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This book focuses on using the theory of narrative voice represented by Susan S. Lancer, combined with methods such as neo-Marxist ideological analysis and reader response criticism, to theoretically clarify the relationship between narrative voice and its related elements. Based on this, combined with narrative form and ideology, it conducts a comprehensive analysis of the narrative voice in the novels of representative female writers in the history of modern Chinese literature.

This book combines a macro overview with staged specific discussions to conduct an in-depth study of the research trends in literary and art theory and scholars' thoughts and writings since the founding of New China. It uses a "preface" to outline the evolution of contemporary Chinese literary and art theory research, discusses the respective characteristics of different periods in chapters, and evaluates the value of scholars' writings. It synthesizes and deduces a large amount of literature, and is targeted at hot issues in contemporary literary and art theory research and scholars' discussions.

Hong Liangji was a master of Pu Xue in the Qing Dynasty and a giant in literary circles during the Qian and Jiaqing Dynasties. He was famous for his textual research on his poems and chapters. This book explains Hong Liangji's poetic theory from four aspects: element theory, ontology, function theory and creation theory. Combining Hong Liangji's literary activities, ideological personality and creative mentality, this paper conducts a classification study on the themes of his poetry, reveals the artistic achievements and aesthetic features of his poetry creation, and then grasps the trajectory of the evolution of his poetry style, so as to gain a glimpse of the typical characteristics of the Qianjia scholar poets' creations. Analyze Hong Liangji's other literary creations and academic research, and place them in the context of the Qianjia literary world to assess his status and influence in literary history.

National identity is one of the important topics of current concern in the field of social sciences. The national identity of the United States includes civil identity and national identity. It has long adhered to the orthodoxy of WASP (White Anglo-Saxon Protestant) as the national identity, and granted citizenship to ethnic minorities based on their degree of naturalization, making the country an exclusive and hierarchical political community, causing conflicts among African Americans in national identity. Gwendolyn Brooks is an important African American poet in the 20th century. "Flowers of Fury" is a metaphorical summary of her poetic life: her exquisite skills integrating modernism and black dialect tradition, and her radical thoughts that actively intervene in black liberation. This book systematically combs Brooks' poetry creation spanning the 1940s to the 1990s, combining the race relations model, black social movements, racial political trends in the United States in different periods, as well as the poet's own poetic evolution, summarizing the spatial form, spatial experience, and spatial cognition in a specific period, and expounding the different demands and strategic construction of national identity directed by spatial narratives. Through Brooks's consistent research on the dynamic relationship between spatial narrative and national identity, this book summarizes the poet's artistic aesthetics, poetic concepts, and social thoughts, and uses this as a prism to examine the issue of national identity in contemporary American society and its historical evolution.

The late Qing Dynasty and the early Republic of China were a critical period for Chinese literature to transform from tradition to modernity, among which the achievements of new novels were the most significant. Its outstanding feature is that during this period, various private bookstores competed for prominence and edited and published the "Shuobu Series", which fully reflected the great achievements of the revolution in the novel world. This book is the first to carry out a comprehensive and systematic narration of hundreds of works in the "Shuobu Series" published by more than 20 publishing organizations in the late Qing Dynasty and the early Republic of China. This is a quite innovative research work. This book is based on the "Shuobu Series" published by various publishing units, with the works in each series as the heading, and according to the publication time of the various "Shuobu Series", it narrates the authors (authors and translators), various versions, chapter lists (full or excerpted), prefaces and postscripts (full or excerpted) of each work, as well as other related documents such as reviews, works advertisements and other information. It has important historical and academic value.

This book collects special articles on the study of Wu Sijing's poetry by Xie Mian, Cheng Guangwei, Zhou Xiaofeng, Luo Zhenya, Liu Shijie, Wu Xiao, Zhang Deming, Jiang Yuqin, Zhang Jian, Shi Libin, Qiu Jinghua, Yi Bin, Lu Zhen, Liu Bo, Chen Peihao and other academic colleagues, and includes them respectively. It is included in albums such as "Come Together, Persistence, Exploration, and Echo", which covers the impressions and perceptions of Mr. Wu Sijing by his contemporaries. Young and middle-aged scholars discuss his poetry criticism and theoretical construction, research on the history of poetry, etc., And also includes interviews and academic chronicles with high data value.

