Literature is the art of language, so in the light of the profound influence of linguistic transformation on the development of modem Chinese literary forms it is appropriate to present the history of the development ...Literature is the art of language, so in the light of the profound influence of linguistic transformation on the development of modem Chinese literary forms it is appropriate to present the history of the development of modern Chinese literature as the art of language. Modern Chinese literature starts with the linguistic transformation of the May Fourth Movement＇s rejection of classical Chinese and promotion of the vernacular. This language revolution and the transformation of literary language during each subsequent historical period have exerted a profound influence on the overall development of modern Chinese literature, including literary forms, and hence have become an inner source of the development and evolution of modern Chinese literary forms and of the shaping of their main characteristics. An in-depth discussion of the interaction between linguistic transformation and the development of modem Chinese literary forms as well as the roles governing this process will not only disclose the universal linguistic context of literary creation created by the transformation of language but will also enable us to find the historical sources of the phenomena of literary genres and forms, writers＇ choice of literary styles, the formal characteristics of literary works, etc., and will offer a correct explanation and evaluation of the May Fourth vernacular movement and the subsequent series of new literary forms andstyles. This is instrumental to achieving a better summation of the experience and lessons of the development of modem Chinese literary forms and to finding historical clues to the development of our present-day literary forms.展开更多
discipline of the study of traditional Chinese literary forms;literary form history;literary form criticism;literary form theory;the study of literature;the study of traditional ChineseliteraryformsScholars dedicated ...discipline of the study of traditional Chinese literary forms;literary form history;literary form criticism;literary form theory;the study of literature;the study of traditional ChineseliteraryformsScholars dedicated to establishing and developing the discipline of the study of traditional Chinese literary forms,such as Wu Chengxue,have achieved significant accomplishments regarding research objects,research scopes,research methods,and concept maps.However,within this emerging discipline,traditional Chinese literary form studies and establishing the academic framework are still under exploration,with substantial areas still awaiting further investigation and extension.Inspired by Rene Wellek's division of literary studies into three realms:literary history,literary criticism,and literary theory,this article proposes an academic framework of traditional Chinese literary form study,which also encompasses three realms:literary form history,literary form criticism,and literary form theory.Based on a review of the research achievements in the discipline of the study of literary forms and the three sub-fields over the past two decades,this article analyzes the uniqueness of each sub-field and their influence on each other.Furthermore,this article validates the theoretical soundness and rationality of restructuring the academic framework of the study of traditional Chinese literary forms,citing the original and historical forms of these three sub-fields.展开更多
Throughout its development course,lyric has developed complex relationships with other literary forms,such as classical prose,poetry,and rhapsody,from an objective point of view.Kuang Zhouyi况周颐attached great import...Throughout its development course,lyric has developed complex relationships with other literary forms,such as classical prose,poetry,and rhapsody,from an objective point of view.Kuang Zhouyi况周颐attached great importance to exploring the relationship between lyric and other literary forms when investigating the history of lyric and constructing theories for lyric studies.He introduced the idea that"lyric is a subcategory of prose"from the perspective that lyric has a logical thread.He made detailed analyses regarding the differences and commonalities between lyric and song and the practice of writing operas and songs based on lyric stories in the Jin and Yuan dynasties.Starting from the narrative feature of lyric,he revealed the basic fact that new lyrics are derived from stories,and stories are presented in the form of lyrics.Furthermore,he examined"The Story of Nur al-Din Ali Ibn-Bakkar and the Slave-Girl Shams al-Nahar"from The Arabian Nights to analyze the writing techniques used in foreign literature to express the tender feelings between men and women.Based on this analysis,he argued that fiction and lyric share commonalities.As a scholar who committed the most enthusiasm to lyric studies from the late Qing to the early Republican periods,Kuang Zhouyi made many pioneering arguments on the relationships between lyric and parallel prose,lyric writing and zaju杂剧opera,lyric and fiction,reflecting the new characteristics of lyric studies in the early Republican period.展开更多
