Theoretical Studies in Literature and Art

Behavior Language, Unconscious Structure and Literary Activities

Ma Dakang

2016, 36 (6): 6-18.

Abstract ( 265 )

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Human's consciousness is constructed by the memory of speech acts, and the unconscious is constructed by the memory of behavior language. The similarities and differences between the two languages (behaviors) determine the relation and differentiation between the structure of consciousness and that of the unconscious. Therefore, it does not hold water that Lacan uses the structure of language to explain the unconscious. Aesthetic activities are the full cooperation between consciousness and the unconscious, so the characteristics of the two kinds of behaviors (languages) determine the dual character of aesthetic and artistic activities.

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On Literary Theory: Its Way of Unveiling, Semiotic Rectangle and Absolute Deterritorialization

Zhang Jin

2016, 36 (6): 19-26.

Abstract ( 194 )

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In the 21^st century, literary study has started a self-reflection on the multiple facets of theory, thus giving rise to anti-theories, meta-theories and after-theories, all of which cast doubt on theoretical study and literary theory. However, all the facets of theory are the inherent dimensions of theory per se. The exploration of the unveiling way of theory lies in a comprehensive view and an unveiling of theory itself. The theoretical rectangle reveals the varied and interconnected connotations within theory per se. The absolute deterritorialization of theory offers a dialectical possibility among territorization, deterritorization and reterritorization. The after theory is a critical return to the life-world, a critical embrace of the "others" of theory, and an opening up to literature itself.

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A Feminine Gaze: A Lacanian Analysis of the TV Series Journey to the West

Wu Guanjun

2016, 36 (6): 27-36.

Abstract ( 262 )

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The TV series Journey to the West, first shown on China Central Television in 1986, is undoubtedly a seminal work in the history of Chinese television. As a TV remake of the classical Chinese novel bearing the same title, this work, following the principle of "faithfulness", substantively makes itself a symptomatic excess to the original novel. Through the "feminine affection" depicted by the general director Yang Jie, the original novel's phallocentric perspective is replaced in a revolutionary way by a feminine perspective of the Queen of the "Feminine Kingdom". In the end of the TV remake when Tripitaka has "completed" the journey to the West, he nonetheless is still haunted by the abyssal gaze from the Queen, which, for Lacan, means the opening-up of a radical passage from law to love.

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The Debate on "National Characteristic" and the Mindset of Binary Opposition in Contemporary Intelligentsia

He Yugao

2016, 36 (6): 37-45.

Abstract ( 241 )

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In the debate on Lu Xun's "national characteristic" at the turn of the 20^th century, Feng Jicai and Liu Hewereseverely criticizedfor their post-colonial stance. However, all these critics misunderstood Liu He's point. Through analysis, one finds that critics' mindset of binary opposition such as "China/west, tradition/modernity" was the main cause of the misreading. Meanwhile, Liu He's post-colonial practice also betrays dogmatic binary thinking. The mindset of binary oppositions inherent inmodern Chinese academic thought throughout history has restrained intellectuals' talent, hence a waste of intelligence. To avoid such mindset, Chinese literary scholars should be more sensitive and receptive tofindings in other disciplines.

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Mirror Image Deviation in Cross-cultural Transmission: A Reevaluation of the Debate on H. D. Thoreau as a Hermit or a Fake Hermit in Dushu

Liu Luechang

2016, 36 (6): 46-53.

Abstract ( 259 )

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In the dissemination of H. D. Thoreau in China over the past 90 years, one heated debate with Dushu as the main platform occurred over Thoreau as a hermit or a fake one. By nature, this debate is a false statement, because Thoreau has never claimed to be a hermit. Being similar to the hermit and Chinese yinyi culture, a visible tendency to detach oneself from society and live in seclusion, Thoreau is arbitrarily judged as a hermit or a fake one. From the perspective of Chinese yinyi culture, some Chinese scholars analyzed the period, place, motivation and lifestyle of Thoeau's living alone near Walden, and therefore they misread Thoreau in the spatial and temporal dislocation .

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Black Noise, White Noise, and Ghostly Sound: the Ontology of Noise in the Context of Deleuze's Conception of Event

Jiang Yuhui, Zheng Yan

2016, 36 (6): 54-63.

Abstract ( 341 )

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As a complicated concept, Deleuze's "event" has traversed different phases of his thinking. However, one should always return to Logique du sens to have a thorough and proper understanding of this idea. Through detailed interpretation of the Stoic theory about "incorporeal", causality and temporality, this article intends to justify the ontological priority of event. The most recent arguments from the speculative realism have also shed a new light on this guiding line implicit in LS. This emerging correlation took its initial shape especially through the contemporary noise music that not only serves as the figurative counterpoint to the philosophical argument, but dramatically expands the theoretical horizon towards terre incognito.