"Revolution" runs through the social, historical and cultural process of China in the 20th century, and has a great impact on the generation, dissemination and acceptance of new poetry. "Revolution" is both the reference and the object of research on new poetry. However, the existing research results are mostly under the shadow of traditional revolutionary concepts and lack transcendence. There is a lack of research on the complexity and richness of the revolutionary discourse of new poetry. The significance of "revolution" to new poetry is: first, revolution as the external situation of new poetry; second, revolution as the core vocabulary of new poetry writing and expression of the universal pursuit of modern Chinese poetry; third, revolution as the characteristic consequence of new poetry. Revolutionary discourse includes a set of related vocabulary with revolution as the core word, and also includes the production, dissemination and effectiveness of this set of vocabulary in society. "Discourse" is a structure of linguistic expression as well as a behavior or practice. The influence or role of revolutionary discourse in the generation and development of modern Chinese literature, especially new poetry, has not yet been fully recognized or explained. Based on the comprehensive review, this topic selects eight representative new poetry poets, including He Qifang, Bian Zhilin, Feng Zhi, Ai Qing, Lu Yuan, Fei Ming, Xu Yunuo, and Mu Dan, to carefully read and analyze their poetry creation and poetic concepts, and combine each person's literary life and poetry creation experience to explore the complex impact of revolutionary discourse on creation, dissemination, and acceptance, thereby exploring the construction and practice of the poetics of revolutionary discourse in New Poetry over the past century and modern Chinese poetry. This topic combines macro theory with case study, historical analysis and realistic concern, and uses revolutionary discourse as the key words to explain the evolution trajectory, characteristics and enlightenment of modernity in China over the past century.

This book takes the novel creation in Hebei since modern times as the research object, and comprehensively and in detail discusses the historical style of novel creation in Hebei over the past century. The book is divided into three parts: upper, middle and lower parts: the upper part sorts out the development of modern novels in Hebei, while the middle and lower parts sort out the history and current situation of contemporary novels in Hebei; each part provides an in-depth and full explanation of the works of representative writers. The whole book pays attention to the collection of historical materials and careful reading of texts, and has the characteristics of using history as the basis for theory and theory to derive from history. It is a monograph on the history of local novels with considerable academic value.

"These works were in a 'marginal' position at the time... But they were 'advanced', and at a certain moment when the trends of the times changed, their value would be re-recognized." (Qian Liqun's words) As part of the "Qian Liqun Modern Literature Course" series, this book "Ten New Readings of Modern Novels" was first "unpacked" and compiled from the "Research on Novels of the 1940s" course offered by Professor Qian Liqun at Peking University in the fall semester of 1995. Nearly 30 years later, Professor Wu Xiaodong from the Chinese Department of Peking University, who personally participated in this seminar, led a new generation of students to reinterpret these works under the aura of their predecessors, adding new interpretations of texts by graduate students majoring in modern literature, and contributing a new methodological perspective. The two-generation relay class selects 10 classic Chinese writers of modern literature: Xiao Hong, Li Tuozhi, Shen Congwen, Duanmu Hongliang, Lu Ling, Feng Zhi, Fei Ming, Bian Zhilin, Zhang Ailing, and Wang Zengqi, and starts from Xiao Hong's "Back Garden" The discussion of human existence, whether Zhang Ailing's "Blockade" has "overflow of meaning", to the reading of the old and new versions of Wang Zengqi's "Yi Bing"... Return to the literary scene in the form of classroom records and equal exchanges between teachers and students. Reject heroism, penetrate the ruins of war, discover the value and beauty of daily life in the flames of war, and care about the living conditions of individuals... Both generations of scholars have made their own interpretations of the connotation of classics, and they have also witnessed the enduring popularity of our modern literary classics.

One sentence summarizes the greatness of Jin Yong's martial arts novels: He created works that influenced countless people, and imagined another China in the martial arts world and Jianghu society. Regardless of the key content or main features, this book reveals the hidden Jin Yong from the following three aspects, provides unexpected and natural interpretation methods, and gives readers a satisfying novel reading experience: The author of martial arts novels - The ups and downs of Jin Yong's life Experience, strong personality characteristics and conscious pursuit of writing; novel creation background - Jin Yong's special personal situation and complex era conditions when he was engaged in writing martial arts novels; martial arts novel text - the distinctive literary characteristics and rich textual connotations created by Jin Yong's pen. This book can be regarded as an excellent guide and mind map for understanding and understanding Jin Yong's martial arts novels.

"Yaolan Poetry" is an important poetic work by Yan Tingzhong, a famous Yunnan poet in the late Qing Dynasty. This book is based on "Yaolan Poetry" collected in the Yunnan Provincial Library, with detailed collation, annotations and supplements. It also compiles Yan Tingzhong's biography, poetry prefaces and other relevant important documents. This book is the first systematic compilation of "Yaolan Shihua".

