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This book explores the status of Yan Geling's novels in the history of modern and contemporary Chinese literature and the history of world Chinese literature from the perspective of novel stylistics. Existing research on the style of modern and contemporary Chinese novels breaks down all the novels of a writer into fragments of stylistic factors to analyze the style of novels, making a single novel lack overall stylistic features. This book mainly starts from the text and combines the theories of stylistics and narrative theory to analyze the stylistic characteristics of Yan Geling's novels using methods such as close reading of the text, cultural criticism, historical research, and comparative research. Starting from the stylistic factors such as style, structure, narrative, and language, and based on the analysis of multiple single text cases, the diversified display and dynamic changes of the style of Yan Geling's novels are systematically outlined. This book pays attention to the fact that the writing of film and television scripts and the adaptation of novels have played a certain role in the evolution of the style of Yan Geling's novels. It compares and analyzes the style of Yan Geling's novels with those of representative contemporary Chinese writers and overseas writers.

From the perspective of the history of literature and criticism, this book makes a more detailed and in-depth review of the reception of Xikun style, an important poetic style that connects the poetry history of the Tang and Song Dynasties, in the Song, Jin, Yuan, Ming and Qing dynasties, filling the academic gap. The Song Dynasty focused on the acceptance of the late Xikun School, Ouyang Xiu, Wang Anshi, Su Shi, Huang Tingjian, Zhu Xi, Lu You, Liu Kezhuang, etc.; The Jin and Yuan Dynasties focused on the acceptance of Wang Ruoxu, Fang Hui and others. Emphasis; in the Ming Dynasty, the emphasis was on the acceptance of Wang Shizhen, Hu Yinglin, Yuan Hongdao and others; in the Qing Dynasty, the emphasis was on the acceptance of Feng Ban, Song Xun, Wang Shizhen, Weng Fanggang, Liu Xizai, Yu Ji and others. In addition to these important figures in literary history, historical materials on the reception of Xikun Style were also searched for sorting and research, which enriched the historical details of the acceptance of Xikun Style. The acceptance of Xikun Style was also discussed from the perspectives of imperial examinations, politics, culture, and the version of "Xikun Gong Sing Collection" in the Ming and Qing Dynasties.

As a unique aesthetic way of reflecting, imagining and constructing urban and rural social life, Chinese novels since the 1980s have comprehensively written about the material exchange, emotional exchange, spatial communication and value choices in the urbanization process and the "city-rural" relationship from multiple dimensions such as time, space and value. On the one hand, these novels use contradictions and conflicts as narrative themes, revealing the complex social problems caused by urbanization and the rupture of traditional values; on the other hand, they use communication narratives as aesthetic gestures to actively construct a new order of morality, belief, ethics, and aesthetics in a harmonious society, providing a rich archive of humanistic spirituality for the cultural construction of "urban and rural China" toward "beautiful China."

This thesis focuses on the continuing research on classic re-reading in the academic world, and reinterprets the works of many important modern and contemporary Chinese writers. Its vision covers writers such as Lu Xun, Yu Dafu, Qian Zhongshu, Zhao Shuli, Su Qing, and Ye Zhaoyan. From a structural point of view, the discourse categories and effects, narrative content and methods discussed in this book are mainly modern. Based on in-depth and detailed text analysis, the treatise questions some existing research conclusions and provides a new interpretation of some classic works. It demonstrates the academic achievements in recent years in the study of the works of important writers of the 20th century, represented by classic re-reading and text close reading. Its relevant conclusions can be used for reference or discussion by the academic community.

The work of researchers of literary and historical materials is to use documents as building materials to build a bridge between the known and the unknown. Whether this "bridge" is solid and resistant to pressure and can stand for a long time depends on the quality and authenticity of the "building materials". The task of the editor is to identify the known, to discover the unknown, and to discover the truth with an attitude of searching extensively and carefully. This book is the culmination of the author's hard work over the past twenty years of immersing himself in the past, peeling back the dust, and looking for a needle in a haystack. What it presents to readers is not only the restoration of historical mirrors and rich literary historical materials, but also the vivid insights after sifting through the sand and picking up gold. More importantly, it is a young scholar's painstaking efforts and perseverance in pursuing true knowledge.

This book studies the poetic theory of contemporary poet Wang Jiaxin. Based on the Chinese contemporary poetry circle, with the history of the development of contemporary Chinese poetry as a background, and from the perspective of the integration of Chinese and foreign poetry exchanges, this article examines the connotation and characteristics of Wang Jiaxin's mystical poetics, commitment poetics, word poetics, "late style" poetics, and translation poetics; and reveals the overall characteristics and value of his poetics from the aspects of generation mechanism, discourse logic, and purpose appeal.