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Symptomatic Reading, Event, and Iconography: A Brief Discussion of Georges Didi-Huberman's Image-knowledge

Zhao Wen

2016, 36 (6): 64-72.

Abstract ( 467 )

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As one of the most active art historians in France, Georges Didi-Huberman takes "event" as his theoretical basis, by which he makes possible the renewal of the critical tradition of Aby Warburg. Didi-Huberman is innovative because, on the one hand, he confirms Warburg's special epistemology that is situated within Walter Benjamin's horizon of event-truth implied in dialectic images, and, on the other, he legitimizes Benjamin's symptomatic reading of events by introducing Warburg's image-knowledge into iconographical studies. Didi-Hubermanian critical iconography has changed the look of contemporary French art history, disrupted the linear historical narrative of art in academic tradition, and ultimately opened up an iconographical path toward the archaeology of event-truth.

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Event and Art: Lyotard's Politics of Phrase and the Postmodern Sublime

Zhou Hui

2016, 36 (6): 73-80.

Abstract ( 232 )

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Starting from the relationship between modern French philosophy and event and time, this article attempts to expound the main idea of the politics of phrase oriented to différend, to compare the differences and similarities between Kant's reflective judgment and the judgment of Lyotard, to analyze the reasons why postmodern art finally leads to the sublime, and thus to point out the special significance of event to postmodern theories. In the end, this article reflects on the oscillation of postmodern theories between the activeness and passiveness of the subject, and the price that elites have to pay for detaching themselves from reality.

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The Triple Connotations of Eagleton's "Event" in The Event of Literature

Yin Zhike

2016, 36 (6): 81-90.

Abstract ( 317 )

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Is there any connection between Terry Eagleton's The Event of Literature and the philosophy of event? If any, why does he discuss "event" in the final chapter of this book? Why is it confined in only one chapter? To answer these questions, one needs to clarify the concepts he uses. His Structure/Event is based on Claude Levi-Strauss's mythology, Paul Ricoeur's hermeneutics, Anthony Giddens's "Structuration", and Wolfgang Iser's "Strategy". Nevertheless, Eagleton's "eventness" differs from Alain Badiou's "event", and is actually closer to Derek Attridge's literary ethics. As literature and art have to bring out actual effect, they are for Eagleton open for self-criticism, for the future, and for possibilities. Thus, aesthetic practices should be taken as moral practices on a higher level. This understanding is in accordance with Eagleton's identity as a Marxist. To comprehend the meaning of this book's title, it might be helpful to introduce the ideas "significances of occurrence" and "consequence of literature".

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Literature through the Lens of Davidson's Event Theory

Zhang Qiao

2016, 36 (6): 91-100.

Abstract ( 273 )

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In contemporary literary theory, we discuss literary eventlargely withthe theoretical source of continental philosophy. This articleaims to draw an analytical philosophical picture forliterary event through Davidson's event theory. It investigates Davidsonianliterary event from two aspects. On the one hand, according to Davidson's ontology of event, the nature of literature should beseen as the particulars, and the way of discussing literature should be changed from "existence" to "happening", hence the shift from ontology of literature to performance of literature. On the other hand, literary event represents intentional literary action, and a successful literaryaction presents how the writer usesidiolects to communicate successfully with the reader. Davidsonian emphasis onintentionality in writing action and literature interpretation has crossed the limited boundary of text-centered theory, and thus has brought back literature's subjectivity. In the end, this articleinvestigates how the rupture characteristicof event could be compatible with rationalizing interpretation.

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On the Rise of the Early Notion of Literary Genres inChina

Wu Chengxue, Li Guanlan

2016, 36 (6): 101-113.