The study of Chinese literary form,with a long and profound history,has long been at the center of literary scholarship in China.However,under the impact of Western learning during the late Qing and early Republican p...The study of Chinese literary form,with a long and profound history,has long been at the center of literary scholarship in China.However,under the impact of Western learning during the late Qing and early Republican periods,the tradition of Chinese literary form studies was gradually overshadowed and marginalized.It was not until the 1980s that this tradition began to revive,rapidly developing into the most vibrant frontier of academic growth and becoming a focal point of scholarly attention.In terms of the overall research landscape,there is significant emphasis on the study of the literary form and history of literary forms,yielding a wealth of related achievements.In contrast,discussions surrounding literary form concepts and theoretical exploration remain relatively weak.It is crucial to summarize and reflect on the modern theoretical studies in literary forms over the 20th century,as this will promote the further development of traditional literary form studies and contribute to constructing a literary theoretical discourse system with Chinese characteristics for a new era.展开更多
Literature has always been nurtured by travelling texts,people and media—travelers along the Silk Road, European troubadours,oral storytellers and singers, translations and today through the proliferation of modern m...Literature has always been nurtured by travelling texts,people and media—travelers along the Silk Road, European troubadours,oral storytellers and singers, translations and today through the proliferation of modern media.For centuries,colonization and slavery,trade and business,teaching and research have instigated migratory movements that changed the direction of literature.Cultural encounters fostering exchange of values, themes,forms and languages have been and still are the driver of this process,making such encounters more salient for literature than the local confinement of national literatures which,after all,has only been a predominant practice during the last few centuries.This dynamics of exchange has been most challenging and productive,when they have also been most complex and marred by conflicts,as has been the case between cultures defined not only by different languages but also by different cosmologies and anthropologies.In this article I discuss literary and cultural encounters on the basis of the Indian-Bengali writer Rabindranath Tagore’s novel The Home and the World(1916),in which the encounter happened between Western,mainly European,and Eastern,in this case Indian,and world views clashed to the detriment not only of the life of characters but also of their entire social environment.Beyond its social themes the novel offers through its narrative structure a view of the full complexity of encounters with a resonance in today’s globalized world.展开更多
World literature studies has to navigate between idealism and realism:the idealism of creating a broader and more inclusive understanding of the world's literature,and the realism ofhow literature circulatesand ha...World literature studies has to navigate between idealism and realism:the idealism of creating a broader and more inclusive understanding of the world's literature,and the realism ofhow literature circulatesand has to overcome manythresholds to changecanonization.The increased recognition of how translation is a necessary part of world literature has done much to lay the grounds for an increased engagement with literature in non-European languages.I propose that an understanding of key patterns in the interational circulation of literary works can provide a better critique of the imbalances of canonization,and the inspiration for the inclusion of neglected works in the future.展开更多
The huaben话本stories of the Song and Yuan dynasties contain a huge amount of verse performances.Ifju集句provides an organized form for connecting verses of different origins to construct a complete verse performance,...The huaben话本stories of the Song and Yuan dynasties contain a huge amount of verse performances.Ifju集句provides an organized form for connecting verses of different origins to construct a complete verse performance,a story can also perform this function.Following this vein,it is possible to get a clearer idea about the relationship between ruhua人话and touhui头回:Ruhua is a non-narrative introduction,while touhui is a narrative introduction,and touhui is derived from ruhua.Fundamentally,the evolution from the non-narrative ruhua to the narrative touhui is driven by fully expanding the explanations of the introductory verse(s).From the perspective of verse narration,latent characters and pseudo-characters are common in verse performances.An important function for them is to stitch the verses together and present them to the audience rather than tell stories.Verse performances initially come from other forms of folk arts and are finally absorbed by and integrated into huaben stories.During this process,huaben stories gradually establish a more delicate literary form feature in terms of verse narration.展开更多
