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This book is one of the series results of the author's research on modern literary historical materials. This book focuses on the excavation, collation and interpretation of lost works by modern writers, including Lu Xun, Bing Xin, Feng Zhi, Yao Xueyin, Wang Xiyan, Ye Gongchao, Gao Changhong, Zhou Fosu, etc. The author adheres to the concepts of "newspapers are the "daily notes" of modern writers" and "newspapers and supplements of the Republic of China are important historical materials for modern literature". Using the research method of Pu, through "field investigation" of newspapers of the Republic of China, he collects and organizes many lost articles of modern writers, with a view to making contributions to the historiography of modern Chinese literature.

This book provides a historical and morphological analysis of the spread and reception of modern and contemporary Chinese literature in the German-speaking world. The dissemination of modern and contemporary Chinese literature in the German-speaking world experienced the West German intelligentsia's acceptance of political exoticism amid revolutionary fervor during the Cold War, and the East German intellectuals' utilitarian acceptance amid repeated policies. After the 1990s, the two communication paths gradually merged into a unified German literary mechanism, forming a pluralistic reception paradigm with politicized reception as the basic framework. The recipients in the German-speaking world start from the spiritual tradition of local intellectuals. The politicized acceptance of modern and contemporary Chinese literature is always accompanied by the criticism and correction of the same paradigm, guarding the literary spirit they respect in dialectical reflection.

The status of women is one of the important yardsticks for measuring the degree of social civilization. Although the Republic of China lasted only a few decades, women's legal status encountered changes unprecedented in thousands of years during this historical period. For the first time, this book systematically examines the evolution of women's legal status in the Republic of China and modern Chinese literary writing and the "interaction" between the two in the context of the entire social, historical, political and cultural changes. It comprehensively combs the relationship between the evolution of women's legal status in traditional rural society, urban space, Soviet areas and liberated areas during the Republic of China and modern Chinese literary writing, in order to explore the historical process of changes in women's legal status and living conditions in the Republic of China and its impact on literary creation, as well as the role of literature on this historical process. This book is an intertextual examination of legal provisions, historical materials and literary texts. It re-examines and interprets some writers' works that have been ignored by previous literary history from the perspectives of women's history and legal history. It also provides new interpretations of some classic works in literary history, and outlines a modern literary picture of the changes in the legal status of women in the Republic of China. This provides a new interpretation space for literature and a new understanding of this period of history. It also has implications for the living conditions of women in today's society.

This book comprehensively examines the literary works of the Anglo-Saxon period from the perspective of modern space theory. It takes different levels of space: natural space, social space, psychological space and spiritual belief space as its warp, and different types of texts such as heroic epics, lyric poetry, saint biographies, and wisdom literature as its weft. It explores the spatial concepts and landscape characteristics elaborated in key texts. The study focuses on the interaction between different groups of characters and their places of residence, revealing that Anglo-Saxon writers were actively committed to transforming the abstract and broad concept of space into concrete spatial representations such as places, landscapes, regions, and boundaries that can be experienced and perceived. The research breaks the barriers between space, place and landscape, fully examines the interoperability and uniqueness between the three, and thereby digs out the spatial construction characteristics presented in the literary texts of this period and the social and cultural information they carry. This book contributes to the development of space discussions for early medieval texts, and to a certain extent enriches the application of spatial theory in domestic and foreign literary studies.

The study of poetry societies in the Qing Dynasty is an important branch of the study of Qing poetry. From this, we can illuminate the overall development and evolution of Qing poetry, and also explore the status of related poet groups and local literature. This book uses the collection of social poems as clues and textual basis to examine its scale, shape and style to demonstrate the diversity of poets' association methods in the Qing Dynasty. Through different perspectives such as the main body of association, geographical distribution, and poetry creation, this book attempts to restore the construction process of poetic concepts and aesthetics in the Qing Dynasty, analyze the function of collective convergence creation in Qing people's realization of social needs and emotional interaction, and present the artistic accomplishment and moral constraints of the Qing Dynasty poet group in conjunction with the political and cultural environment at that time.

Based on a comprehensive review of Wang Youding's literary creation, this book focuses on his family background, life, friendships, ancient prose creation and poetry creation, and conducts systematic and in-depth integrated research from the broad perspective of the history of ancient literature and poetry. It examines Wang Youding as an independent individual and strives to achieve documentary research and theoretical analysis. Combining interpretation with interpretation, we not only avoid trivial accumulation of documents, but also reject empty theoretical deductions, and "enter the literary heart from documents", striving for novel perspectives, broad vision, and dense and detailed arguments to give an accurate conclusion on Wang Youding's literary creation characteristics and status in literary history, enrich the study of literary history, and promote the research process of early Qing literature.

