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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.

This book contains representative papers by teachers from the Institute of Literature and Art of Zhejiang University, including a total of 45 papers by experts and scholars such as Wang Yuanxiang, Xu Dai, Xu Liang, Jin Jianren, Li Yongyin, Su Hongbin, Zou Guangsheng, and Liang Hui. The content covers basic theoretical issues in literature and art, aesthetics and art theory, literary history, literary criticism and other major areas of literary and art research. These papers have a variety of topics, including explorations of major issues such as the basic methods of literature and art research and the nature of literature, as well as a review of the history of the development of literature and art and aesthetics, as well as case analysis of literary and artistic works, which overall reflect the development history and academic level of the literature and art discipline of Zhejiang University.

This book systematically sorts out the changes in the image of knight-errants in literary works from the Pre-Qin Dynasty to the Tang Dynasty, and explores the impact of knight-errant culture on ancient Chinese literature, the social atmosphere of the time, and the mentality of scholars. Sima Qian was the first to write a biography of the knight-errant, establishing the classic image of the knight-errant. Starting from Cao Zhi, the image of the chivalrous man has been combined with patriotism. The heroic feats of young chivalrous men who "sacrifice themselves to fight for the country's calamity and regard death as a sudden return" has inspired generations of passionate men. The image of knights in chivalrous poems and legendary novels of the Tang Dynasty is also a representative of the tolerant, open-minded, positive and high-spirited ethos of the times in the Tang Dynasty. Chivalrous literature is rooted in the rich soil of traditional culture and embodies the Chinese nation's pursuit of truth, goodness and beauty, so it has vigorous vitality. Contemporary college students are at an age where they admire heroes and need to establish a correct view of heroes and values. This book combs and elucidates the image of chivalry in excellent ancient literary works, absorbs the essence, eliminates the dross, and combines it with the new era's view of heroes to build a hero system with national characteristics and enhance college students' cultural confidence and patriotic sentiment.

"Research on Women's Poetry Society in Qing Dynasty" is my country's first comprehensive and comprehensive academic monograph on the formation of women's poetry in Qing Dynasty. It is also the final result of the National Social Science Fund project. This book is based on the two original theories of "layout restoration" and "scene restoration" in historical research, and takes blood relatives, poetic friends, geography, poetry activities and poetry creation as the main supporting points to study nearly 30 important or distinctive women's poetry societies in the female poetry circle of the Qing Dynasty. The book not only focuses on the objective content such as the evolution of the Qing Dynasty Women's Poetry Society, the context of the times, historical traditions, and organizational structure, but also focuses on exploring the ontological content such as the membership organization of the poetry society, poetry singing, poetic exchanges, and poetry creation tendencies and characteristics. The book also pays attention to commenting on the main poetic characteristics of the Qing Dynasty Women's Poetry Society, such as the "extreme prosperity", "region and familialization", and the "female writing" of poetry. The book also conducts detailed research on the family origins and poetic contributions of the leading figures of the Qing Dynasty Women's Poetry Society, as well as some doubts and anecdotes about the Qing Dynasty women's poetry circle. The book strives to use multiple cuts and perspectives to deeply and comprehensively display the overall style and historical reality of the Qing Dynasty Women's Poetry Society.

This book takes the novel genre of the late Qing Dynasty and the early Republic of China as the research object, and strives to comprehensively and systematically demonstrate the unique historical value of the novel genre in the late Qing Dynasty and the early Republic of China in the process of the growth and decline of Chinese written language. This book makes a relatively detailed classification of novel genres in the late Qing Dynasty and the early Republic of China, explores the complexity and uniqueness of novel genres, analyzes the stylistic concepts, refined and popular aesthetic concepts, and the complex mentality of scholars behind the evolving trends of novel genres in the late Qing Dynasty and the early Republic of China, and explores how changes in social operating mechanisms accelerate the qualitative change process of vernacular replacing classical Chinese. In the specific historical time and space of the late Qing Dynasty and the early Republic of China, the rise and fall of literary and white languages ​​followed its historical trajectory and entered a period of transformation. Natural language, literary language, and political language were glued together, jointly promoting the transformation of classical Chinese into vernacular.