This book is a collection of Professor Li Yi's academic and ideological texts. These texts revolve around the main areas of his academic thought and are edited with "poetry and history" as the basic clue. They are divided into: My Story, Human Relationships, Knowing People and Commenting on the World, The World, Poetry and the Dragon, My Land and My People, Cultivating People for a Hundred Years, Cultural Observation, Academic Methods, etc., Which generally display some of the key points of Li Yi's ideological exploration over the past 30 years. In the author's own words, what he yearns for is "thoughts are lightning in the dark night, the first ray of light at dawn..." And although the words of these fragments of thoughts are nothing more than "spiritual meteors", "it quickly cuts across the dark sky, giving us real panic and shock. Without these fleeting flashes, other narratives have lost their meaning, and are just boring chatter."

This book comprehensively collects and summarizes the works on writers of the Han, Wei and Six Dynasties and their works, starting from Jiayi of the Han Dynasty and ending in the Sui and Yan Dynasties. The book contains the abstracts of more than 2,100 works on 116 writers and their works, including academic works on writers of the Han, Wei and Six Dynasties and their works officially published in China from 1900 to 2015, submitted doctoral theses and postdoctoral research outbound reports; the abstracts of each writer and his works are also organized in the order of publication (or submission) time, striving to present the academic history of thematic research (or case studies) on the writers of the Han, Wei and Six Dynasties and their works.

This book demonstrates for the first time the two-way relationship between world literature and modern Chinese literature: world literature has influenced the formation of modern Chinese literary classics, and the overseas spread of modern Chinese literature has enriched the treasure house of world literature. This book believes that world literature is not a fixed concept, but a concept of travel; world literature is not a collection of national literature of various countries, but refers to literature with global significance; the evaluation of world literature classics should follow certain universal standards; the barriers of Western centralism should be broken through in the process of writing the history of world literature; Chinese literature should be promoted to the world by constantly speaking out in the world; when determining world literature classics, both its classicity and readability should be taken into consideration.

This book strives to present the historical trajectory of Lu Xun's spread in Taiwan intuitively and completely by carefully sorting out the historical documents that Lu Xun spread and received in Taiwan. It also provides an objective evaluation and in-depth theoretical explanation of the historical facts, and summarizes Lu Xun's special significance in the development of Taiwanese literature and culture. The experience of "Taiwan Lu Xun" suggested in this book can not only provide a new dimension of thinking for the study of Lu Xun and modern Chinese literature, but also enrich the historical details and spiritual aspects of the images of "Chinese Lu Xun" and "East Asian Lu Xun", which is of great significance for re-outlining Lu Xun's influence in East Asia.

In Heaney's poetry, the landscape presented through memory, history and language establishes the multiple identities of Heaney as an Irishman, an Irish poet, an Irish Catholic, and an English poet. At the same time, it brings a broader perspective to dealing with identity issues in the real contradictions of Northern Ireland, and opens up a space conducive to communication and discussion. The poet also tries to open up the boundaries of politics with the integration of history, presenting a new writing paradigm that can not only respond to the real contradictions in Northern Ireland but also reflect the aesthetic value of poetry, and is committed to establishing a future-oriented imaginary world in literary works. At the same time, the construction of multiple identities in poetry creates a space that transcends the binary opposition of ethnicity and religion and includes different cultures, different politics, and different ideologies. It promotes the artistic creation of poets and provides a new paradigm for the writing of literary creators who suffer from cultural divisions in the world.

This book starts from the perspective of animal studies and is compatible with theories such as Marxism, feminism, postcolonial studies, ecocriticism, psychoanalysis, new historicism, posthumanism and cognitive ethology. It focuses on animal books in contemporary new English novels such as Coetzee's "Animal Lives", Sinha's "Animal People", Atwood's "Oryx and Crake", Martel's "Life of Pi", Wynton's "The Shallows" and so on. Write, explore the relationship between literary representations and symbolic meanings of animals and real animals, explain how different perceptions of animals affect their destiny in human society and humans themselves, analyze how literature and art can speak for animals without falling into the trap of anthropocentric imagination, trace the role that animals play in shaping human personality and the process of civilization, and put this tracing in the current real context to observe its significance.