Based on recent research in academic circles at home and abroad, this book mainly combines contemporary psychological trauma theory, uses psychological analysis and text reading methods, supplemented by biographical research methods, to provide a comprehensive, systematic and in-depth interpretation of Woolf's works. The study of this book not only focuses on the impact of mental trauma on Woolf's creation, but also focuses on exploring how Woolf narrates trauma in her writing, transcends trauma to seek healing from trauma, and the psychological process of getting out of trauma. This is the key to Woolf's trauma writing. This book believes that Woolf's trauma writing has high ideological and artistic value. It not only accurately conveys individual traumatic experience, but also elevates individual experience to universal human experience. On the basis of profoundly revealing all the forces that hinder human happiness, it points out the ideal way to get rid of the traumatic state. It not only heals the writer's self, but also plays a full and effective role in soothing universal human nature. In this sense, Woolf is a trauma artist.

This book borrows many theories from cognitive poetics, such as cognitive grammar theory, cognitive salience theory, cognitive metaphor theory, cognitive narrative theory, and cognitive psychology theory, to study the language innovation art and narrative techniques of "Ulysses" at the discourse and narrative levels, as well as its cognitive pragmatic function and cognitive narrative function. This book establishes a cognitive analysis framework based on cognitive poetics theory and composed of two levels: discourse and narrative. Discuss the prominent forms of language representation from the discourse level, such as non-verbal sounds, lexical innovation, stylistic imitation, cognitive metaphor, cognitive thinking style and other levels of cognitive interpretation, revealing the essential characteristics of Joyce's literary language and Joyce's view of language: the innovation, uncertainty and playfulness of language; explore novels from the narrative level Talking about the metaphorical macro-narrative strategy and micro-narrative strategy; discusses Joyce's three unique stream-of-consciousness genre representation modes from the level of stream-of-consciousness genre - the normative, transitional and extreme SOC representation modes, and uses cognitive mental space theory to explore the stylistic characteristics and cognitive pragmatic functions of different representation modes.

This book aims to explore the multiple meanings of literary contexts and the meaning-generating mechanisms of various literary contexts. First, it focuses on the generalization of "context" in the field of humanities and social sciences, and explores the changes in research methods and thinking paradigms behind it; secondly, on the basis of redefining the concept of "context", it examines the new connotations and diversified types of "literary context", and integrates literary language from the textual level. The context is divided into four types: "intra-textual context", "inter-textual context", "inter-semiotic context" and "social and cultural context"; finally, it explores the unique multiple meaning function of literary context that is different from non-literary context, and deeply studies the different meaning mechanisms of various context types to generate literary multiple meanings. The book tries its best to show the full picture of literary context, focusing on exploring its functions and mechanisms for generating complex meanings. It also discusses the evolution of context and its functions and values ​​in the fields of artistic nature and literary criticism practice.

This book attempts to construct a theoretical system on nostalgic writing, and on this basis, conducts a comprehensive and systematic study of nostalgic writing in Chinese literature in the context of modern social transformation in the past century. The development process of nostalgic writing of century-old Chinese literature clarifies its historical evolution; it explains in detail the theme of nostalgic writing of century-old Chinese literature in the context of modern social transformation; based on the summary of the above research, it redefines the status of nostalgic writing of century-old Chinese literature in the context of modern social transformation in literary history.

This book contains Professor Chen Zhongyi's research articles on literary principles over the years. It is divided into two parts according to the content. The upper part is "Ancient and Modern Causes", which are mostly theoretical articles, such as "Tragedy and Drama", "Tradition and Currents", "Plot and Theme", etc., And the lower part is "Miscellaneous Stories from Far and Near", which are mostly single articles. The research and comments on writers include contemporary Chinese authors Mo Yan, Jia Pingwa, Zhang Wei, etc., As well as foreign writers Borges, Pamuk, Llosa, etc. The theoretical research and the study of writers' works complement each other, and the macro and micro are combined. It is a representative collection of essays by Professor Chen Zhongyi for many years of literary research.

This book is the first specialized work to study folk narratives in contemporary Shaanxi literature. Folk narrative is one of the important fundamentals of contemporary Shaanxi literature. Writers have frequently produced "phenomenal" masterpieces, participating in and promoting the transformation of contemporary Chinese narrative literature. This book systematically analyzes the discourse characteristics, functional significance, cultural consciousness, literary tradition, as well as achievements, limitations and prospects of Shaanxi literary folk narratives, with a view to providing a new interpretation of the complexity of folk narratives and gaining theoretical enlightenment that transcends regional thresholds.

This book is an academic anthology by Professor Cao Shunqing of Sichuan University. It is divided into 12 topics: "Discourse of Ancient Chinese Literary Theory", "Aphasia of Chinese Literary Theory", "Reconstructing Discourse of Chinese Literary Theory", "Categories of Ancient Chinese Literary Theory", "Comparative Categories of Chinese and Western Poetics", "Comparative Poetics and Overall Poetics", "Development Context of World Literature", "Comparative Literature Discipline Theory", "Chinese School of Comparative Literature", "Comparative Literature Variation", "Across Heterogeneous Cultures and Cross Civilizations", and "Discipline Construction and Talent Cultivation". This book aims to reflect Professor Cao Shunqing's thinking on various topics in concise and easy-to-understand paragraphs, and to provide readers with a convenient way to understand knowledge, consult literature, and exchange academic knowledge.