"Dream Notes" are diary-style dream records with distinct documentary characteristics. They are a narrative form shared by ancient dream literature in China and Japan. The Japanese "Dream Chronicles" often use dreams as a revelation to become a monk or to change their faith, a sign to determine whether they have successfully received the ordination, a confirmation of the stage of practice, or a sign to determine whether the practice has been accomplished. "Dream Notes" has become an important field for expressing religious beliefs, and has the nature of "Buddhist seeking records". China's "Dream Records" reached its peak in the Song Dynasty, and people such as Dezhen, Zhang Zai, Long Quan and others who recorded "Dream Records" emerged, as well as Su Shi, who persisted in recording dreams for a long time. The peak of Japanese "Dream Records" followed that of China, the content of Chinese and Japanese "Dream Records" both showed a tendency to become more and more everyday-oriented after the Song Dynasty, and the widespread dissemination of Su Shi's works in Japan, etc., Indicate the possibility that Japanese "Dream Records" were influenced by China.

This book is an explanation of difficult issues in famous Tang poems by Zhang Tianjian and Zhang Qi, two famous experts on Tang poetry. The book contains a wide range of contents, such as "decryption of Li Bai's "Drinking Alone under the Moon" and "Yongjie Wuqingyou"", "questions about Du Shenyan's "Early Spring Tour with Lu Cheng in the Jinling Mausoleum"", "Where is the Kuangshan Reading Center in Du Fu's "Missing"", "Tang Qiu, the poet of the late Tang Dynasty", etc. The book has well-founded and interesting answers. This book is based on careful reading of literature, "the shallow ones go deep, and the deep ones make it clear." Each topic is deep and implicit, with cross-references. It is carefully constructed according to the style of "Tang Poetry Decrypted" and uses the form of "questioning" to answer questions and solve problems. It is an academic and interesting reading of Tang poetry.

This book collects relevant papers on the study of literature in the new era by Wang Zhaosheng, Li Lin and other scholars. Based on China's standpoint, it uses a historical attitude, a global perspective, and a forward-looking perspective to analyze the current situation, theories, and methods of Chinese literary research since the new era, find its inherent laws, evaluate its merits and demerits, and provide useful reference and inspiration for literary research. Here there is not only an overall discussion of the theories and methods of Chinese literary research since the new era, but also a macro description of the development status of ancient Chinese literature, modern and contemporary literature, and modern literary theory, as well as tracking and reflection on hot and cutting-edge issues. Combining theory with practice, paying equal attention to micro and macro, it provides a panoramic display of the current status, concepts and methods of literary research since the new era.

This book is a compilation of research papers by teachers from the Institute of Modern and Contemporary Chinese Literature, Department of Chinese, Zhejiang University. The collected time ranges from 1982 to 2018. It is divided into six parts: "Issues and Methods", "Ideological Trends and Phenomenon", "Writers and Works", "Writers and Works (Zhejiang)", "Film, Television and Literature" and "Publishing and Culture", with a total of 58 articles. Its main content is Chinese modern and contemporary literature, but also includes film and television, editing and publishing, etc. The "Preface" comprehensively summarizes and sorts out the development of the modern and contemporary Chinese literature discipline at Zhejiang University (including the original Hangzhou University) as well as its academic personality and characteristics.

This book focuses on outstanding literary classics since the founding of New China, involving novels, essays, reportage, drama and other literary genres. It introduces the works and writing experiences of writers such as Liu Qing, Zhao Shuli, Lu Yao, Chen Zhongshi, Jiang Zilong, Zhang Jie and Tiening. Scholars come from national scientific research institutions and universities. They stay close to texts and social reality, return to historical scenes and cultural contexts, examine literary phenomena and existing problems, and reveal the world of meaning and aesthetic value constituted by works. Re-read literary classics, draw a literary map in the form of "introduction", construct a different kind of literary history, spread the culture of literary classics, and share human experience and wisdom.

The public speech of writers and critics can always spread literature at different levels and potentially affect society. This book collects sixteen relevant interviews with more than ten writers and critics including Han Dong, Xu Zechen, Wang Xiangfu, Li Hao, Yi Zhou, Wang Chunlin, and He Ping, trying to restore their dialogues and confrontations on different occasions. Such as Han Dong's interpretation of local novels and older writers; Xu Zechen's subtle but profound ambition to draw his own literary map; Wang Xiangfu, Li Hao, and Yi Zhou's different expressions of calligraphy and painting art or many realities; Wang Chunlin and He Ping's candid remarks on the technological era or urban and rural changes; and so on. These lively and lively dialogues echo the vitality of literary research, multi-subject oral expression and dialogue in different senses. They may bring vigorous aesthetic vitality to rigid literary research and silent theoretical thinking, and provide new production possibilities for the construction of literary publicity.