Through an in-depth textual reading of a series of representative novels by the famous writer Zhang Ping, such as "Sister", "Sacrifice to Wife", "Fashao Fenxi", "Skynet", "Decision", "Orphan's Tears", "National Cadres" and "Reliving Life", etc., On the one hand, it combines relevant biographical information, and on the other hand, it also incorporates the writer into the overall development and evolution of literary trends in the new era. It conducts a comprehensive and comprehensive study, and finally refines and summarizes the basic characteristics of Zhang Ping's literary writing. Zhang Ping's novel creation has gone through three different stages of development: the "Family Tragedy" series, "Social Issues Literature" and "Political Novels". He holds a literary view of writing for the common people and pays more attention to expressing the common people's livelihood sufferings. In terms of creative type, he is an excellent experiential writer. His literary creations are always closely related to important practical issues, and he always pays in-depth attention to and thinks about the sharp and fierce central conflicts of the times. In short, Zhang Ping is not only a writer of main themes, but also an excellent critical realist writer. In his long-term writing process, he not only created a series of characters with human depth, but also formed some special personalized characteristics in literary form.

This book is the 18th series of "New Horizons in the Humanities" research papers edited by famous domestic scholars Shi Zhongyi, Yin Xiaohuang and others. The manuscripts mainly include philosophical research, poetic research, French literature research, Canadian Quebec literature research, Japanese literature research and other columns, including literature and art. Discussions on the current controversial issues of modernity and postmodernity in the field, artistic analysis and cultural interpretation of foreign literary works, and the reception of domestic translations, as well as papers exploring the philosophical issues of "problemology", etc. The research methods and perspectives used include comparative literature, literary communication, psychoanalysis, etc. Rich in content and highly academic, it is at the forefront of theoretical research on literature and art.

This book takes Lu Xun's discourse as a whole as the research object, and systematically describes and condenses the multiple "schemas" in Lu Xun's discourse from multiple dimensions: the dual structure model of national discourse and personal discourse, the "relational body" of the "iron house" and the "time". The "empty body" model, the "returnee-old friend-story" structural model of the homecoming novel, the "double vortex" dynamic derivative schema of Lu Xun's discourse practice, the life philosophy schema of "outside the body - resistance to the world\u002F within the body - introspection", etc. On this basis, it deeply explores the occurrence of Lu Xun's discourse, the practice of Lu Xun's discourse, the origin of Lu Xun's discourse system, the isomorphism of Lu Xun's discourse model and survival mode, etc., And promotes the systematization of Lu Xun's discourse research. Among them, this book creatively reinterprets the "two centers" of Lu Xun's discourse using the "double vortex" diagram, discovers the systematic relationship and dynamic derivation of Lu Xun's discourse, and thus redraws Lu Xun's spiritual image with reflexivity as the center and paradox as balance.

The palace culture runs through the development of Ci in the Tang and Five Dynasties, and is of great significance to the construction of the history of Ci style. This book starts from the origin of Ci, takes the different development stages of the Tang and Five Dynasties as a cross-section, and explores the relationship between court culture and the development and evolution of Ci in the Tang and Five Dynasties. It specifically discusses five issues: the palace culture of the Sui Dynasty and the early Tang Dynasty and the precise origin of Ci style. The court culture of the prosperous Tang Dynasty promoted the formation of Ci style, the court culture of the Mid-Tang Dynasty gave the Ci style transitional characteristics, the court culture of Xishu in the Late Tang Dynasty established the basic paradigm of Ci style, and the court culture of the Southern Tang Dynasty contributed to the prosperity of Ci style in the Five Dynasties. The poetry of the Tang and Five Dynasties takes palace culture as its main theme and has distinct attributes of palace culture. On the contrary, the court culture not only gave birth to the style of poetry, but also effectively promoted the development, shaping and prosperity of poetry in the Tang and Five Dynasties, thus ushering in the prosperity of Song poetry.

This book places the May Fourth novel genre in the broad perspective of comparison between Chinese and Western Enlightenment, examines the Enlightenment characteristics of novel creation by the "Literary Research Society" and the Enlightenment strategies of rural realistic novels, analyzes the Enlightenment writing of romantic lyrical novels, discusses the influence of the Western Enlightenment movement on May Fourth literature, and discusses the inner power of Eastern culture displayed in the May Fourth Enlightenment novels, thereby highlighting the unique value of the May Fourth Enlightenment novels.

The poem "The Waste Land" by Thomas S. Eliot has become obscure and difficult to understand due to its rich citations and the mixture of multiple languages. However, as the original Chinese translator of the poem "The Waste Land", Mr. Zhao Luorui believes that "this poem is very suitable for translation by literal translation" because "literal translation can more faithfully reflect the original work." On the basis of studying Eliot's theory of poetry and poetics and the seven Chinese translations of "The Waste Land", the author and the members of the research team conducted a preliminary review, analysis and discussion of Mr. Zhao Luorui's theory and practice of literal translation in literary translation. They paid special attention to Mr. Zhao Luorui's uniqueness in translating Eliot's poetic references and hoped to make his own contribution to the teaching and research of domestic British and American poetry in the understanding and translation of Eliot's poetic references and their intertextuality.