Over nearly a century from the early 20th century to the present,scholars have conducted in-depth explorations of the characteristics of literary forms of Yuan sanqu散曲,arriving at various summaries such as"secu...Over nearly a century from the early 20th century to the present,scholars have conducted in-depth explorations of the characteristics of literary forms of Yuan sanqu散曲,arriving at various summaries such as"secular,""humorous,""vivid,"and"tart."Various summaries indicate that our understanding of the characteristics of Yuan sanqu remains insufficient,necessitating further investigation to arrive at a more comprehensive summary that reflects the fundamental spirit of Yuan sanqu.The more comprehensive summary should be ye-yi野逸,representing a common living state,psychological state,and cultural spirit among literati in the Yuan Dynasty and is manifested in numerous aspects of Yuan literature and art.Historically,people have often recognized the ye-yi of Yuan literati primarily through Yuan paintings,but ye-yi is expressed even more fully in sanqu.The manifestations of yeyi in Yuan sanqu are diverse,including"unbridled and reckless spirit,""unrestrained and ingenious spirit with an unconfined mindset,""rustic and carefree spirit,""rural tranquility,""graceful wildness,""unconventional thoughts and fantasies,"and"vulgar and lowbrow works."展开更多
文摘Literature is the art of language, so in the light of the profound influence of linguistic transformation on the development of modem Chinese literary forms it is appropriate to present the history of the development of modern Chinese literature as the art of language. Modern Chinese literature starts with the linguistic transformation of the May Fourth Movement＇s rejection of classical Chinese and promotion of the vernacular. This language revolution and the transformation of literary language during each subsequent historical period have exerted a profound influence on the overall development of modern Chinese literature, including literary forms, and hence have become an inner source of the development and evolution of modern Chinese literary forms and of the shaping of their main characteristics. An in-depth discussion of the interaction between linguistic transformation and the development of modem Chinese literary forms as well as the roles governing this process will not only disclose the universal linguistic context of literary creation created by the transformation of language but will also enable us to find the historical sources of the phenomena of literary genres and forms, writers＇ choice of literary styles, the formal characteristics of literary works, etc., and will offer a correct explanation and evaluation of the May Fourth vernacular movement and the subsequent series of new literary forms andstyles. This is instrumental to achieving a better summation of the experience and lessons of the development of modem Chinese literary forms and to finding historical clues to the development of our present-day literary forms.
文摘discipline of the study of traditional Chinese literary forms;literary form history;literary form criticism;literary form theory;the study of literature;the study of traditional ChineseliteraryformsScholars dedicated to establishing and developing the discipline of the study of traditional Chinese literary forms,such as Wu Chengxue,have achieved significant accomplishments regarding research objects,research scopes,research methods,and concept maps.However,within this emerging discipline,traditional Chinese literary form studies and establishing the academic framework are still under exploration,with substantial areas still awaiting further investigation and extension.Inspired by Rene Wellek's division of literary studies into three realms:literary history,literary criticism,and literary theory,this article proposes an academic framework of traditional Chinese literary form study,which also encompasses three realms:literary form history,literary form criticism,and literary form theory.Based on a review of the research achievements in the discipline of the study of literary forms and the three sub-fields over the past two decades,this article analyzes the uniqueness of each sub-field and their influence on each other.Furthermore,this article validates the theoretical soundness and rationality of restructuring the academic framework of the study of traditional Chinese literary forms,citing the original and historical forms of these three sub-fields.
文摘Throughout its development course,lyric has developed complex relationships with other literary forms,such as classical prose,poetry,and rhapsody,from an objective point of view.Kuang Zhouyi况周颐attached great importance to exploring the relationship between lyric and other literary forms when investigating the history of lyric and constructing theories for lyric studies.He introduced the idea that"lyric is a subcategory of prose"from the perspective that lyric has a logical thread.He made detailed analyses regarding the differences and commonalities between lyric and song and the practice of writing operas and songs based on lyric stories in the Jin and Yuan dynasties.Starting from the narrative feature of lyric,he revealed the basic fact that new lyrics are derived from stories,and stories are presented in the form of lyrics.Furthermore,he examined"The Story of Nur al-Din Ali Ibn-Bakkar and the Slave-Girl Shams al-Nahar"from The Arabian Nights to analyze the writing techniques used in foreign literature to express the tender feelings between men and women.Based on this analysis,he argued that fiction and lyric share commonalities.As a scholar who committed the most enthusiasm to lyric studies from the late Qing to the early Republican periods,Kuang Zhouyi made many pioneering arguments on the relationships between lyric and parallel prose,lyric writing and zaju杂剧opera,lyric and fiction,reflecting the new characteristics of lyric studies in the early Republican period.
基金supported by the National Social Science Fund of China titled“Compilation of Selections from Various Periods and Relevant Literary Concept Studies”(21&ZD254).