Chinese contemporary poetry paratext materials are rich in poetic details, intertwined with complex political and cultural contexts, and contain many past events in the poetry world that need to be discovered. This book mainly takes poetry paratexts from 1949 to 1966 as the research object, touches the historical scene of the production, dissemination and reception of contemporary poetry, examines the dynamic mechanism of the popularization of contemporary poetry from another dimension, explores the complex and diverse ways in which ideology is embedded in poetry paratexts, analyzes the popular speech and image system, communication system and interpretation system constructed by the multi-dimensional combination of poetry's main and paratexts, and re-examines the unique phenomena and complex issues in the evolution of contemporary poetry.

This book focuses on the cross-cultural literary field generated by the cross-cultural interaction between Chinese and British modernist groups in the 20th century. It explores the origin of this literary field, the China complex of the Cambridge Apostolic Society-Bloomsbury Group, the trip to China of the Oxford Modernist Talent Group, the China trip of Cambridge Modern Criticism leaders I. A. Richaci and William Empson, Xu Zhimo's perception and spread of British modernism, the new realm of Chinese and English poetics opened up by Ye Gongchao, the pattern of modern Chinese criticism established by Qian Zhongshu, and the cross-cultural travel writings of Xiao Qian and Ye Junjian. Five structural models of dialogue and identification between Chinese and British modernism are summarized-investigative aesthetic type, investigative ideological type, investigative poetics type, integrated experiential aesthetic type, and integrated comprehensive type.

Story changes include three aspects: 1. Stories, as folk prose narratives passed down orally, mutate anytime and anywhere; 2. Story mutation is not arbitrary mutation, but manifests as relatively stable "limited variation" of core elements and gradual "displacement" of detail replacement; 3. Variation is regular, and story variation is restricted by factors such as oral tradition, time and space environment, memory bias, and even popular culture, and has characteristics such as emotionality, patterning, and adaptability. This book borrows the concept of "machine change" (adaptive "change") to summarize the directional (non-arbitrary) variation characteristics of story communication and reconstruction. Starting from various aspects such as classic review, diachronic review, and theoretical reflection, we discuss the rules of how stories change with "chance"; and through empirical research such as field trips, communication experiments, and memory experiments, we specifically discuss the "chance" and "change" of stories as they adapt to changing circumstances.

In the 13th and 14th centuries, due to the world conquest activities of the Mongols, China realized a global opening pattern of its two major exports, desert and ocean. China-centered economic, trade and cultural exchanges between the East and the West reached their peak. The Silk Road travel literature of this period also became a typical representative of the diversity and tolerance of Chinese civilization. This book is an important manifestation of the results of the National Social Science Fund's major bidding project "Compilation and Research of Silk Road Literature Documents from the 13th to 14th Centuries". It is also an offline auxiliary textbook written and published in conjunction with the provincial-level graduate online course "Chinese and Foreign Exchanges and Research on Silk Road Literature Literature from the 13th to 14th Centuries." The book consists of an introduction, main text and appendices. In addition to the literature summary, it mainly focuses on the themes of six series including "Journey to the West Series", "Southwest Silk Road Travel Series", "Grassland Silk Road Series", "Maritime Silk Road Travel Series", "Eastern Journey Series" and "Silk Road and Cities Series". This book is of great help in understanding the far-reaching impact of the "image of China" in the world, especially in Europe, in the 13th and 14th centuries. It can be used not only as a textbook for graduate students in universities, but also as a reference for professional researchers.

Yunnan is a remote place in the south of the world with many ethnic groups. The history of Ci is not illustrious, and its status and value in the glorious history of Chinese Ci are almost vague. However, the history of ancient and modern poetry in Yunnan is an organic component of the history of Chinese poetry, witnessing the game and integration of local culture and mainstream civilization. At the same time, the basic history of ancient and modern Ci poetry in Yunnan, which began in the Yuan Dynasty, gradually emerged in the Ming Dynasty and flourished in the Qing Dynasty, and the style of the Ci poetry circle are quite different from the mainstream Ci poetry circle, and have local literary value and special cultural significance. This book is dedicated to sorting out the basic context and situation of Yunnan's ancient and modern poets' works and the Ci world, hoping to reproduce their appearance and ecology.