This book uses the grammatical analysis and conceptual analysis methods of the philosophy of language to analyze ten (pairs) of literary theory categories in the literary theory of the Wei, Jin, Southern and Northern Dynasties, and strives to clarify the confusion between their expression at the level of logic and grammar and the level of empirical facts. These categories can be divided into five groups: the first group is Tao and Emotion, which are categories at the "ontological" level; the second group is speech, meaning, form and spirit, and literary quality. These three pairs of categories describe the logical structure of literary works; the third group is Shensi and Bixing, These two pairs of categories relate to the psychological phenomena and creative methods of creation; the fourth group is implicit and explicit, which are categories related to the form or style of the work; the fifth group is Tongbian, which combines changes and invariances, universal and special issues in literature.

This book is based on the basic facts of the academic ups and downs between Japan and China over the past hundred years. From the perspective of comparative culture between Japan and China, this book systematically examines the historical process and basic content of the study of Song poetry in Japan. Taking important poets of the Song Dynasty and major Japanese researchers of Song poetry as the inspection points and connecting clues, it comprehensively demonstrates the important achievements, academic originality, unique academic ideas and orientations, and limitations and shortcomings of Japanese scholars' research on Song poetry. This book proposes that Japanese scholars hold fresh and innovative views on the research object from the perspective of "others" and have contributed to deepening and expanding the study of Song poetry from multiple perspectives. In the context of international academic and cultural exchanges, Japanese scholars have significant uniqueness and a solid position as an important center.

This book adopts the local perspective of the study of Chinese subaltern literary narrative in the new era, from the academic standpoint of Chinese scholars, and within the framework of the study of subaltern literary narrative, systematically traces the subaltern narrative tradition of British poetry represented by British ballads and poets Chaucer, Blake, and Wordsworth. This book selects the representative works of contemporary British poets Tony Harrison, Carol Ann Duffy, Seamus Heaney, and Simon Armitage as research texts, and adopts multiple critical methods such as Foucault's discourse theory, cultural Marxism, feminism, postcolonialism, and space theory to analyze Harbin from multiple dimensions such as class, gender, race, culture, and space. The objects, contents, themes, subjects, and strategies of Leeson's working class, Duffy's women and immigrants, Heaney's countryside, and Armitage's urban underclass narratives are conducted in-depth and systematic research, revealing the realist thoughts and humanistic spiritual connotations contained in the works, and demonstrating the courage and responsibility of contemporary British poets to intervene in social issues with the power of literary discourse. This work is a useful attempt to explore "the application of Chinese and Western methods and the integration of Chinese and Western perspectives" in the field of contemporary British poetry research.

This book is based on the latest "National Standards for the Teaching Quality of Undergraduate Majors in General Universities" promulgated by the Ministry of Education. It macroscopically grasps and deeply sorts out the progressive evolution of European and American cultural and literary and artistic trends. The whole book contains two frameworks, one is the history of European and American culture and art, and the other is the history of European and American literature. Through the organic integration of these two frameworks, it aims to place European and American literature of various periods in the context of the entire social culture and artistic trends for observation and research, which will help readers deeply understand the connotation of literature and enhance the interest of learning. Through interdisciplinary literary interpretation, literature truly becomes humanities, which has positive significance for improving readers' humanistic qualities.

This book takes literature and anthropology as its perspective, starting from big literature and overall anthropology, and analyzing the history of the discourse relationship between China and France in the first half of the 20th century through the dual texts of historical documents and events, in order to present the ideological exchanges and personnel exchanges between China and France around major discourses during this period. The author has chosen two groups of discourses with different tendencies, namely those that are biased towards conceptual history and those that are biased towards academic history. The former includes two concepts: "science" and "positivity", and "group studies" and "country"; the latter includes four academic fields: "society", "nation", "songs" and "folklore". From a French perspective, this book selects four scholars in turn: Comte, Durkheim, Mauss and Granyan. They were either the pioneers of the French Annals School or the leaders of three generations of scholars of the school, and they profoundly influenced French social science research from the end of the 19th century to the first half of the 20th century. In Chinese practice, the cases selected in this book include Cai Yuanpei, Liu Bannong, the group of Chinese students studying in France in the 1920s, Mauss's Chinese students (represented by Ling Chunsheng and Yang Chengzhi), and Yang Kun, etc. They have all established indirect or direct discourse connections with the above-mentioned French scholars.

This book is based on the author's doctoral thesis and studies Qu Yuan's Ci from a stylistic perspective. The author first divides Qu Yuan's poems into poetry style and fu style from the perspective of article style, and then distinguishes each category according to the specific text characteristics. When re-distinguishing, based on the characteristics of the formation of pre-Qin styles, focusing on the cultural basis for the formation of styles, the artistic conception of the text, etc., Some new understandings were reached.

This book summarizes the development process of the history of Russian literary criticism from the 18th century to the 1930s by combining history and theory. It elaborates on the causes and consequences of the emergence of various trends of thought, schools, and groups in this development process, the content and background of each debate, and the basic meaning of various concepts and propositions. For the more important literary critics among them, the academic essence is expounded in the form of monographs. The book also systematically organizes and studies the close integration of various ideological trends, literary creation tendencies, and social movement policies in Russian literary criticism. It is the first significant academic work in the field of Russian language and literature written by Chinese scholars themselves.