On the basis of sorting out the evolution of poetry in the late Ming Dynasty, this book explores the development trajectory of poetry in the late Ming Dynasty from the perspective of the poet's mentality. It analyzes the reasons why the poetry style in the late Ming Dynasty changed from "retro" to "spiritual" and the late Ming poets' reflections on "teacher's heart" and "learning from the past". It also discusses the creation of patriotic poetry in the late Ming Dynasty. This book focuses on studying the impact of the mentality of mainstream poets in the late Ming Dynasty on the direction of poetry, in order to accurately grasp the inheritance and new changes in the poetic style of the late Ming Dynasty. In addition, this book also conducts an in-depth analysis of creative groups such as boudoir women, brothel women and "female mountain people" from the perspective of the awakening of women's consciousness in the late Ming Dynasty, and summarizes the new trends in the development of women's poetry in the late Ming Dynasty.

This book takes the cross-cultural communication of Song poetry in North America as the object of investigation, uses academic history and discourse analysis as the basic perspective, and takes the development history, research fields, main characteristics, and research methods of Song poetry research results in North American Sinology circles as its scope of discussion. The North American Sinology community mainly discusses five aspects: the categories of Song poetry, the "self" of Song poetry, the "revolution" of Song poetry, the relationship between Song poetry and politics, and the relationship between Song poetry and Buddhism and Taoism. It shows distinctive research characteristics, that is, it emphasizes the restoration of historical and cultural context, is good at comparing China and the West, pays attention to interdisciplinary investigation, and is extremely good at text reading, which provides Chinese scholars with lessons from outside the region.

This book comprehensively examines the poetic thoughts of "Three Cao" and "Seven Sons", explores their inheritance and development of traditional Chinese poetics, and reveals their original theoretical contributions. The "Three Cao" and "Seven Sons" have made outstanding literary achievements. Through theoretical analysis or with the help of their own creative practice, they expressed a series of poetic concepts and formed the "Three Cao" poetics with rich meanings. Bixing poetics inherits the Book of Songs and Chu Ci; Kanwu poetics and literary quality poetics inherit the etiquette and music culture of the pre-Qin and Han Dynasties; literary spirit poetics is the theoretical creation of Cao Pi and others; style and bone poetics is the refinement of the "Three Cao", "Seven Sons" and Jian'an poetics spirit by Liu Xie, Zhong Rong and others, and also belongs to the theoretical generation of the "Three Cao" poetics. Each poetics has become an important content of ancient Chinese poetics and played a substantial role in enriching and perfecting the spirit of ancient Chinese poetics. As a poetic model, the "Three Cao" poetics has certain inspiration for current literary creation and theoretical construction. Contemporary literary creation and theoretical elucidation can learn from the artistic and aesthetic development of "Three Cao" poetics, and then promote the construction of contemporary Chinese poetic discourse and system with national characteristics.

Poetry is the foundation of Chinese studies and the source of humanities. Famous poets and university professors teach the style and practice of metrical poetry. The students form a poetry club and complete the club lessons in each period. The famous teachers then comment on the poems line by line, thus forming a lively and lively record of the class. Readers can be inspired by it, watch it, and follow it to write beautiful poems.

This book mainly studies the correlation between the remains of ancient ritual systems and the form of early literary theory, and is divided into four parts. The first part compares the physical remains unearthed from three generations of archaeology with the aesthetic forms handed down from ancient times to obtain the perceptual correlation between the two; the second part cuts into the ideographic mechanism of ancient rituals from the perspective of symbol composition, explores the uniqueness of the ritual ideographic system, and compares it with the verbal ideographic system of early literary theory; the third part examines the important role played by ancient ritual systems in the generation of the motif of ancient literary theory; the fourth part studies the interactive relationship between ancient ritual systems and the development of literary style. This book systematically studies the comprehensive role of ancient ritual systems in the formation of early literary theory. It not only affected the development of literary theory in terms of aesthetic form and thinking configuration, but also shaped the development trend of pre-Qin literary style.

Since the 1990s, with the rapid popularization of Internet multimedia technology in my country, mass media have fully participated in and effectively promoted the rapid evolution of Chinese literature. Magazines and books are the latest manifestation of media integration in the new era. This work selects youth literature magazines under the new literary ecology as the research object. It starts by sorting out the development history of youth literature magazines, and uses theories and research methods from multiple disciplines such as literature, sociology, and communication to analyze the external ecological changes of youth literature magazines and their impact and related changes on many factors such as writers (editors), texts, readers, communication media, and marketing channels in the internal ecology. On this basis, it further explores the narrative strategies of youth literature magazines and the dilemmas and possible solutions for youth literature magazines under the new literary ecology.