This book reviews important achievements since the 20th century from the perspective of narrative politics. The book is divided into four series, each series consists of several intrinsically related papers. The first volume is dedicated to a schematic review of the academic thoughts of major scholars in contemporary narrative politics, mainly scanning the achievements of important scholars in structural narratology, Western Marxism, Bakhtin and post-classical narratology. The second to fourth volumes respectively provide an in-depth reading and review of the representative works of important narrative theorists such as Propp, Greimas, Todorov, Lukács, Jameson, and Bakhtin. Particular emphasis is placed on the representative works of Jameson and Bakhtin, and the main aspects of their narrative politics and novel politics are studied and analyzed to demonstrate the insights, value, and enlightenment of their achievements, while also revealing the difficulties and problems existing in their theories, and providing the author's thoughts on this. The author of this book has been studying narrative culture and narrative politics for a long time, has his own in-depth thinking on relevant issues, and has also formed his own independent opinions. Therefore, this book is not only an objective review of research objects, but also full of inherent reflection and dialogue.

Starting from the dual perspectives of memory and cultural history, this article examines how British realist novels choose to use Dutch paintings and the ideas behind them, and then reveals the fit and interaction between the two. It involves the criticisms of many major art historians, literary historians, and novelists of the 19th century about "Dutch Painting School and British Realist Novels." The Dutch School is characterized by a secular culture of peace, prosperity, wealth and tolerance. It is mixed in British realist novels and participates in the construction of collective memory and community culture. The "human reality" contained in the "realist" thought exactly reflects the aesthetic taste of ordinary citizens (middle class) in the Dutch School. The literary interpretation and cultural memory of the Dutch School in realist novels also reflects this trend. This book is divided into three parts (the evolution of the Dutch painting school and British realist novels), the middle part (the origin of the Dutch painting school and British realist writers), and the second part (the integration of the Dutch painting school and British realist novels). It answers the question of why, what, and how British realist novelists use Dutch paintings to express the nostalgia and nostalgia of the British nation. The psychological appeal of community building proposes three levels of novel text interpretation: the "natural meaning" of the text itself, the reproduction and imitation of the text; the "conventional meaning" of text analysis, the interpretation and metaphor of the meaning; the "cultural code" of text production, where images and text jointly determine the basic elements of nation, era, religion and philosophy. This summarizes and reflects on the novelist's cultural strategy of using images in writing and its cultural innovative significance.

This book is a collection of critical materials collected during the research process of the national social science project "Research on Novel Novels of Early Qing Survivors". It is divided into two parts: classical Chinese and vernacular Chinese. It mainly includes the preface and postscript, summary, idioms, examples, final batch (return to the last batch) of the novel, etc. In particular, it includes some critical materials that have received less attention from academic circles.

This book is the first academic monograph to conduct a comprehensive study of Henan urban literature since the founding of New China. This book takes contemporary Henan literature as a research perspective and provides an overview of the development of urban literature. By returning to the literary scene, on the basis of interpreting texts and examining historical facts, this book analyzes the regional attributes, cultural psychology, spiritual temperament, and the development history of cities and people. Henan's urban literature not only touches on the universal issues of urban literature, but also presents many different local experiences, including historical accumulation, the light, shadow and charm of the city under the culture of the ancient capital, and the specific state of mind in the process of modernization. And the "aura" found through excavating literature and historical experience may be a key for modern urbanites to get out of their inner dilemma.

This book takes the imperial narrative in William Wordsworth's poetry as the research object, uses post-colonial literary criticism as theoretical support, and combines textual reading, comparative research and post-structuralist research methods to more systematically explore the ideological connotation represented by William Wordsworth in relevant texts, as well as the discourse reference given to the text in a specific historical and cultural context and regional political background. It examines the multi-dimensional political intersection between the romantic poet and the empire, and reveals the dynamic interaction between the poet, his poems and the times.