In the ancient civilized world, India and China each created unique literary theoretical systems. This book sets up twelve topics to conduct a comparative study of ancient literary theories in India and China. It aims to illustrate that the expression forms of ancient literary theories in China and India are very different, but the basic principles are consistent.

How to comprehensively evaluate the American modernist poet Ezra Pound? Is he a poet or a sinner? How to grasp his inner drive to travel between literature, art, economy, politics, East and West, history and reality? This book focuses on Pound as a "poet" and also faces Pound as a "sinner". In any case, such a contradictory turn is truly and permanently tied to his identity. His interaction with modern Western visual art in the early 20th century, especially the keyword ENERGY (force/energy) proposed when he was making theoretical contributions to British Vorticism art, provided the inspiration and starting point for this book. Therefore, starting from three topics: Pound and Western modern visual art, Pound and China, and Pound and Italian fascism, this book shows this "American poet in the vortex" his consistent and continuous pursuit of "power" throughout his life, grasps a relatively certain and stable core of thought, and extracts the internal logic from the connection between his poetry creation, poetic thoughts and practical actions, thereby trying to achieve a comprehensive and comprehensive study of it.

This book uses "transformation" as the keyword, focusing on typical phenomena in the transformation process of contemporary Chinese science fiction, focusing on genre characteristics and text cases, outlining the historical development and transformation of contemporary Chinese science fiction. It strives to examine and grasp the relationship between technology and people, the aesthetics of industrial modernity, foreign influences, and the construction of Chineseness and other cutting-edge issues in science fiction criticism from the historical context, and make fundamental academic contributions to the study of contemporary Chinese science fiction.

During the Qianjia period, Pu Xue replaced Neo-Confucianism as the mainstream academic, and the change in academic research paradigm affected the literary concepts of this period. Scholars of Qian and Jiaqing re-examined the relationship between meaning, textual research and diction. Yuan Mei's theory of nature and spirit and Weng Fanggang's theory of texture, the former opposes Pu Xue, while the latter embraces Pu Xue. The two have completely different purposes. The theory of Xingling is intrinsically consistent with the Qianjia Yili. Pu Xue's liberal arts research promoted the creation of parallel prose in the Qianjia period. Scholars in Qianjia and Qianjia regarded parallel prose as the authentic article, and the dispute over parallel prose at this time was an extension of the dispute between Sinology and Song Dynasty. Under the influence of Qianjia Pu Xue, popular literature also had a strong textual research color.

Poems and poems were the mainstays of pre-Tang literature. The two evolved interactively, with one ebbing and the other growing. The history of literature has always focused on one-way research. This book integrates the two and is committed to the basic investigation of rhetoric. It takes style as the center and pragmatics as the key. It strives to break down the barriers between language and literature, research and creation, and pays attention to the similarities and differences between the two in basic issues such as subject matter, techniques, sentence patterns, diction, rhythm, and creative concepts. In this way, it reveals the "internal logic" of literary evolution, explains the beauty of physical appearance that "each body has its own beauty", reveals the fundamental nature of the two bodies, explains the literary reasons for the "death of Fu" and the rise of poetry, etc., And strives to demonstrate the clear, rich and vivid "beauty of the process" of the interactive mechanism of the two bodies.

The narrative definition, basic conceptual framework and theoretical construction of general narratology need to break through the limitations of the "language, especially text-centrism" of classical narratology. Its "text-centrism" can be traced back to the distinction between drama (imitation) and narrative by Plato and Aristotle. In fact, both novels and plays are stories. The concept of story in early ancient Greek culture has no media restrictions and is almost synonymous with narrative. Early human story forms were mostly developed in the form of oral narration, ritual performances, etc. The performance mode of its original oral culture also left traces in later written narratives. Narration has long been accumulated as a category of experience communication. Symbolized daily life is full of various narrative forms. Narration, as a kind of intelligence for planning and organizing social life, makes the daily life process itself have narrative structural characteristics. Based on the perspective of semiotics and media studies, this book also draws on the ideas and methods of phenomenology, cultural anthropology, sociology and other disciplines. It attempts to propose new concepts such as "writing author", "narrating subject", "subject voice" and "symbolic representation", and reinterprets issues such as "secondary narrative", "qualitativeness of recorded presentations such as film and television", "framework of presentation narrative", "Fabra and Huget", "narrative layering", "narrative and narrative terminology selection", "representation and representation" and other issues.