This book takes "Cities in Literature" as its theme and conducts research on urban expressions in literature during the "Seventeen Years" (1949-1966). Through specific text analysis, the ideological convergence process of conflict, adaptation, and differentiation between "socialist literature" and the capitalist "field" of "city" is examined, and then a literary expression of "socialist city" is explored. Although behind this expression lies the contradiction and inherent anxiety of "post-revolutionary" socialist ideology, it is an excellent perspective from which to analyze the legacy and lessons of China's socialism.

How do Chinese and foreign writers across the literary world present themselves differently when creating children's literature? What are their different thoughts and insights from the past, and what are their biases and limitations? With a strong curiosity about this issue, this book adheres to the research idea of ​​​​starting from the problem. Through careful reading of a large number of texts, it restores the scene of literary history and reveals the unique ideas and artistic techniques of children's literature creation by famous writers in the literary world. At the same time, it uses a rigorous critical spirit to examine the deficiencies in the writers' works. This book has outstanding classic awareness and broad academic vision. It not only studies the children's literature writing and the thoughts behind it by representative Chinese writers such as Lu Xun, Bing Xin and Zhang Wei, but also explores the unique style of foreign literary masters such as Kipling, Lessing, Mark Twain, Kawabata Yasunari, France, Jimenez, Plishvin and Hoffman in the creation of children's literature. It has a novel perspective and sometimes surprising academic insights. I believe it can not only bring new ideas to the research of children's literature, but also inspire the research of classic writers.

In the context of the neorealist trend, this book explores how contemporary American Civil War novels can achieve the historical reshaping of the Civil War in the balance of inheritance and deconstruction from the levels of art form, historical cognition, social issues, and philosophical thinking. At the same time, this book also pays attention to the mutual influence and mutual promotion between the practice of literary creation and the development of neorealist novel theory. On this basis, this book deeply explores how contemporary American writers participate in the construction of mainstream ideology and express concerns about future wars and future society through Civil War novels.

This book takes 2,844 modern novels published in "Shengjing Times" (1919-1944) as the research object, and systematically examines the novels in the literary supplement of "Shengjing Times" with a total text volume of more than 10 million words. These novels are important manifestations of early newspaper literature in Northeast China and are also strong evidence of the development of modern Northeastern newspaper literature. This book focuses on sorting out the novel creations of more than a dozen Northeastern writers active in the literary supplement of "Shengjing Times", such as Mu Rugai, Wang Lengfo, Jin Xiaotian, Zhao Xianwen, etc. It also discusses the works of 21 writers from 15 countries including Japan, Russia, France, Britain, and the United States. These novels demonstrate the value and influence of modern novels published in Shengjing Times.

This book provides a comprehensive and systematic review of the relationship between trauma and literature, and reveals the ethical significance of trauma novels. On this basis, it elaborates on the ethical relationship between self and others produced in trauma novels. It explores the ethical issues of "fidelity to truth" caused by traumatic events, and explains the unique aesthetic dimensions contained in traumatic events.

This book is based on the performance, text and research literature of Chinese ethnic minority epics, and uses interdisciplinary research methods to select the six most representative keywords of contemporary Chinese epics - epic, oral poetics, performance, text, singer, and cultural memory for scientific interpretation and theoretical reflection. The six keywords interpenetrate and refer to each other, which not only shows the internal connections and development context of the contemporary Chinese epic system, but also forms a multi-dimensional view of the study of contemporary Chinese epics with its independent problem areas.

The four classics contain extremely rich stylistic concepts. Comprehensive combing and in-depth exploration of the implicit or explicit stylistic concepts in the four important books is the only way to study ancient stylistic concepts. The papers collected in this volume are the important results of studying the stylistic concepts reflected in the classics of the past dynasties. Among them, there is an investigation of the stylistic forms of classical documents such as "The Book of Songs" and "Shangshu" and the stylistic genetic concepts underlying them; there is also an analysis of stylistic concepts of selected chapters of "Historical Records" in the general collection of articles; there is also an interpretation of the stylistic concepts of sub-documents such as "Dian Lun" and Tang and Song Leishu; there is also an analysis of stylistic classification and stylistic concepts in collection documents such as separate collections, general collections, anthologies, and Wenhua. These thematic research results reflect the in-depth research on ancient Chinese stylistic concepts.