Sports is a social force that cannot be ignored in the historical process of the United States. Sports also play a very important role in expressing themes and shaping characters in the works of many American writers. However, it has not yet attracted the attention of literary critics. If it is paid attention to, it is only partially mentioned. This book is the first monograph at home and abroad to systematically explore sports narratives in DeLillo's novels. It brings sports as a keyword into the interpretation of serious literary works, and provides a new interdisciplinary research paradigm between literature and other disciplines. From the perspectives of implicit narrative, historical writing and subjectivity, this book deeply and systematically reveals the connection between sports narrative and discourse construction, identity, agency, race and gender politics, historical process and living environment. It pays special attention to revealing the hidden internal connection, proving that sports, as an important social force, participates in the writing and representation of novels and is of great significance at the narrative level.

This book takes rural-themed novels that have appeared since the new century, including some rural non-fiction works as the object of observation, and discusses the new qualitative elements and many changes that have appeared in rural narratives in the past twenty years. It has conducted detailed, in-depth and innovative interpretations of nearly twenty rural narrative works (especially novels), and analyzed the writers' creative motivations and expressive intentions. It combs the development of rural narratives in modern and contemporary Chinese literature and reveals the current rural reality, which is both academically rational and practical.

From the perspective of the history of literary development, "Shangshu" is the first cultural classic with poetic character and literary connotation that appeared in ancient my country. It can be called the earliest beginning of Chinese classical literature. This book is divided into five parts: Origin Theory, Art Theory, Narrative Theory, Rhetoric Theory, and Influence Theory. It aims to systematically and comprehensively excavate and evaluate the literary connotation and literary value of "Shang Shu" from the academic perspective of Chinese and Western integration. This is not only conducive to our comprehensive understanding of the development process of early Chinese classical literature, but also conducive to our comprehensive understanding of the literary characteristics of the early national cultural classic "Shang Shu".

This book takes the compilation works of classical Chinese novels in the Ming Dynasty as the research object, and is based on literature research. It looks at the phenomenon of compilation of classical Chinese novels in the Ming Dynasty from the two dimensions of stylistic type and document type. It chooses compilation types such as zhiguai style, shishuo style, bodhisattva, and novel series as representatives to conduct an inventory of their documentary background, refine their aesthetic characteristics, explain their literary achievements, and explore their academic contributions. On the basis of case studies, an overall review is made of the background, style, value and shortcomings of the collection of classical Chinese novels in the Ming Dynasty.

This book takes Robinson's series of novels as the research object and explores the shaping role of abolitionist thought, religious traditions and physiocratic concepts in the value system of the American Midwest. It focuses on the inner connection between the social and spiritual fields, secular life and sacred space, and emphasizes human beings' physical attachment and cultural attachment to the place they live in. It thus conducts an all-round and overall study on the formation, development, operation and effectiveness of the American Midwestern culture. It sublimates the topic discussion from regional awareness to the most extensive life care, and interprets the meaning of spiritual home from a more comprehensive perspective.

Medicine is an important indicator of the development of civilization and an important driving force for social evolution. Modern Western medicine represents Western culture and social systems and is an important part of imperial ideology. At the end of the 19th century and the beginning of the 20th century, modern medicine from both sides became the paradigm of power rule within the empire, and had a profound impact on imperial expansion and centralized rule throughout the 20th century. As medical historian Anderson said: "The declaration of universalism and modernity by Western medical discourse has always influenced the imperial aspirations from the past to the present." This book uses the history of medicine from both parties as a starting point, analyzes American works in the 20th century from a post-colonial perspective, and explores how natural science medicine evolved into social medicine, how medical terminology was transformed into medical discourse, and how it participated in the construction of imperial politics. The author also focuses on the identity and creative intentions of imperial writers, confirming Said's view that "the goal of every literature and art in the culture of the metropolitan country is to maintain the empire."

This book focuses on the politics of life to explore the new quality of modernity in new century novels, and takes the problems encountered by individuals in pursuing self-realization in post-traditional society as the core issue. It attempts to provide a theoretical perspective for the study of the new quality of new century novels in the overall perspective of seventy years of contemporary literature. Daily life, private life, and public life in new century novels reveal from different aspects the political implications inherent in the lifestyle choices of liberated individuals. Returning to tradition and nature is an important way for detached individuals to regain their moral source in a post-traditional society. Starting from the politics of life, we can discover the neglected ideological depth of new century novels, which can help clarify the spiritual background behind some hot issues in new century literature.

This book examines the acceptance of Chinese modern and contemporary literature in the English-speaking world from the perspective of translation anthologies, outlines the evolution of this compilation activity that has lasted for more than 80 years in terms of article selection, text interpretation, and editor composition. It reveals the reconstruction of the image and classic sequence of Chinese modern and contemporary literature by English translation anthologies, and analyzes the mapping of Chinese modern and contemporary literature by world literature anthologies.