This book is the main result of the author's recent academic work on the "History of Women's Ci in the Past Century". It writes the history of women's poetry from the end of the 19th century to the beginning of the 21st century. It is the first work in the academic world to panoramically display the literary ecology of this period. From a chronological point of view, the history of women's poetry in the past century is the continuation of the thousand-year history of women's poetry that was pioneered by Li Qingzhao. In the era of "God will bring energy to the boudoir", the volume and weight of women's poetry that has gained the aura of the changes in the world is enough to compete with, or even surpass, the previous millennium. Over the past century, outstanding female poets such as Lu Bicheng, Shen Zufen, Chen Xiaocui, Zhou Lianxia, ​​and Ding Ning were born. They show off their beauty with beautiful words and sentences, which are not only enough to compete with the male poets of the same generation and enhance the reputation of the century-old poetry industry; they can also stand up to the fortress of the previous sages and engrave their names in the long history of female poetry that lasts for thousands of years. This book is one of the results of the "Research on Twentieth Century Poetry" series. It is based on the theoretical foundation of the two secondary disciplines of ancient Chinese literature and modern and contemporary Chinese literature, and has unique cultural, historical, gender and other significances.

At the theoretical level, this book does not stick to traditional poetry research ideas, but integrates cultural theory, cognitive poetics theory, communication theory, etc. Into its writing. This book summarizes Pound's 12 identities and believes that they are related to the formation of the modernist style of the Cantos; sorts out the specific content of the 117 chapters of the Cantos; discusses controversial topics in the study of the Cantos; and discusses the background, imitation and creation, internalization and absorption of the modernist style of the Cantos. At the same time, the author's research findings of more than 20 years are shared with readers, covering sections such as "A brief history of Pound's works and their publication".

Qing Dynasty Ci Rhymes is an important part of Qing Dynasty Physiology, and its main content is to explore the rhyming rules of Ci style. The Qing people's theory of Ci was based on ancient Ci, and their discussion of rhyme was also based on the rhyme of old Ci. However, the results of Ci Rhythmology in the Qing Dynasty were not a reproduction of the rhyme of old Ci. Instead, they were based on the systematic structure of Ci stylistics in the Qing Dynasty, and used the rhyme theory at that time as a basis. It had the meaning of standardizing rhyme and was constructive. This book takes Qing Dynasty ci rhyme books as the research object, takes rhyme as the entry point, and lexicology as the research foothold. It combines synchronic and diachronic perspectives to examine the rationale for the compilation of ci rhyme books by various schools in the Qing Dynasty, and explores the evolution of ci rhyme in the Qing Dynasty.

The theme orientation of the relegated poems in the Ming Dynasty may express loneliness, homesickness, and lamentation for old age, or express feelings of service and cynicism, or write about rewards and leisure, or chant historical chronicles and record border scenery; their sentimental creative tone, sincere lyrical direction, and diverse creative styles show the characteristics of both inheritance and development. The relegated mentality of officials and scholars in the Ming Dynasty was either lonely and sentimental, or wandering and homesick, or loyal to others, or fearful and restless, or happy and advocating for Taoism, showing the coexistence of commonality and individuality, complex and subtle characteristics. Studying the relegation poems of the Ming Dynasty will help us gain a deeper understanding of the social culture and the life forms of scholars in the Ming Dynasty.

This book takes the modern and contemporary Silk Road cultural narrative Russian novels from Russia and Central Asian countries as the research object, sorting out their basic development process, main works and genre characteristics, focusing on the background of the creation era and historical and cultural context, and examining war and peace, memory and forgetting, wandering and homecoming, etc. That are closely related to the history and culture of the Silk Road. Theme, analyze the historical figures in the novel such as Zhang Qian, Marco Polo, Genghis Khan, Batu, Kublai Khan and Tamerlane who contributed to the development of the Silk Road, interpret the symbolic meaning of typical Silk Road cultural images such as camel caravans, roads, and deserts, and explain the religious culture, Chinese elements and the Silk Road spirit embodied in the novel.

This book is based on the characteristics of Jiangxi's local culture, focusing on the analysis and refinement of ceramic culture, ecological culture, red culture, etc., To understand the cultural characteristics of the red soil. On this basis, corresponding to the creative facts of Jiangxi writers and combined with the analysis of the relationship between literature and culture, an overview of Jiangxi literature creation in the new century is outlined. In terms of research methods, this book pays attention to the combination of macroscopic understanding and microscopic analysis. It not only has a macroscopical understanding of Jiangxi's literary creation since the 21st century, but also conducts a comprehensive scan and comprehensive investigation of literary propositions such as rural literature, urban writing, and poverty alleviation. It comprehensively grasps the gains and losses of Jiangxi's 21st century literature creation, and also provides in-depth interpretation and thinking of individual writers and works at a microscopic level, striving to form a basic pedigree of Jiangxi's literary creation.