This book uses methods such as reception aesthetics and hermeneutics to study the reception history of Roland Barthes' literary theory in China. The reception of Roland Barthes's literary theory in China has gone through four stages, which constitute his four faces: the "formalists" in the early 1980s, the structuralists in the late 1980s, the poststructuralists in the 1990s, and the popular culture critics in the 21st century. The history of the reception of Barthes's literary theory in China shows a profile of the development history of contemporary Chinese literary theory. This book strives to provide reference suggestions for scholars in related fields to learn from Western literary theory by studying the reception history of Barth's literary theory in China.

"Literary Geography" is a selection of papers from the annual conference of the Chinese Literary Geography Society. It is edited by Zeng Daxing and others. It is published annually and has published 11 volumes. The authors are all scholars engaged in literary geography research in China, Japan and South Korea. This journal has several columns including "Discipline Construction of Literary Geography", "Macro Research of Literary Geography", "Basic Theoretical Research of Literary Geography", "Research on Methods of Literary Geography", "Geographical Distribution of Literary Writers", "Regional Literary Geography", "Application Research of Literary Geography", "International Perspective", "Discipline Construction Trends", etc. Since the publication of this series, the response has been very good, and every issue has been sold out. The 12th volume of "Literary Geography" contains 20 selected papers from the 12th Annual Meeting of the Chinese Literary Geography Society, including "Several Issues in Current Literary Geography Research", "The Construction and Causes of "Shangshan" in Tang Poetry from the Spatial Perspective of Literary Geography", etc. The literature is rich, the argumentation is rigorous, new ideas are emerging, the writing is standardized, and it has high academic value, which is of great significance in promoting the healthy development of literary geography.

Today, China is facing major changes unseen in a century. Chinese contemporary literature and art are also developing in response to the changes in the world structure. Under this background, new literary and artistic phenomena, literary methods, literary and artistic trends, etc. Have been born. Today, researchers of literary and art theory must not only face new situations, new problems, and new insights in the development of literature and art, but also explore new expressions, new directions, and new forms in the construction of literary and art theoretical discourse systems. Today, as the Chinese nation moves towards its second centenary goal, the development of my country's literary and artistic theory is facing better development opportunities, and Chinese literary and artistic theoretical discourse has also gained more global space in the context of the "post-theoretical era". This book will discuss exclusive interviews with directors, Western literary theory, the construction of Chinese literary theory, modern and contemporary Chinese literary theory, ancient Chinese literary theory, and translations.

This book uses an ecocritical approach to interpret Indian literary classics, including an overall study of Indian ecological civilization and ecological literature, as well as an ecological interpretation of Indian literary classics such as the Vedas, the two epics, and the Jataka stories, as well as Indian classic writers such as Kalidasa, Tagore, and Premchand. The overall study of the book is combined with individual research. The overall study mainly sorts out and grasps the ecological characteristics of Indian civilization and its impact on Indian literature; the individual study conducts detailed analysis and in-depth exploration of the ecological wisdom contained in Indian literary classics through close reading of the text.

This book focuses on the narrative art of the early, middle and late new historical novels of British postmodernist formal experimenter Julian Barnes, and explores the development and changes of historical themes in different stages. This book points out that in his early and middle works, he used anti-realistic aesthetic experiments to show a diverse and uncertain history, leading readers to get rid of the shackles of the traditional single linear view of history, and revealing the difficulty of approaching the objective historical truth; but in his later works, he relied on meticulous realistic descriptions to truly reproduce objective historical events and answer the question of how to approach the historical truth in a unique way, thus transcending the extreme relativism of postmodernism in history.

Since the 1960s and 1970s, science fiction has transcended traditional realist literature and entered the fields of anthropology and cosmology from descriptions of technological imitation, becoming a global cultural phenomenon. In the evolution process of this creation, the "ambiguous" aesthetics characterized by blurred boundaries and inclusive centers gradually developed and formed. Taking the American science fiction writer Ursula K. Le Guin as an example, this book comprehensively examines five pairs of binary relationships in Le Guin's works: "past and future", "dreams and reality", "man and technology", "man and nature" and "Eastern and Western cultures". It refines and explains the concept of "ambiguous" aesthetics from the five dimensions of time and space, spirit, body, ecology and culture, thus proposing an aesthetic plan to capture the changing modernity.

This book aims to explore the relationship between intention (ideological content) and expression (linguistic form) in the writing of Chinese revolutionary literature from 1927 to 1949 from the perspective of style and ideology. For this reason, this book focuses on three revolutionary writers, Jiang Guangci, Guo Moruo, and Ding Ling, and elaborates on the transformation and development of their revolutionary literature writing during this period, and then reveals that the artistic effects presented by the language form of the writers' literary works (texts) may be contrary to the writing intentions stated by the writers themselves, thus showing the richness and complexity of style and ideology.