Literary classics are not only an important theoretical issue in literary research, but as an important carrier of national culture, literary classics also play a pivotal role in cultural construction, inheritance, and cross-cultural exchanges. This book is based on a systematic review of the theoretical paths and theoretical achievements of domestic literary classics research in the past forty years. It relates the occurrence and development of literary classics debates since the new era and the dilemmas of literary classics research to the changes in media culture, and conducts a systematic study of literary classics debates. By combing through a large amount of data and on the basis of restoring the cultural scene where the debate unfolded, the overall style and development of the literary classics debate over the past forty years are presented. It demonstrates the profound connection between the changes in contemporary media culture and the formation of literary classics and the study of literary classics. It responds to the academic discussion on the end of literary classics in the form of academic historical research.

This book mainly studies the idiosyncratic connotation of Zhu Dunru and his poetry as well as his posthumous influence. As a poet who traveled south from the Song Dynasty and lived through the dynasties of Shenzong, Zhezong, Huizong, Qinzong and Juzong, his collection of poems handed down from generation to generation, "Qiao Song", has autobiographical characteristics, recording Zhu Dunru's journey from a celebrity in Yiluo to a refugee in the south, from an official to a hermit in Jiahe. The evolution of Zhu Dunru's poems is a typical example of the evolution of word quality between the two Song Dynasties. Zhu Dunru's life style reflected in "Woodcutter Song" reflects the scholarly style and contemporary style during the two Song Dynasties. In the process of spreading for nearly a thousand years, the selection and acceptance of Zhu Dunru and his poems by readers in the Song, Jin, Yuan, Ming, Qing, and modern times are a dialectical unity of change and change. Between inheritance and new changes, Zhu Dunru eventually became an influential poet during the two Song Dynasties.

The late Qing Dynasty and the early Republic of China were an important transition era in Chinese history. With the brief rise of utopian imagination in literature, Chinese intellectuals completed the creation of the initial ideal civilized political system. This is the starting point of the imagination of "New China" in the modern sense, and it is also the basis for understanding the development of utopian thought and its movement throughout the 20th century. Taking the modern transformation of Confucianism as its perspective, this book comprehensively and systematically explores the emergence, development and influence of utopian thought and literature in the late Qing Dynasty, and summarizes its era characteristics, narrative structure, aesthetic connotation and historical contribution. Special focus is placed on the intrinsic connection between the "modern literature" movement and the utopian literary trend in modern China. It takes morality-politics-science as the axis, and revolves around the multiple imaginations of revolutionary utopia, anarchic utopia, female utopia, and scientific utopia in the late Qing Dynasty. It outlines and grasps the changes between China and the West in ancient and modern times, and examines the transformation of modern countries, Confucianism, and literature, with a view to reactivating the contemporary vitality of the Confucian tradition.

This book clearly emphasizes that the national character of literature should be holistically inclusive, and that Chinese literary tradition and literary national character are never static. From the multiple aspects of the presentation of Chinese culture and nationality in the Chinese novels of new immigrants from North America: the construction of the subject of national language speaking, the topics of national language speaking, the way of speaking national language, etc., We will re-examine the inheritance, development and innovation of Chinese literary tradition overseas. Breaking the method of research and description of Chinese literature of new immigrants, it confirms the value of Chinese literature and Chinese literature of new immigrants in North America in the context of modern Chinese literature. From a dynamic and diachronic perspective and a problem-centered research model, this book implements the principles and methods of traditional and modern changes and Sino-foreign dialogue, not only sorting out clear historical clues, but also presenting the analysis of heavy concepts.

This book is the first to study the anthology of new poetry over the past century from 1920 to 2020 as a whole, revealing the role that the anthology played in the canonization of new poetry, emphasizing that the anthology of new poetry involves multiple elements such as literature, education, social psychology, publishing, and media. The research in this book has important reference value and practical significance for the development of new poetry, Chinese literature, education and culture.

