts: 1. Russian literature and literary theory in the 19th century, Russian-Soviet literature and proletarian literature at the turn of the 19th and 20th centuries, and research papers by important theorists. 2. Research papers on Russian-Soviet literary trends and theoretical criticism (1820s-1880s). 3. Research on writers (Ehrenburg and Trifonov).

This book aims to systematically, objectively and aesthetically discuss the literary characteristics, poetic space and artistic direction of "Zuo Zhuan" that have influenced later generations for thousands of years. "Zuo Zhuan" was produced in the context of the decline of aristocratic families and the rise of noble families, and was deeply nourished by the spirit of "Zhouyi", "Shangshu", "Book of Songs" and other classics. "Zuo Zhuan" is an important classic in the history of Chinese culture that combines classics, history, and literary values. On the way to trace the literary origins of "Zuo Zhuan", this book restores its literary thoughts of respecting etiquette, expressing ambitions in poetry, and trying to seek "immortality" through "establishing words". It also explores its literary style of non-linear narrative based on linear time, perfectly combining the "fact" of history with the "virtual" of text, and expressing one's feelings directly in the way of "Junzi said". It reviews It uses "Spring and Autumn writing style", a rhetorical approach mainly alternated with parallel prose and admiration for Spring and Autumn rhetoric. While appreciating Zuo's "people-oriented thought" and "advocating hegemony consciousness", we also get closer to Zuo's sophisticated pen to recreate it for us. The images of men and women with different personalities and complex shapes in the Spring and Autumn Period are presented, and their "avoiding crime" and "idle brush" techniques show the endless ingenuity and intrigue behind the waving flags, swords and swords on the battlefield in the Spring and Autumn Period. In short, "Zuo Zhuan" has established its immortal literary status with its jumping style, soothing rhythm and long lasting charm. It is the source of historical biography literature, the model of prose justice and the foundation of classical novels.

This book deeply reveals the rich cultural connotation of ancient Chinese novel texts through a systematic and comprehensive examination of novelists and commentators' knowledge and literacy in Confucianism, history, prophecy, arithmetic, natural history, religion (Buddhism and Taoism), prose (classical prose and eight-legged prose), poetry, parallel poetry, and quxue. It also explores the material selection trends of ancient Chinese novelists. The cultural origins of plot construction, characterization techniques, creative motivations, novel expression forms, artistic systems, etc. Are discussed. The close relationship between the critical theoretical resources of novel critics and their cultural literacy is discussed, which enables us to have a more comprehensive and profound understanding of the cultural motivations for the occurrence, development and generation of ancient Chinese novel creation and criticism.