文摘The study of Chinese literary form,with a long and profound history,has long been at the center of literary scholarship in China.However,under the impact of Western learning during the late Qing and early Republican periods,the tradition of Chinese literary form studies was gradually overshadowed and marginalized.It was not until the 1980s that this tradition began to revive,rapidly developing into the most vibrant frontier of academic growth and becoming a focal point of scholarly attention.In terms of the overall research landscape,there is significant emphasis on the study of the literary form and history of literary forms,yielding a wealth of related achievements.In contrast,discussions surrounding literary form concepts and theoretical exploration remain relatively weak.It is crucial to summarize and reflect on the modern theoretical studies in literary forms over the 20th century,as this will promote the further development of traditional literary form studies and contribute to constructing a literary theoretical discourse system with Chinese characteristics for a new era.
文摘Literature has always been nurtured by travelling texts,people and media—travelers along the Silk Road, European troubadours,oral storytellers and singers, translations and today through the proliferation of modern media.For centuries,colonization and slavery,trade and business,teaching and research have instigated migratory movements that changed the direction of literature.Cultural encounters fostering exchange of values, themes,forms and languages have been and still are the driver of this process,making such encounters more salient for literature than the local confinement of national literatures which,after all,has only been a predominant practice during the last few centuries.This dynamics of exchange has been most challenging and productive,when they have also been most complex and marred by conflicts,as has been the case between cultures defined not only by different languages but also by different cosmologies and anthropologies.In this article I discuss literary and cultural encounters on the basis of the Indian-Bengali writer Rabindranath Tagore’s novel The Home and the World(1916),in which the encounter happened between Western,mainly European,and Eastern,in this case Indian,and world views clashed to the detriment not only of the life of characters but also of their entire social environment.Beyond its social themes the novel offers through its narrative structure a view of the full complexity of encounters with a resonance in today’s globalized world.
文摘World literature studies has to navigate between idealism and realism:the idealism of creating a broader and more inclusive understanding of the world's literature,and the realism ofhow literature circulatesand has to overcome manythresholds to changecanonization.The increased recognition of how translation is a necessary part of world literature has done much to lay the grounds for an increased engagement with literature in non-European languages.I propose that an understanding of key patterns in the interational circulation of literary works can provide a better critique of the imbalances of canonization,and the inspiration for the inclusion of neglected works in the future.
基金This article is a phased achievement of the project“Textual ldentification and Literary Form Construction of Traditional Chinese Vernacular Fictions”(22FZWB104)funded by the National Social Science Fund of China.
文摘The huaben话本stories of the Song and Yuan dynasties contain a huge amount of verse performances.Ifju集句provides an organized form for connecting verses of different origins to construct a complete verse performance,a story can also perform this function.Following this vein,it is possible to get a clearer idea about the relationship between ruhua人话and touhui头回:Ruhua is a non-narrative introduction,while touhui is a narrative introduction,and touhui is derived from ruhua.Fundamentally,the evolution from the non-narrative ruhua to the narrative touhui is driven by fully expanding the explanations of the introductory verse(s).From the perspective of verse narration,latent characters and pseudo-characters are common in verse performances.An important function for them is to stitch the verses together and present them to the audience rather than tell stories.Verse performances initially come from other forms of folk arts and are finally absorbed by and integrated into huaben stories.During this process,huaben stories gradually establish a more delicate literary form feature in terms of verse narration.
文摘Over nearly a century from the early 20th century to the present,scholars have conducted in-depth explorations of the characteristics of literary forms of Yuan sanqu散曲,arriving at various summaries such as"secular,""humorous,""vivid,"and"tart."Various summaries indicate that our understanding of the characteristics of Yuan sanqu remains insufficient,necessitating further investigation to arrive at a more comprehensive summary that reflects the fundamental spirit of Yuan sanqu.The more comprehensive summary should be ye-yi野逸,representing a common living state,psychological state,and cultural spirit among literati in the Yuan Dynasty and is manifested in numerous aspects of Yuan literature and art.Historically,people have often recognized the ye-yi of Yuan literati primarily through Yuan paintings,but ye-yi is expressed even more fully in sanqu.The manifestations of yeyi in Yuan sanqu are diverse,including"unbridled and reckless spirit,""unrestrained and ingenious spirit with an unconfined mindset,""rustic and carefree spirit,""rural tranquility,""graceful wildness,""unconventional thoughts and fantasies,"and"vulgar and lowbrow works."