Whether it is Du Fu's arrangement and tailoring of flowers and trees in the thatched cottage, Bai Juyi's controlling and domesticated garden management, or Su Shi's poems about flowers and trees that integrate with the elegant life of literati, the poets of the Tang and Song Dynasties enriched China's aesthetic tradition and raised many important aesthetic topics in the aesthetic practice of garden plants. The first part of this book examines the writing characteristics of garden plants by poets such as Wang Wei, Du Fu, Bai Juyi, Li Deyu, Su Shi, Chao Buzhi, and Yang Wanli. In his works, garden plants are not only symbols of mountain and forest seclusion, objects of natural history recognition, but also treasures for personal collections. Flowers and trees of different identities reflect the complex and profound aesthetic perspectives of literati in the Tang and Song Dynasties. The second part focuses on the classic garden plant images in poems and paintings such as "window bamboo" and "wall flowers and trees", analyzing their common aesthetic connotations across poetry and painting, and more three-dimensionally revealing the aesthetic panorama of garden plants by literati in the Tang and Song Dynasties.

This book is divided into three special topics: "Historical Theory and Literary Research", "Writer Research Topic" and "Work Research Topic". It was compiled and published as "Chinese Literary Historical Materials" (Sixth Series). Among them, there are 8 papers in "Historical Theory and Literary Research", including ancient literature research papers and modern literature research papers, 2 of which are about disaster literature research, and 1 is about Jingchu regional literature research; 5 papers in "Writer Research Topic", involving ancient and modern writers and national literature research; 6 papers in "Work Research Topic", covering several important documents from the pre-Tang Dynasty to modern times and overseas Chinese studies. These papers include more in-depth literature review, introduction of newer historical materials, and macro-summaries of historical materials theory, reflecting the in-depth research and theoretical improvement of Chinese literary historical materials.

Peter Ackroyd's novels are full of charm, not only because the author tells charming stories and adopts flexible narrative techniques, but also because they contain the author's deep emotions and sense of historical responsibility for national culture. They are important inspirations to writers of other nationalities and are worthy of systematic study. This book uses Ackroyd's 16 novels published since the 1980s as analytical texts, and conducts a comprehensive study on them from the perspective of the deep connection between their narrative art, creative themes and social and historical context. It aims to explore how the author uses different narratives to represent a strong national consciousness and promote the national cultural spirit and value orientation.

This book focuses on the magazine "Fashion", and also refers to magazines such as "Black Cat", "New Left Bank", "Lytes", "Wallonia" and "Courier Française" to study the rise and fall of symbolist free verse. Symbolist free verse is under the control of the two forces of anarchism and nationalism. It is not only a complex of freedom and rules, but also a complex of individual consciousness and collective consciousness.

The spread and acceptance of Tang Dynasty legends in the English-speaking world lasted for more than a hundred years, and a large number of valuable research results have emerged. This book is the first work in China that systematically sorts out and deeply analyzes the study of Tang legends in the English-speaking world. This book outlines and sorts out the academic history of Tang legends in the English-speaking world, explores the exchange and interpenetration of research on Tang legends in China and the West, and systematically analyzes, explains, and comments on the spread, acceptance, and variation of Tang legends in the English-speaking world from the perspectives of themes and characters in Tang legends. This book summarizes the advantages and disadvantages of Tang legends in the process of spreading to the English-speaking world, and thereby explains the differences and complementarities between heterogeneous cultures, expanding the influence of Tang Dynasty novels in the English-speaking world.

The key issue in Internet literature criticism is to theoretically explore what content should be covered in the construction of an Internet literature evaluation system, and to explore the relevant paths and internal logic of the construction of an Internet literature evaluation system. What new qualities does online literature generated by digital technology add to traditional literature? What kind of mechanism transformation has the literary evaluation activity experienced in the Internet era? What are the possibilities and paths for constructing an evaluation system for Chinese online literature? Theoretical examination of Chinese Internet literature criticism is to sort out all the results of Internet literature criticism, reveal what established theoretical goals the criticism community has achieved, and whether it has answered many theoretical questions about the development of Internet literature, thereby promoting the diversification of Internet literature criticism.

In the 20th century, there was an encyclopedic trend in Western novels. It is a valuable result of experimenting with the infinite possibilities of the art of fiction after the decline of traditional classic novels. It is also an effective attempt by Western novels to find their own value in the contemporary knowledge system. This book defines the scope of the encyclopedic trend in contemporary Western novels and explores the reasons for its origins through an analysis of the origins of narrative literature with encyclopedic characteristics and an investigation of the theories and creative practices of contemporary relevant scholars. Among them, the encyclopedic trend in the novel creation of Borges, Nabokov, Calvino, and Eco is particularly typical and has far-reaching influence. Not only are the novels wonderfully written, but they are also fruitful in theory. Therefore, the author focuses on the creative practice and theoretical criticism of these four writers, supplemented by the works of some other writers, in an effort to gain a glimpse of this important phenomenon in contemporary Western novels.