This book strives to present the style of Auden's poetics in a comprehensive and three-dimensional way, to show how the poet continued to respond to the outside world through his own in-depth thinking and active exploration against the changing historical background, and to examine the subtle relationship between the poet and himself, society and the art of poetry, thereby revealing the way a poet intervenes in society and the times, as well as the poetic issues and poetic path choices he faces subsequently. The discussion in the main part of this book is divided into two relatively independent but interrelated aspects: "the ideological genealogy of Auden's poetics" and "the artistic ethics of Auden's poetics". "The Ideological Genealogy of Auden's Poetics" mainly examines the complex origins between Auden and mainstream social thoughts from the perspective of influence research, and finds clues to his highly personalized acceptance, absorption and transformation of these thoughts. "The Artistic Ethics of Auden's Poetics" mainly focuses on Auden's literary career and poetic views, comprehensively analyzes the context of subjective and objective factors such as poetic tradition, creative environment and artistic ideals in the formation of his poetics, and reveals Auden's examination and elucidation of poetic ethics.

This book cleans up the internal relationship between media theory and the classic discussions of Marx and Engels, finds the ultimate "material motivation" for the development of literature from the perspective of media, and discusses in detail the internal relationship between media, symbols, and literature. This book attempts to construct a new view of literary history, re-stages the history of Chinese literature from the perspectives of media and symbols, and obtains periodization results that are different from the previous ones. This book analyzes the reasons and path of the evolution of Chinese poetry genres from the perspective of media and symbols, finds the essential force that promotes the development of the genre, and proposes new genres of "music poetry" and "literary poetry".

This book takes the rural literature of the new century as the research object, explores the modern experience of farmers in social transformation, and goes deep into the emotional world and cultural symptoms of farmers since the new century. It extracts four macro-modern psychological experiences of resentment, anxiety, impetuosity, and illness. It analyzes farmers' land consciousness, sexual concepts, interpersonal relationships, religious beliefs, and rural society's democratic consciousness, legal concepts, knowledge concepts, and consumption concepts. It presents farmers' fierce cultural and psychological conflicts, personality changes, and rural order changes since the new century. It has a broad vision. The book always runs through historical consciousness, insists on understanding and grasping human concepts, pays attention to the combination of internal and external literature, macro-social psychology and micro-text, more accurately grasps the physical and mental experience of farmers, and reflects on modernity. This book comprehensively presents the facts of current rural development, and has practical reference significance for implementing rural revitalization strategies and building a community of shared future for urban and rural areas.

The object of discussion in this book is the so-called "nothing writing" in classical vernacular novels, that is, the "idle writing" that seems to be "superfluous" in the narrative framework of the entire story. These "superfluous" words mainly include two parts: one part is a side narrative that can be determined to have no causal connection with the main storyline, and the other part can be generally summarized as some trivial references and the intervention of the narrator in the narrative. This book takes vernacular novels of the Ming and Qing dynasties such as "The Golden Lotus" and "A Dream of Red Mansions" as examples to illustrate how Chinese classical novels simulate the synchronicity and reality of real life by intricately juxtaposing multiple events and character activities, and connecting seemingly loose fragments of events into a complete story. This book aims to explore a resilient integration model in the narrative structure of Chinese classical novels.

As a large-scale human settlement, cities underwent major changes during the Tang and Song Dynasties. Changes in urban functions and social structures profoundly affected the lifestyles of literati in the Tang and Song Dynasties, and subtly changed their cultural and literary concepts. In this process, cities gradually lead literature toward secularization and popularization, thus triggering changes in literature at multiple levels such as subject matter, style, and genre. At the same time, literature is also actively shaping the city's image and cultural personality. In the interactive relationship between the dual construction of cities and literature, literati in the Tang and Song Dynasties keenly grasped the trends of urban social changes and reflected the images of urban transformation in the form of literary images. It is this perceptual writing method that more vividly preserves the historical reality.