This book explores the form of early scholar-monk interactions and its relationship with literature from three main aspects: the confluence of Xuan-Buddhist thought, the formation of early Buddhist centers, and the literary creation of scholar-monk groups under the Buddhist background. A relatively in-depth analysis is made of the connotation of ideological categories such as Zhi Dun's "Surfaces of Color and Mystery" and Hui Yuan's "Image Noumenon" and their influence on literature; the formation of the characteristics of combining mountains and literature with meaning in the Buddhist centers of Kuaiji and Lushan; the creation of five-character poems by the poet monks in the Eastern Jin Dynasty and their poetic historical significance;

The Song Dynasty was a period of highly prosperous economy, culture, and education in Chinese history. The cultural atmosphere of advocating elegance and erudition made the cultural fashion of elegance and erudition sweep across the entire literati class of the Northern Song Dynasty. Although the country's power declined after the southern crossing, the liberal arts style remained unabated. At the same time, literati and officials generally developed a patriotic ambition to restore the Central Plains. Rooted in such a unique historical and cultural background, the autobiographical literature of the Song Dynasty also showed pioneering and new changes that were different from previous generations, which had a profound impact on the development of autobiographical literature in later generations. While inheriting the tradition, the autobiographies of the Song Dynasty also made interesting explorations and improvements in the development of ideological content and cultural implications. It incorporates in-depth thinking about family and country, life and death, and self, and has extremely diverse ideological and value orientations. The style also shows a development trend from a single narrative to the integration of multiple styles, further deepening the elegance and beauty of autobiographical literature, adding a rare female perspective in previous generations, and integrating the patriotic feelings that moved the world during the Song, Yuan and Chang Dynasties. The new changes in the elegance and taste, female perspective and patriotic sentiments in the autobiographical literature of the Song Dynasty have become its distinctive features and coordinate value in the development history of Chinese autobiographical literature, symbolizing the new height of Chinese autobiographical literature entering a mature stage in the Song Dynasty.

"Chinese Literary Historical Materials (Seventh Series)" combines nearly a hundred papers from the two annual conferences of the Chinese Literary Historical Materials Society in 2019 and 2020, and selected dozens of papers based on the opinions of participating authors and the quality of the papers. These papers can not only reflect the connotation and extension of the concept of "Chinese literature", but also reflect the breadth and depth of the research on "Chinese literary historical materials", as well as the future direction and possibility of Chinese literature research.

Taking the exegetical study of the Book of Songs as the basic starting point and integrating relevant research results from linguistics, literature, philology and other disciplines, it is of great contemporary value for completing the historical reshaping of traditional philology, promoting the construction and development of philology theory, and even highlighting the academic characteristics of traditional Chinese Confucian classic culture and establishing national cultural confidence. This book combs and organizes the research literature on "The Book of Songs" in the past dynasties, taking the occurrence and development of the "Book of Songs" primary school as the main line, outlining the basic process of text interpretation of the "Book of Songs" over two thousand years, and systematically constructing a general history of research on the "Book of Songs" primary school. The author of this book fully considers the origin and influence of core cultural factors, reflecting a broad historical perspective.

This book examines the poetics of the late Yuan Dynasty from three aspects: the changes in academic culture and the evolution of poetic thoughts in the middle and late Yuan Dynasty, the spiritual idols of the times and the approach to poetics in the late Yuan Dynasty, and the mentality of literati and the evolution of poetic thoughts in the late Yuan Dynasty. This article focuses on how the poetics of the late Yuan Dynasty evolved from the poetics of the previous generation, and how it participated in the construction of later generations' poetics, thereby revealing the diversity, compatibility, regionality, and universality of the poetics of the late Yuan Dynasty. This book believes that a poetic system with comprehensive contents such as poetry creation theory, poetic concepts, poetic criticism, poetry writing skills and common sense has begun to take shape in the late Yuan Dynasty, which directly started the rise of Ming and Qing poetics. If this link is ignored, the history of Chinese classical poetry will be impossible to connect.

The wilderness metaphor not only runs through the initial colonial period and the War of Independence in the United States, but is also of great significance in the subsequent westward expansion movement, the transformation from agriculture to industrialization, and the brewing, start, development, and maturity of modernization and urbanization processes such as the World Wars. The evolution of wilderness imagery has a profound and complex correlation with the modernization process of American literature and the development of American ecological awareness. This book aims to trace the origins of the conceptual metaphor of wilderness imagery, and takes the brewing, initial development, maturity, and transition periods of the American modernization process as the research interval. It focuses on reading and sorting out the works of American literary writers from the colonial period of the 17th century to the late 20th century. It conducts a comprehensive review and exploration analysis of the depiction and evolution of wilderness imagery under the ideological and cultural backgrounds of different periods in the American modernization process, and uses ecological criticism and spatial geography. Learning is the starting point for research, and interdisciplinary research methods such as sociology are introduced to elaborate on the spatial significance and artistic characteristics of wilderness imagery in various periods in the process of American literary modernization. It refines the different connotations of this conceptual metaphor, searches for and outlines the evolution trajectory of the American literary tradition, the special artistic essence and characteristics reflected behind it, and the inevitability of its emergence, existence and development, foresees its possible prospects, and re-examines the history of the relationship between humans and nature in the western United States.