The Jian'an era at the end of the Han Dynasty was an era of talented people and talented people. Jian'an literati, represented by "Three Cao", "Seventh Son" and Cai Yan, inherited the realist tradition of Han Yuefu poetry, focused on reflecting the sufferings of the people, expressing their ambitions to make achievements, and created an artistic style of simplicity, strength, generosity and sadness, which had a profound impact on later generations of literature. The long songs of separation and union are exciting and magnificent. The "Jian'an style" is not only a concentrated expression of the spirit of the Jian'an era, but also an important aesthetic connotation when we study and carry forward traditional culture.

From the perspective of literary sociology, this book studies the Chinese literary award system since 1978 within the framework of modernity. From 1978 to the late 1980s, the term modernization provided a holistic imagination for the entire country and society, and literary awards had a certain consensus on the expression of literary views and literary values. The last National Outstanding Short Story Award was the National Outstanding Short Story Award in 1987-1988. In the past ten years, the only national literary award left was the Mao Dun Literature Award. By the late 1990s, the market had become an important force in the process of modernity, and numerous literary awards emerged from the late 1990s to the early 21st century. By the 21st century, the return of realism has provided an anchor for integrating different value systems and concept systems in the literary field, and various literary awards have shown a certain identity. This book takes the Mao Dun Literary Award as a case study to explore the connection between the award mechanism and other aspects and the specific context of modernity.

Japanese society in the Heisei era encountered unprecedented risks and crises, and the moral ethics and social relationships that maintained the healthy operation of the social order underwent fission and transformation. This book is based on the Heisei society in the period of transformation. Based on the cultural construction function carried by literature, this book uses the platform of the Akutagawa Prize, which represents the rhythm of contemporary Japanese literature, to focus on the 30 award-winning works of 30 independent award-winning female writers under the theme of "value orientation". It analyzes the value orientation of Japanese society and combines the award-winning female writers. The realistic writing of the textual world focuses on the presentation of problems in the lost, the exploration of problems in reality, and the solution of problems in leadership. It deeply explores the recognition, search and guidance of value orientation of this creative group. It summarizes the value orientation and guidance strategies of the Akutagawa Prize-winning female writers in the Heisei era and the guidance of their works, and responds to issues such as female literary speech and the cultural construction role of literature.

Ji Dong (1624-1676), courtesy name Fucao and nickname Gai Ting, was a native of Wujiang, Jiangsu Province. He was a poet and ancient writer in the early Qing Dynasty. He was able to write at the age of seven, and at the age of fifteen, he supplemented his studies. His reputation as a writer became increasingly high, and he even compared himself to Wang Meng and Ma Zhou. Jiashen Incident (1644), the author of "Bu Gongshu·Five Treatises on Choonan" stated in the history of Kefa the offensive and defensive strategies of the Southern Capital, "It can be strange, but it cannot be used." After the fall of the Southern Ming Dynasty, he was unwilling to take the exam and studied classics and history behind closed doors. After entering the Qing Dynasty, he was too poor to support himself, so he began to take the imperial examination in the eighth year of Shunzhi (1651). In the twelfth year of Shunzhi (1655), he entered the Imperial Academy as a tribute. In the fourteenth year of Shunzhi (1657), he took the Shuntian Provincial Examination and became famous in the capital. In the 18th year of Shunzhi (1661), he was burdened by the "complaint case" and was dismissed from his status as a civil servant. He gave up his ambition to become an official and traveled around, making friends with wise men and officials, traveling around for food and clothing. He died at the age of fifty-two. His existing works include 22 volumes of "Collection of Poetry and Prose of Gaiting" (6 volumes of collection of poetry and 16 volumes of collection of essays), 4 volumes of "Book of Bu Gong", 6 volumes of "Collection of Fuli", etc.

This book combines the philosophical works, literary criticism and literary works of the famous British novelist and philosopher Alice Murdoch to analyze the commonalities and differences between her philosophical thoughts and literary practices, and attempts to clarify the context of mutual complementation, mutual support and complementarity between literature and philosophy in her thoughts. It analyzes the basic elements and internal logic of his literary and philosophical thoughts, and outlines Murdoch's creative ideological system from four aspects: starting point, core concepts, creation theory and interpretation theory. Through the literary interpretation of the morality in his novel creation, it elaborates on the interpretation and presentation of Murdoch's philosophical thoughts in literary practice. This book expands the dimensions of Murdoch research at home and abroad, provides a new reference for interdisciplinary research on literature and philosophy, and is a highly theoretical and readable academic work.