To understand Qu Zi's "Chu Ci", there are two key points that must be kept in mind: First, the first sentence of "Li Sao": "The Miao descendants of Emperor Gaoyang are here, and my emperor is called Boyong." The so-called "Bo Yong" is the eldest son of King Wu of Chu, who was granted the title of Kui Zi. The pronunciation (entering tone) of the character Kui is "Qu" or "Jia". Boyong's eldest son Qu Xia got his surname from this and became the ancestor of the Qu family. Second, Qu Zi's "Chu Ci" has been completely preserved through two channels, the north and the south. The northern route was when the Qu, Jing, and Zhao tribes who migrated to Chu State and the Tian family of Qi State enriched Guanzhong in the ninth year of Emperor Gaozu of the Han Dynasty. Qu Zi's "Chu Ci" was introduced to Guanzhong by the Qu family as an heirloom, and was seen by Jia Yi. The route to the south was Shouchun, the capital of King Qingxiang of Chu, and his literary attendants Song Yu and Tang Le accompanied him. Therefore, Qu Zi's "Chu Ci" was also passed down as a precious heritage. For this reason, this book is divided into four parts, the inner part, the outer part, the chronicle interludes, and the poetics part, which display the complete three-dimensional style of Qu Zi's "Chu Ci" at multiple levels. The internal editor is dedicated to the notes and evidence of "Historical Records: Biography of Qu Yuan Jia Sheng", "Historical Records: Chu Family (Xuanwei Huaixiang)", as well as the ancestry and branch lineage of the Qu family, and Qu Yuan's historical and cultural awareness. The external editor is devoted to the collection and discussion of "Li Sao", "Tian Wen", "Nine Songs", "Nine Chapters", "Yuan Yu", "Divination" and "The Fisherman". The Chronicle Interlude is dedicated to the chronology of all chapters of Qu Yuan's "Chu Ci". The poetics chapter is dedicated to interpreting Qu Song's poems and poems as real poems. Such restoration research can lead people to deepen the exquisite cultural life connotation of Qu Zi's "Chu Ci".

This book takes Ningxia literary criticism since the new era as the research object, sorting out the historical evolution of Ningxia literary criticism from 1978 to 2018, and discusses it from five aspects: "discourse form", "cultural mentality", "typical phenomena", "writer's critical research" and "criticism cases", striving to achieve a macro grasp and micro examination of Ningxia's literary criticism during this period. This book summarizes the unique contributions and historical regrets made by Ningxia literary criticism in the overall development of Ningxia literature during this period, in order to explore the path for contemporary literary criticism to break through and provide constructive reference for the development of current literary criticism.

This book is the result of a paper presented at the 2017 and 2018 annual meetings of the Chinese Literary and Historical Materials Society, and received funding from the Research Bureau of the Chinese Academy of Social Sciences. "Chinese Literature History Materials" has been published in four series. In the past, it mainly focused on the research of ancient Chinese literature and modern Chinese literature. The fifth volume of "Chinese Literature History Materials" to be published soon has a major change. In addition to traditional research papers on ancient literature and modern and contemporary literature, it also adds research papers on overseas Chinese and ethnic literature historical materials. This collection combines nearly 100 papers from the two annual conferences of the Chinese Literary Historical Materials Society in 2017 and 2018. Based on the opinions of participating authors and the quality of the papers, 20 papers are selected from them, including 7 papers on ancient literary historical materials, and 7 papers on modern literature and maritime affairs. There are 7 research articles on foreign Chinese historical materials and 6 historical materials on national literature. Through these papers, we hope to reflect the connotation and extension of the concept of "Chinese literature", as well as the breadth and depth of the research on "Chinese literary historical materials", as well as the future direction and possibility of Chinese literature research.

This book is based on Chinese and Western comparative poetics as its theoretical basis, and uses the representative poetry collections of "confessional" narratives by the major American confessional poets as the main "intertext". It takes the "confessional" poetry texts of Chinese poets who were influenced by the American confessional school in the 1980s and created a group of Chinese poets who have both the characteristics of American confessional poetry and local poetics as the "current text". This book systematically examines and studies the spread and acceptance of American confessional poetry in China, the aesthetic inheritance and poetic construction of confessional poetry on Chinese soil, and the poetic innovation and transplantation of Chinese confessional poetry to American confessional poetry from the aspects of writing subject, poetic reception, text aesthetics, and cultural interference in the text, etc., In order to break through the current research status, eliminate some misunderstandings or misunderstandings, and open up space for related research.

Literary classics are all-encompassing and subtle, but they insist on retaining hope, bringing the warmth of humanity, and allowing people to appreciate the true nature of life. Starting from the perspective of feminism, this book selects a number of Chinese and foreign literary classics since the 19th century for detailed analysis. Based on perspective thinking and a return to common sense, it reinterprets these classics based on "aesthetic and historical" standards. The sky for women was once low; women who look up to the sky always yearn to fly freely. Paying attention to and understanding the real plight and sexual needs of women as the "other half" of the human group is a sign of the actual improvement of human wisdom and civilization.