Abstract ( 273 )

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Research on the generation of the notion of literary genres is the point of departure and a cornerstone for studies of the history of Chinese literary genre theories. The establishment of the notion of literary genres is marked by authors' having a clear knowledge of the characteristics of a certain genre, and applying it constantly and consistently, or in other words, by a consciousness of the very forms of literary genres. The notion of genres, in the beginning, is found, either in the application, or in the unambiguous definition and quotation, of the genres concerned. The birth of such a notion was effectuated, not in an instant, nor once for all, but usually through a complicated, inexplicit, even iterative process, where specific forms of some early genres reoccur repetitively. There are generally two kinds of repetitions, viz. functional and artistic. The genre notions as a result of institutional design are determined and restricted by such design, and develop along with the realization of the institutions. A genealogical study of thenotion of early literary genres has to be based on the construction of rituals, government and institutions. Many early genres have a function and classification originating from the identity and function of the specific genre users. The function and classification of these genres, together with the identity and function of genre users, form the genealogy of early literary genres. Due to the practicality of early writings, ritual regulations have become a governing rule for the writings of different genres, and thus exert an immediate influence on the rise of the notion of relevant genres. As a result, the early notion of literary genres tends to put an unusual stress on the sense of ritual and order, and that explains why many of early Chinese literary genres entail a style of solemnity, reverence, piety, and even holiness.

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A New Interpretation of "Xing, Guan, Qun, Yuan"

Wang Qizhou

2016, 36 (6): 114-122.

Abstract ( 478 )

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Confucius puts forward the idea that "poetry helps to inspire, to observe, to keep company, and to express grievances" (xing, guan, qun, yuan), which had a huge impact on Chinese poetics. Among numerous interpreters of this idea, Zhu Xi was the most important authority. While he argues that the interpretation of "guan" by scholars in the Song Dynasty was unreliable, his own interpretations of Confucius's words were not logically consistent, either. Situated in the context of his own educational ideas and practices, one would discover that Confucius's words are about neither the composition nor ontology of poetry, but its use. Confucius stresses that by studying The Book of Songs, "one's benevolence is inspired" and "merits and demerits observed", so that one "keeps company without being undiscriminating" and "expresses grievances without being indignant". In the end, one is able to appreciate the spirit of rites and music and improve his moral character. The inner logic of "xing, guan, qun, yuan" is that they all embody what Confucius upholds as "studying for the sake of self-improvement", which, undoubtedly, leads to "improvement of others", so as to reform households and society. In other words, it aims at "serving the father" and "serving the king" based on improved gentlemen character, which points to the ideal socio-political condition envisioned by the Confucian School. This is one of the many poetic theses in "xing, guan, qun, yuan".

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Prefaces and Postscripts in Early Dunhuang Bianwen and the Establishment of Research Paradigm for Modern Folk Literature

Wang Yajing, Sun Xun

2016, 36 (6): 123-129.

Abstract ( 270 )

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Top scholars in China attracted by findings of Dunhuang Bianwen in 1907 sorted out these newfound materials and wrote prefaces and postscripts for them, which indicated their understanding of various aspects related to Bianwen. Firstly, studies of Bianwen's value brought folk literature to modern academics; secondly, the differentiation and analysis of Bianwen's literary forms opened up the path of emphasizing intrinsic characteristics of literature; thirdly, textual criticism on origins and development of stories in Bianwen introduced an important and new research method for narrative literature. All these paradigms and outlines of Bianwen studies established earlier have displayed Chinese academics' achievement in the 20^th century and have been helpful to establish research paradigms for Chinese folk literature.

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A Dream of Red Mansions and Xu Zhenya's Novel Writing

Bai Yingjie

2016, 36 (6): 130-138.

Abstract ( 349 )

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This article discusses the influence that A Dream of Red Mansions had on Xu Zhenya's novel writing. In his early years, Xu Zhenya wrote sixty Ci-poems about A Dream of Red Mansions. These Ci-poems indicate his understanding of characters in the novel and the love tragedy of Baoyu and Daiyu. When writing novels, he always uses A Dream in Red Mansions as an exemplar. Although Her Sacrifice and The History of Tears are autobiographical novels, Xu imitates A Dream in Red Mansions in terms of characterization and plot. Two Servant Girls, his third novel, is entirely a duplicate of A Dream of Red Mansions, although it is not a success. However, his next two novels, My Wife and The Two Dead Girls, which borrow ideas from A Dream of Red Mansions like before, are quite innovative. To sum up, Xu Zhenya was a faithful inheritor of the art of novel in A Dream in Red Mansions, and a unique transitional figure between A Dream of Red Mansions and the May Fourth literature.

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The Earliest Experiment Report of College Chinese: A New Interpretation of The Teaching of Practical Writings by Liu Bannong

He Eryuan, Feng Wenli

2016, 36 (6): 139-147.