"From Baicao Garden to Sanwei Bookstore" has been widely read since it was selected as a middle school Chinese textbook in 1931. "Baicao Garden", as a proper name for Lu Xun's memory space, has an immovable classic status. This book restores the "Baicao Garden" from the spiritual "paradise" of modern Chinese people's childhood into a historical space that contains multiple connotations such as family history, reading history, and literary history. The birth of the "Baicao Garden" is the product of the poetry dialogue between the Zhou brothers. The two men's series of writing centered on the "garden" lasted for more than half a century. The "Baicao Garden" was also sublimated from the back garden of Xintai Gate of Zhou's family in Shaoxing into a literary space with the significance of tracing the starting point of May Fourth New Literature.

American sinologist James Robert Hightower (1915-2006), who served as a professor at Harvard University in the United States for a long time, is a pioneer and founder of American Sinology, especially the study of American Chinese literature. This book takes Hai Taowei's representative sinological achievements in the study of Chinese classical literature as the research object. Based on original archives and documents, it conducts a basic, comprehensive and systematic study of Hai Taowei's sinology from the perspective of comparative literature, revealing his contribution, status and influence in American Sinology and even world Sinology.

This book focuses on introducing the concept of "poetry of communication" and explains several paradigms of poetry image communication (mainly movies). "Image" is the keyword of image theory and the core and soul of visual culture. It has the advantage of equal dialogue with traditional literary texts and other art forms. The image communication medium does not only have a carrying function, it can become a part that brings new expression elements and new expressiveness to poetry. Poetry in a certain sense leaves the original text expression carrier, introduces the communication carrier into self-expression, creates a three-dimensional text of poetry, and transforms it into a "three-dimensional poetry" or "cross-media poetry." The most significant poetic feature of "poetry of communication" is the fit between the expression carrier of poetry and the communication carrier. In the cultural context of media integration, poetry needs to seek new life after integration in the mutual selection of audio-visual intersections that gather with the media.

From the perspective of intertextuality, this book explores the complex relationship between newspaper writers' novels and newspaper news, and conducts a detailed examination of newspaper writers' professional identities, market-oriented survival styles, and literary practices. This book explores the historical convergence between the news communication mechanism and the generation of journalist novels through the intersubjectivity of the dual identities of journalist and writer, the relationship between the text and paratext of journalist novels, and the relationship between Chinese literary tradition and news communication culture, and elaborates on the unique cultural radiation of newspaper writers in modern China. This book reviews the historical scene, based on the review of newspaper news reports, news pictures, newspaper advertisements and other documents, and analyzes the occurrence of newspaper novels, the typification of newspaper novels, and the causes of the genre of modern popular novels, in order to provide historical reference for the reality and possibility of the construction of literary speech space in the contemporary new media environment.

This book contains a series of papers written by the author on the study of Bashu literature and literary and artistic thoughts over the past 20 years. It can be roughly divided into two parts: "A Tentative Discussion on the Characteristics of Ancient Bashu Literature", "A Brief Discussion on the Development Process and Main Characteristics of Bashu Literature" and "The Occurrence of Aesthetic Consciousness in Bashu - Taking the Artifacts Unearthed from the Sanxingdui and Jinsha Sites as Examples". The first part is a general introduction and exploration of the origins of Bashu literature. The development process, characteristics, and prototypes of aesthetic consciousness are analyzed; the second part is a case analysis of the literary and artistic thoughts of Sima Xiangru, Chen Ziang, Du Fu, Su Xun, Su Shi, Su Che, Wen Tong, Tang Geng, etc., Focusing on the literary thoughts of these writers and their relationship with Bashu culture. The appendix contains the titles and abstracts of graduation thesis on Bashu literature and art by doctoral students and master's students supervised by the author. This book systematically discusses Bashu regional poetics and Bashu literature, and has reference value for the study of Bashu literature and art.

This book is based on the "literary space" that connects "literature" and "geography". From the "outer space" of "literary space" to the "inner space" and finally to the significance of literary history, this book studies the Beijing and Shanghai literary space in the novels of the late Qing Dynasty and the early Republic of China. It focuses on space and novelists' urban experience, space and text space in novels, space and space narrative in novels, etc.

This book focuses on combing through the diverse writing forms and thematic expressions of different writers in overseas Chinese literature since the 1980s while on the move, namely, the cause-and-effect motif of overseas Chinese literature, family and personal narratives, mothers and daughters in intergenerational ethics, the carving of movement and space, future science fiction and human existence, etc. It explains the characters that are isomorphic with the times, female self-imagination and meaning construction in gender dilemmas, the medium of existence and resistance in the ethical gap, and the construction of subjectivity between the matrix and the variant after movement. Further explore the spiritual posture, cultural pulse, multiple styles and subjective practices of literary writing in the moving time and space under the background of Chinese and Western cultures.