Scientism originated in China and originated in modern times. The Sino-Japanese War of 1884-1894 made building scientific beliefs a common understanding among Chinese people. Since then, after the May 4th New Culture Movement, the continuation of the scientific school in the debate on science and metaphysics, and its marriage with mechanical materialism, the idea of ​​science has evolved from "instrument" to "tao" and has become the scientism that has dominated the field of Chinese thought for a century. It has had a complex, dynamic, deep-seated, and all-round influence on the construction of Chinese literary history in the 20th century. This book uses methods such as document analysis, empirical induction, and close reading of texts to conduct a systematic case study of Chinese literary history texts with scientism in the 20th century. It strives to have solid research, detailed historical materials, systematic views, and unique perspectives, in order to attract academic attention to the issue of scientism and the perspective of Chinese literary history in the 20th century.

The phenomenon of "stylistic interpenetration" in modern Chinese novels mainly presents two paradigms: poetic and realistic. Poetic images are often associated with the life form of the "introverted" personality, revealing the subject's personality's experience and observation of the "poetic" life form; realistic images are often associated with the "extroverted" personality and ideologically lofty social life, reflecting the situation in which the subject's personality gradually moves towards real life, and demonstrating the purpose of "rationality". This book is the first to systematically explore the "intertextuality" phenomenon of "stylistic interpenetration" in modern Chinese novels and the "intertextuality" of spiritual and cultural connotations such as the "poetry" and "rationality" of life. It has unique stylistic value and literary historical significance. That is to say, it not only represents the "miscellaneous" literary characteristics of the novel, but also theoretically enriches the value connotation of literary stylistics and cultural stylistics, effectively connecting the aesthetic form value of the former with the cultural form value of the latter, highlighting the cultural aesthetic characteristics and significance of the novel's style. Furthermore, it can construct a new historical narrative style of modern novels based on the "ontological" dimension of the novel, which transcends the pure historical narrative model of characters or themes.

This book takes novels since the 21st century as the research object, takes "place" as the research perspective, adopts a research method that combines case analysis and theoretical analysis, and analyzes the characteristics of local writing in novels in the new century from the three dimensions of city, countryside, and border areas. It also points out the many new literary characteristics of writers in this writing in terms of subject selection, theme presentation, aesthetic pursuit, and artistic form. Based on the overall observation and in-depth analysis of the research object, the literary value and literary historical significance of local writing in novels in the new century are summarized, and on this basis, its possible development direction is prospected.

This book takes influence research as the starting point, uses detailed historical materials, and deeply analyzes the impact of the parent literature of the motherland on Taiwan's modern literature. It launches a comparative study of Taiwan and mainland literature within the overall framework of Chinese literature in the 20th century, and actively explores the significance of the spirit of modern Chinese literature, modern Chinese literary trends, and modern classic writers to the development of Taiwanese literature. This book systematically sorts out the profound relationship between Taiwanese literature and mainland literature, and explores the long-lasting and profound impact of modern Chinese literature since the May 4th Movement on Taiwanese literature in the process of modernization. Through comprehensive, multi-level, and three-dimensional comparative research on cross-strait literature, it explores the characteristics and value of Taiwanese literature in the broad vision of Chinese literature in the 20th century. This will help promote the construction of a multi-dimensional symbiosis, integration of both sides of the Taiwan Strait, and a compatible view of modern and contemporary Chinese literature history in the academic community.

This book focuses on the narrative theory of Russian formalism, especially the theory of novels. It is the first attempt and exploration in China to systematically study this content. It mainly includes two periods: Russian Formalism and Post-Russian Formalism, with the former mainly represented by Shklovsky, Eichenbaum, Tomaszewski, Jacobson and Tignanov. Specifically, this research mainly focuses on the school's theories on the essence and plot, form and function, time and space, protagonist and narrator, and literary history of narrative works, and examines the construction, historical evolution and development rules of the school's narrative theory system. At the same time, it explores the echo of Russian formalist narrative theory in contemporary academic circles, as well as its influence and inspiration on Western narrative theory in the 20th century. And combine the school's narrative theory with the literary creation of the main representatives to study, and on this basis, rethink the construction of Russian formalist narrative theory.

Bai Juyi was a poet who consciously positioned his life and existence with specific philosophical thoughts. He was an iconic figure in the division between the prosperous Tang Dynasty and the middle and late Tang Dynasty. He was also a representative poet in the transformation of Tang culture to Song culture. The spatial writing characteristics of his poems are an important manifestation of this iconic status. Spiritual settlement is what Bai Juyi has been doing all his life, and his spiritual settlement is completed in the form of spatial construction. In different encounters, poets project their personal values ​​and souls into different spaces. Through space construction and poetic writing, they make space the basis for settling their souls. Their spatial construction always refers to the settlement of their souls. This book takes the spiritual settlement as the entry point, explores the interaction and integration between space and the poet's self-life experience from multiple dimensions, grasps the poet's approach and art of settling the soul in "all-in-one" and "unique kindness", and attempts to give an in-depth explanation of this from the Buddhist and Taoist philosophical levels.