Modern China is a period of alternation between the old and the new. During this period of great change, the female group's ideological concepts and historical destiny have undergone obvious transformations. This is particularly evident in modern women's literature, especially women's poetry creation and women's novel creation. As far as female poetry creation is concerned, this book is based on the works of modern female writers such as the talented Wu Zao, Shen Queying, Shan Shili, the Xu sisters of Nanshe, Qiu Jin, and Lu Bicheng, and finds the dividing points between their early and late creations. Based on this, it compares the changes in their creative content and style in the early and later periods, and presents the transformation trajectory of their female concepts. As far as women's novel creation is concerned, the themes are diverse, including women's studies, marriage and love, etc. As far as women's education is concerned, the female characters in modern women's novels are different from the ancient Chinese women who studied books such as "Women's Training" and "Women's Commandments", and tend to accept new-style school education. As far as marriage and love are concerned, the female characters written by modern female novel writers have stepped out of the boudoir to a certain extent. Their awareness of autonomy in marriage and love has been significantly enhanced, and they have begun to reflect on their fate and their own situation, and even express doubts about men and marriage and even escape.

"Utopia" is a keyword used by many theorists in science fiction criticism, especially in Western Marxist science fiction criticism. The close connection between Western Marxist theory and science fiction literature began in the 1970s. The science fiction criticism initiated by Darko Suenwen marked the Marxist turn of Western science fiction criticism. Since then, utopia has gradually evolved into the ultimate vision of Western Marxist science fiction criticism. This book analyzes the causes of the Marxist turn in Western science fiction literary criticism, and deeply explores the "utopian" perspective of Western Marxist science fiction criticism. On this basis, we conduct a detailed and in-depth study of the science fiction critical theories of Suenwen, Jameson, Moylan, Friedman and other scholars.

This book discusses the deep connection between Sontag and Chinese traditional culture in consciousness and thought. Sontag's works can be said to be "literary like the person", full of changes and sometimes contradictory; a similar change model of "both this and that" and "either black and white" also dominates the overall framework of Chinese classical literary theory. This book takes this as a starting point to examine Sontag's overall creation and aesthetic thoughts. It can be seen that "the difficulty of change" and "the change of difficulty" not only run throughout her creation, but also span all categories of her creation. Interpreting Sontag from the perspective of traditional Chinese culture will help readers deeply understand her creative concepts and thoughts.

This book mainly attempts to think about literary theoretical issues from the perspective of legitimacy crisis and legitimacy construction, and specifically touches on theoretical issues through the practice of literary criticism. Theoretical thinking is mainly based on three dimensions, reflecting on the normative foundation and legitimacy issues in the field of literature and art from the perspective of social theory, exploring the legitimacy crisis of literary aesthetic ideology, and elucidating the legitimacy proposition of literary semiotics. The practice of literary criticism involves traditional culture and ideology, modernity and literary forms, postmodern desires and aesthetic issues.

This book takes family letters from the Song Dynasty as the research object and sorts out the development history of family letters from the Warring States Period to the Song Dynasty. On the basis of comprehensively sorting out the family letters of the Song Dynasty, we classify them and summarize their overall appearance. Through family letters, we explore many aspects of family life and social life of scholars in the Song Dynasty, and deeply explore the impact of major political and economic events in the Song Dynasty on families and individuals, as well as the resulting coping strategies of scholars. The educational thoughts and family management concepts in family letters are the essence of family letters in the Song Dynasty. They are also a prominent manifestation of family education, family education, and family tradition, and have a profound impact on future generations. At the same time, family letters were also an important means of academic communication for scholars in the Song Dynasty. Through case studies, we can understand the role that family letters played in academic communication. In addition, this book also analyzes the literary values ​​such as the stylistic features, language style, and lyrical characteristics of family letters, and pays attention to the phenomenon of using letters instead of letters, poetry instead of letters, and words instead of letters in the Song Dynasty, and discusses them as important supplementary materials for family letters.

Starting from the thinking dimension of how "modern literature" constructs and imagines "modern China", and following the academic vision of "looking at China from the periphery", this book explores from a holistic perspective the travelers and investigators who established special connections with Yunnan during the Yunnan-Burma Anti-Japanese War, local writers in Yunnan, and Chinese Expeditionary Force officers and journalists. These Yunnan writings based on on-the-ground experience all reflect a very obvious sense of national identity and Chinese nation community. Based on the compilation of historical materials and close reading of texts, this book "uses history to interpret poetry" and "uses poetry to prove history". It is not only committed to the presentation of local knowledge, but also places regional research in the care of the overall history.