The study of prophecy is a theological and cultural trend that emerged during the Han Dynasty. It has had a huge impact on traditional Chinese classics, politics, culture and academics. Among all the wefts, "Shiwei" is particularly valued by modern academic circles because it is related to "Poetry" and poetics. It is rich in connotation and of great value. The author has conducted in-depth sorting and in-depth research on the literature of "Shiwei". The document compilation mainly focuses on collating lost texts and compiling annotations. While providing reliable basic documents for the academic community, it also presents the overall academic context and knowledge foundation of "Shiwei". Academic research focuses on the core concepts, interpretation models, cultural value and other basic issues of "Shiwei" and its relationship with the study of "Poetry" in the Han Dynasty. Innovative viewpoints are put forward in terms of interpreting poems and matching poems in "Shiwei" and the relationship between "Shiwei" and "Qi Shi", highlighting the uniqueness of the academic value of "Shiwei".

Rhythm is an important part and essential poetic element of the construction of modern Chinese poetry. This book explains the principles and mechanisms of the rhythm of modern Chinese poetry from the aspects of the nature, organization, form and function of the rhythm of modern Chinese poetry. It adopts the methods of theoretical sorting, text inspection and morphological comparison to examine and analyze the representative rhythm poetics theory and creative practice in the history of modern Chinese poetry. It places the rhythm of modern Chinese poetry in the Observing from a comparative perspective, it explores the inheritance and transformation of Chinese and foreign poetry rhythm traditions in the context of the dissemination and acceptance of new poetry, reveals the distinctive "Chinese" background and "modern" characteristics of the rhythm of modern Chinese poetry, and attempts to construct a theoretical system and interpretation platform for studying the rhythm of modern Chinese poetry.

In the Qing Dynasty, the relationship between the bannermen garrisoned in Hangzhou and the people in Hangzhou city experienced a process from conflict to harmony. The garrisoned bannermen were gradually attracted by Hangzhou's long and rich Chinese cultural heritage, and then studied and studied it, writing a large number of Chinese poems. These poems not only have similarities with the expressions of Han literati, but also have distinct ethnic characteristics. They are examples of the integration of national literature in the Qing Dynasty. This book takes the poetry of the garrison literati in Hangzhou as the research object. It not only explores the evolution of the poetry of the garrison literati in Hangzhou over time, but also explores the uniqueness of their creations from the perspectives of family literature, regional literature, trauma narratives, etc., And strives to fully reveal the overall style of this group's poetry creation.

This book is theoretically supported by the "formal ideology" proposed by critics such as Eagleton and Jameson, and re-examines the phenomenon of Chinese avant-garde literature in the 1980s from the perspective of literary sociology. It takes the formal experiments of avant-garde literature in the 1980s as the main line of research, and explores the humanistic context, historical genealogy, language style, narrative ethics, spiritual imagery and cultural heritage of avant-garde literature in the 1980s. The "formal ideology" research approach chosen in this paper is highly innovative in the study of Chinese avant-garde literature. The treatise not only focuses on the textual value of the avant-garde as "pure literature", but also focuses on the "external research" of avant-garde literary trends as a cultural phenomenon, including the sociological implications of "pure literature" overflowing from the text.

Based on the investigation of the development and changes of Sinology during the Meiji period, this book takes an overall look at the "Chinese charm" and "Japanese characteristics" in Meiji poetry and Chinese poetry, explores the inherent relationship between Meiji and Chinese poetry and Chinese culture, and analyzes the cultural mentality and creative style of Japanese literati when they created Chinese poetry based on the trend of the times during the Meiji period. The main contents include the development stages of the Meiji Chinese poetry and literary world, the exchanges of Chinese poetry and prose between Chinese and Japanese literati, the content, characteristics and causes of Meiji poetry and poetry, as well as the different styles of Chinese poetry and prose at different stages in the Meiji period, etc., And then reveal the status and role of Meiji poetry and Chinese poetry and prose in the history of Meiji literature.

This book contains 22 research papers on Su Shi written by the author over the past 30 years, and conducts a three-dimensional study of Su Shi and his writings from multiple angles. The first part, "Personality Theory," explores Su Shi's humorous character and transcendental thoughts; the second part, "Exploration of Outlook on Life," examines Su Shi's views on women, views on monarchs and ministers, derogatory speeches, expressions of gratitude, and military thoughts; the third part, "Exploration on Scientific and Technological Activities," focuses on Su Shi's scientific and technological activities, especially an in-depth study of Su Shi and medical culture; the fourth part, "'Su Hai "Li Test" examines Su Shi's pine complex, his friendship with Wen Tong, and his inheritance and transcendence of the theory of "poor before working" and Lu Zhi; the fifth part, "Exploration on Popular Literature," explores the Dunhuang Buddha image and "advertising consciousness" in Su Shi's poems, Su Shi's relationship with "Shuo Shen" and "Shuo Hua", as well as the relegation drama of the Yuan Dynasty and Wang Shizhen's acceptance of Su Shi in the Qing Dynasty.