From aspects such as the theme and connotation of "storytelling", the arrangement of plot structure, the pioneering and local style of original "Mo's" language, this paper conducts a macro grasp and micro analysis of Mo Yan's novel creation from the 1980s and 1990s to the new century. Taking continuity as the key point, we trace the diachronic narrative strategies and the aesthetic features of his novels genetically and genealogically.

The academic publication "Humanities" is edited by the Institute of Advanced Humanities of Henan University. "Humanities" adheres to the correct guidance of public opinion and puts social benefits first. "Humanities" centers on humanistic care, highlights academic originality and the dissemination of new knowledge, focuses on empirical research, encourages comprehensive innovation, and strives to integrate various disciplines, explore various academic thoughts and historical and cultural issues, and showcase new achievements in Chinese ideological and academic circles. "Humanities" strives to provide a platform for the academic community to publish high-quality academic results. The articles are mainly academic articles (essays), but we also publish academic essays that welcome ideas and other forms of academic articles. There are also columns such as "Dialogue", "Xuelin", "Notes", "Book Notes" and "Book Reviews" to reflect the research results of scholars in multiple forms and levels.

It aims to systematically study the evolution and innovation of contemporary literary theoretical concepts and its important role in the reform and development of contemporary literary theory. It mainly involves theoretical discussions on conceptual evolution and innovation in basic issues of contemporary literary theory such as the theory of literary essence, cutting-edge theoretical issues such as the turn of cultural studies, issues in the development of contemporary Marxist literary theory, and issues in contemporary literary theory discipline reflection and theoretical reconstruction.

From the perspectives of historical narrative, Shanghai culture, intellectual history, and community research, this book systematically discusses the development, evolution, and dispersion of Chinese liberal literary trends in Shanghai in the 1920s and 1930s. It focuses on the creation and living environment of liberal writers such as Hu Shi, Xu Zhimo, Liang Shiqiu, Lin Yutang, and Shen Congwen during this period. It presents the interdependent relationship between modern intellectuals and the cultural field, thereby expanding a new space for research on modern Shanghai literature.

This book is a new type of history of poetry in the Tang and Song Dynasties that focuses on the evolution of the genre. The author breaks the dichotomy of traditional word theory such as "bold" and "graceful", and examines the development and evolution of each style and genre from the perspective of the spirit of the times and group aesthetic choices from the perspective of the cultural background. He panoramically grasps the evolution process of Tang and Song Ci: changing the study of individual authors into group research, and studying group interaction and the interaction between various schools. The influence, penetration and competition are analyzed in depth; the author examines the profound impact of philosophy, politics, religion, social customs and national psychology in the Tang and Song Dynasties on the creative concepts and aesthetic tastes of poets and different groups of poets, thus showing the history of the formation and development of the colorful styles and genres of poetry in the Tang and Song Dynasties.

This book deepens the understanding of Liu Zongyuan's thoughts and the aesthetic value of his poems and works through a comprehensive study of the reception of Liu Zongyuan by key readers in the Ming and Qing Dynasties. In the study of the reception phenomenon of Liu Zongyuan during the Ming and Qing Dynasties, in addition to readers' evaluation of Liu Zongyuan and his poems, we also explored the multi-faceted influence of Liu Zongyuan's thoughts, character, life experience, poetic theory and creative achievements on important readers in the Ming and Qing Dynasties. This book helps Liu Zongyuan's communication and acceptance research system to be more complete; it is conducive to the reasonable application of communication and acceptance theory in Liu Zongyuan's research, and can better carry out Liu Zongyuan's comprehensive research.

The Chinese nation's creation epic is the general name for the multi-ethnic creation epics in our country. The epic of the creation of the Chinese nation is a poetic representation of the exchanges and integration of multi-ethnic groups, and an important resource for forging a strong sense of community for the Chinese nation. The book begins by discussing the definition and text of the Chinese nation's creation epic, then analyzes the characteristics of the dialectical unity of commonality and individuality in the Chinese nation's creation epic, and finally elaborates on the value of the Chinese nation's creation epic. The main part of the book discusses the 33 creation epics of my country's 28 ethnic groups according to the structure of overview, examples of wonderful poems and storylines, poetic aesthetics, and poetic wisdom. This book has academic value and practical significance in building a strong sense of community for the Chinese nation and protecting intangible cultural heritage.