This book takes as the research object literary narratives and related texts about the image of farmers since China's urbanization (starting with the rural reform in 1978), explores how literature since the 1980s has imagined the image of farmers, and discusses the complex reasons behind it. On the one hand, this book analyzes the character design, storyline, and narrative structure surrounding farmers in contemporary literary works. On the other hand, the historical context, ideological culture, and meaning structure related to the generated text are also the focus of this book. Through the analysis of six types of farmers' images and their related narratives, this book attempts to sort out a complete narrative logic. In this narrative logic, we can clearly see how the originally self-sufficient farmers fell into confusion and marginalization in the process of China's urbanization, and were even completely included in the urban orbit, losing their farmers' identity and subjectivity. However, at the same time, this narrative logic also reflects how farmers develop a self-awareness to construct and fight for new subjects and identities in a state of "marginal" and "suffering", and may even develop an emerging subjectivity from this.

This book explores the spiritual composition and local characteristics of the works of contemporary Hunan writers, and provides a dual interpretation of poetics and interpretation of more than ten important contemporary Hunan writers such as Zhou Libo, Han Shaogong, Can Xue, Huang Yongyu, Wang Yuewen, Yan Zhen, Zhang Zao, Shen Nian and their works. The overall structure is based on the local inheritance of literature, cognitive narrative, the self-evolution of Hunan writers, and the changing literary style, etc., And attempts to explore how to grasp the ideological context and artistic composition of the text in different ways and from multi-dimensional perspectives.

The canonization of a writer's works is a staged process from this article to a classic. Its starting point is the classicity of this article, which contains multi-faceted meanings such as tradition, pioneering, and model. The canonization of a work is a process in which readers continue to discover and reveal the classicity of this article and gradually establish its classic status. Cao Zhi blended his previous literary traditions and created original works, combining various styles and integrating all their achievements. The primary way to make his literature canonized is through the learning of creative readers. Through the creation and acceptance of literati in the Jin Dynasty, Song Dynasty and Qi Dynasty, the classic series of Cao's works was basically formed. The collection of "Selected Works" and the criticism of "Poetry" and "Wenxindiaolong" made the classic series manifest. Compared with the canonization of his works, the canonization of Cao Zhi has gone through a long process, from Chen Shou, Pei Songzhi, Jiang Yan, Zhong Rong, Xiao Yi, "Chen Siwang Temple Stele", Wang Tong, to Li Shan, Wu Chen, Wang Bo, etc. In the Tang Dynasty. After the discovery of many readers, Cao Zhi's Confucianism was finally unified with his works, thus establishing his status as a great master in the history of Chinese literature.

In the history of ancient Chinese literature, there are many works about disasters. These works describe the horrific scenes of natural disasters, people's difficult living conditions and painful and hopeless mentality, and record a variety of disaster resistance, relief and prevention methods, which have important artistic and social value. Based on literature, this book adopts interdisciplinary methods such as disaster studies, history, and folklore to conduct a macroscopic examination of disaster writing in ancient literature and summarizes the valuable national spirit contained therein, which is of great significance to the construction of current spiritual civilization.

As the leader of the Yangxian Ci School in the early Qing Dynasty, Chen Weisong had a very high status in the CI world, but his poems received less attention. This book starts from the regional and humanistic background of Chen Weisong's poetry creation, Chen Weisong's friendship activities with teachers and friends, the ideological content, main genres and stylistic features of Chen Weisong's poetry, Chen Weisong's poetic theory and criticism, etc. It takes more than 1,700 existing poems by Chen Weisong as the object of observation, discusses and reveals the high artistic achievements of Chen Weisong's poetry creation. This book especially focuses on Chen Weisong's poetic works that have important historical value and artistic achievements but have received little attention, thus showing his true appearance of his own poetry creation factory in multiple dimensions, following his predecessors.

This book mainly focuses on the overall background of Western translation of Tang poetry, a close textual reading, comparative analysis and interpretation of Yuwen Suo'an's English translation of Tang poetry, and explores the concepts, characteristics and methods of translation and interpretation of Tang poetry. It also uses theoretical perspectives such as contemporary comparative literature, such as iconography and variation, to deeply explore the poetic thoughts reflected in Yuwen Suo'an's writing of the history of Tang poetry and reveal the cultural value and theoretical significance of his English translation of Tang poetry and writing of the history of Tang poetry.