Formalist Shakespeare criticism is the most dynamic part of Shakespeare in the 20th century. Formalist Shakespeare criticism advocates the independence of literary criticism, conducts research with the help of concepts such as irony, metaphor, imagery, symbolism, archetypes, deconstruction, and close reading, and makes theoretical attempts within literary works. This book divides formalist Shakespeare into six genres: New Criticism, Imagery Criticism, Symbolic Criticism, Archetypal Criticism, Deconstructionist Shakespeare Criticism, and Close Reading Shakespeare Criticism. It selects classic Shakespeare criticism works from each genre for in-depth interpretation, reveals its characteristics, and uses point-by-point to cover the whole, in order to shed some light on the construction of poetics. The beauty of language, structure, and characters are important aesthetic principles in Shakespeare's artistic creation. The classics of formalist Shakespeare criticism focus on these issues and conduct in-depth research on Shakespeare's works, and contain profound humanistic concerns in formal aesthetic criticism.

The academic publication "Humanities" is edited by the Institute of Advanced Humanities of Henan University. "Humanities" adheres to the correct guidance of public opinion and puts social benefits first. "Humanities" centers on humanistic care, highlights academic originality and the dissemination of new knowledge, focuses on empirical research, encourages comprehensive innovation, and strives to integrate various disciplines, explore various academic thoughts and historical and cultural issues, and showcase new achievements in Chinese ideological and academic circles. "Humanities" strives to provide a platform for the academic community to publish high-quality academic results. The articles are mainly academic articles (essays), but we also publish academic essays that welcome ideas and other forms of academic articles. There are also columns such as "Dialogue", "Xuelin", "Notes", "Book Notes" and "Book Reviews" to reflect the research results of scholars in multiple forms and levels.

The theoretical study of fate in Chinese poetics includes three parts: category research, theoretical research and applied research. The basic category of the theory of predestined affairs is "things", and the basic concept is "predestined affairs". From the perspective of events, poetry is derived from the sense of events, shaped by events, and formed from events. The study of Yuanshi theory mainly explores a series of poetic issues such as the occurrence, creation, evolution, aesthetics and criticism of poetry and things, and then forms the systematic structure of Yuanshi occurrence theory, Yuanshi development theory, Yuanshi creation theory, Yuanshi poetry style theory, Yuanshi poetry method theory and Yuanshi poetry criticism. Applied research mainly applies the theory of predestined events to current poetry creation and criticism, poetic construction and comparison, poetic culture and poetic history reconstruction through case analysis, so that Chinese poetry and poetics can adapt to ancient and modern times, and integrate Chinese and foreign development.

The Yuan, Ming and Qing dynasties were historical periods with great cultural characteristics in Chinese history. The richness and diversity of Chinese literature were fully displayed during this period. The creation of Mongolian Chinese poetry in ancient China was concentrated in the Yuan, Ming and Qing dynasties, with more than 100 creators, and more than 50 people have handed down their collections. This book discusses the creation of Mongolian Chinese poetry in this period from multiple dimensions such as history, literature, and intellectual history. It discusses the creation of Mongolian Chinese poetry in the Yuan Dynasty under the construction of space-political order, the creation of Mongolian Chinese poetry in the Ming Dynasty under the construction of spiritual-spiritual order, and the creation of Mongolian Chinese poetry in the Qing Dynasty under the construction of history and space. In three parts, it systematically and in-depth studies the origin, development and evolution of Mongolian Chinese poetry creation in the Yuan, Ming and Qing dynasties, demonstrates the unique appearance and development history of Mongolian Chinese poetry creation in the Yuan, Ming and Qing dynasties, and reveals the important role of the integration of Mongolian and Chinese literature in the formation of Chinese literary spirit and Chinese cultural tradition. This book has both documentary and theoretical value.

"On the Creation of Modern Chinese Novel Volume 1" selects and explains the long-form creations of many modern Chinese writers such as Ping Jinya, Zhang Ziping, Jiang Guangci, Sha Ting, Ye Lingfeng, Zhang Tianyi, Yao Xueyin, Luo Hong, Zhou Lengjia, Li Huiying, Wang Xiyan, Cheng Zaozhi, Bi Ye, Gu Sifan, Tian Tao, and Anonymous. As an important supplement to the history of modern Chinese literature, this book is intended to take New Historicism as the guiding ideology, literary texts as the starting point, and historical materials as the foundation. It pays attention to the era experience, aesthetic experience, and stylistic pursuit of the novel, and presents a dynamic, micro-comprehensive research pursuit. It can not only improve the existing analysis of mainstream writers and the research on the works of non-mainstream writers, but also be a useful enrichment and supplement to the study of modern Chinese novels.

This book agrees with what Gadamer said that there is an "affinity" between "experience" and aesthetics. It believes that both literary creation and literary criticism are inseparable from "experience". Because literary works are created by writers through "experience", critics must also use "experience" to understand the work. Only by deeply feeling the work and "experiencing" the emotions expressed in the work can we better understand the work. Understanding literature from the perspective of "experience" grasps the essence of literary creation and literary criticism. This book combs the evolution of literary concepts in Chinese and Western history from the perspective of "experience", analyzes the reasons for the formation of ancient Chinese literature and contemporary Western "experience" literary concepts, and also evaluates the impact of "experience" literary concepts on literary creation and literary criticism.