From the perspective of a foreign literature teacher, this book takes "literature is human studies" and "literary research is also human studies" as the guiding ideology, and analyzes "ancient Greek mythology", "chivalry literature" and "Homer's epic" from three levels: "literal meaning", "epochal significance" and "symbolic meaning". ", "The Aeneid", "The Divine Comedy", "Don Quixote", "The Decameron", "Giant", "Faust", "Eugene Onegin" and other classic literary works, with special emphasis on exploring, refining and explaining the various life states contained in them, hoping to provide readers with enlightenment in life. This book is the first to put forward the concept of "lecture-style academic works" and follows the law of "lecture-style academic works" that pay attention to communication. It strives to use beautiful writing, smart spoken language and vivid stories to cook the ups and downs of the world.

The vast majority of research on Chinese postcolonial criticism is conducted from an oppositional and critical standpoint, but these standpoints themselves are rarely reflected on and relativized. This book combines the specific events and issues of China's post-colonial criticism to comb through the representative figures and their opinions from various parties in the debate, and explores the issues of nationalism, duality, political economy and intellectual ethics that opponents accuse of China's post-colonial criticism. This book uses the issue of "modernity" as the red thread running through a series of topics in this book. In its research, it strives to transcend the binary model of "China/West, tradition/modernity" in the history of modern Chinese thought, and has made great progress in the research methods and depth of China's post-colonial issues.

One of the important indicators that Chinese society was in a period of transformation at the end of the Qing Dynasty and the beginning of the Republic of China was the modern transformation of intellectuals. Due to the particularity of their position in history, Chinese women are bound to experience more complex and drastic changes in the modernization process. This book focuses on the identity confirmation and gender construction issues of female intellectual groups in social and cultural life in the late Qing Dynasty and the early Republic of China. It inherits from the classical "talented ladies" and draws inspiration from the modern female writers group. It takes women's periodical readings as the main analysis object, and uses literary narrative, periodical culture, and gender discourse. Taking language phenomenon as the key research direction, it explains the "self" identity construction of female writers in the historical and cultural process from the perspective of gender studies, with a view to sorting out the historical context of the occurrence of modern Chinese women's literature, analyzing transitional characteristics, clarifying stylistic changes, and interpreting the world mirror.

This book selects some representative poems, lyrics, songs, poems and prose, etc., Analyzes them in categories, and discusses several middle-level theories related to ancient Chinese literature, such as the "realistic main text" theory and destiny-article theory in the writing of ancient Chinese literary history, the multi-modal analysis theory, literary space theory, and stylistic theory in text criticism, as well as the cultural construction theory and gender theory in literary sociology. The so-called middle-range theory can only guarantee its validity within limited time and space and within a limited range. However, this limited theoretical abstraction ensures the consistency between theory and experience to a large extent. Middle-range theory is not one kind, but exists in the form of a "bundle of theories". In terms of maintaining the richness and effectiveness of middle-range theory, this book has certain enlightening significance and can help readers establish some kind of their own "middle-range" imagination about ancient Chinese literature.

This book is based on problem awareness and uses representative artists and classic art phenomena in Western art history as clues to construct chapters. Each chapter of this book focuses on an artist or an artistic phenomenon, trying to explore the narrative construction of images and their discourse metaphors based on Western art historical practices from classical to contemporary times. This book focuses on three key words: image representation, narrative construction, and discourse metaphor. "Image representation" is an investigation at the phenomenon level and is also the case support of this book. "Narrative construction" is a deep theoretical analysis of phenomena. "Discourse metaphor" studies the social culture, aesthetic concepts and ideological discourse behind image narratives. This book introduces the perspectives of art philosophy, art sociology and art cross-media, and discusses the research object from the perspective of the integration of social theory, aesthetics, culture, philosophy and art, etc., And then provides theoretical support for current art appreciation and art criticism from the combination of case studies and academic theories, as well as practical support for the interpretation of current art theories.

The vigorous development of Chinese Internet literature cannot be separated from the encouragement and encouragement of critics. This book adopts the method of "taking people to guide history and using history to introduce arguments" and selects the 10 most representative Internet literature critics in China: Huang Mingfen, Ouyang Youquan, Chen Dingjia, Shan Xiaoxi, and Zhou Zhi Xiong, Ma Ji, Shao Yanjun, Xia Lie, Xu Miaomiao, and Xiao Jinghong demonstrate their academic contributions through the analysis of their theoretical criticism of Internet literature, revealing the development level and academic contribution of theoretical criticism of Internet literature in China from point to line and from line to surface. This book starts with the critical practice of individual critics, and obtains the theoretical depth and research breadth of Chinese Internet literature criticism through individual criticism symptoms. From here, we can see the development context, basic appearance and importance of theoretical criticism of Chinese Internet literature. At the same time, it also pays tribute to the pioneers of Chinese Internet literature criticism. It is precisely because of their academic exploration that Internet literature has entered the mainstream and Internet literature research has become a prominent scholar.