Abstract ( 241 )

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After Gui-Mao education system enforced in 1904, preparatory courses lasted and became an organic part of modern Chinese higher education. As the predecessor of First-year College Chinese in the Republic of China, "preparatory Chinese courses" indicated the early form of College Chinese. Liu Bannong's "Teaching of Practical Writings", finished in 1917 and published in the next year, was the earliest research article and experiment report in modern Chinese as a discipline. Situated within the background of New Culture Movement, this article could have a better display of Liu Bannong and his colleagues' ideas of Chinese language education. Among them, the discrimination of the educational objectives between "erudite people" and "common people" is particularly significant for today's research of the college Chinese.

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The Primer Tradition and Reflections on Chinese Education over the Past 100 Years

Zhu Zihui

2016, 36 (6): 148-155.

Abstract ( 270 )

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"Initiating Children's literacy by musical language" has been an important characteristic and fine tradition of elementary Chinese education in ancient China. In primers of this kind, it is characterized by syntactical antithesis and rhyming which were derived from the profound understanding of the ancients about the characteristics of the Chinese language. In the elementary education, it not only satisfies children's "willingness and readiness" to learn, but also exposes them to the aesthetic of Chinese language and culture. However, unfortunately, in the past one hundred years, due to the unscrupulous transplant or absorption of foreign education thought, the fine primer tradition in the Chinese language education has almost disappeared. A rethinking of this tradition can help us better reflect upon the achievements and deficiencies of the reform of the Chinese language education over the past century in hopes of offering theoretical rationale and a historical framework of reference for future Chinese language education reform in China.

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Li Jinxi's Theory of Chinese Language and Literature Education in Tertiary Institutes: "Integration" and "Remedy"

Cao Fengxia

2016, 36 (6): 156-162.

Abstract ( 259 )

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In the 1940s, due to the lack of systematic education, university students had an imbalanced command of Chinese language and literature. Li Jinxi, a pioneer in Chinese language and literature education, published a series of papers on the ideas of "Tong Chou" (integration) and "Jiu Ji"(remedy) in Chinese language and literature education in tertiary institutes. "Integration" refers to the standardization of the number of essays in Chinese textbooks, focusing on improving reading and writing skills. Meanwhile, based on students' levels of Chinese, teachers could be flexible in terms of teaching methods, which is "remedy". Similar problems still exist today: there is a gap between secondary institutes and tertiary institutes regarding Chinese language and literature education; the overall Chinese level of university students is not satisfactory. Therefore, improving the language skill, especially the proper use of language, is the objective of Chinese language and literature education in tertiary institutes. All students are supposed to acquire skills of not only reading and comprehension, but also writing and communication.

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From Guowen, Zhongwen to Huawen: The Localization Process of Chinese Textbooks in Singaporean Secondary School

Wang Bing

2016, 36 (6): 163-168.

Abstract ( 698 )

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Due to the impact of political and cultural contexts, Chinese textbooks in Singaporean secondary school experienced a long and tortuous process of localization. In the early British colonial era and the Japanese occupation of Singapore, almost all Chinese textbooks in Singapore were imported from China and entitled guowen. From the end of World War II to 1979, with dramatic changes in China and Malaya, textbooks were primarily used to promote the consciousness of localization under the concept of Malayalization. Correspondingly, the publication of Chinese textbooks tended to be autonomous and their titles changed to zhongwen, yuwen or huawen. From 1979 to date, in response to the impact and challenges of the new education system, the Singaporean Ministry of Education has compiled several sets of Chinese textbooks according to language proficiency. Meanwhile, literary textbooks highlighted localization and globalization. In Singapore where ethnic Chinese dominates, an investigation of the evolution of Chinese textbooks not only reveals the localization of Singaporean Chinese education, but also the spread and change of Chinese in Southeast Asia.

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Double Inscription and the Concept of Origin in Lafcadio Hearn's Kwaidan

Carlos Yu-Kai Lin

2016, 36 (6): 169-183.

Abstract ( 210 )

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To many Western readers, Lafcadio Hearn's Kwaidan: Stories and Studies of Strange Things, published in 1904, is a seminal work of what they perceive as Japanese kaidan literature. The fact that this work was first published in English for Western readers reveals the transcultural as well as translational nature of this literary genre that is called kaidan in the English-speaking context. The question of the origin of kaidan therefore makes it an interesting case of translation, since this book, in effect, is at once a translation and an inscription of the origin of Japanese kaidan literature in the Western context. It is in this double inscription that this paper begins to interrogate "the concept of origin" in kaidan stories. The paper will carry out a detailed analysis of the "preface" of Hearn's Kwaidan and examine the ways in which the "origins" of these stories are discussed and constructed. The paper will then examine the self-negating and self-productive structure of the representative kaidan tale, "Yuki-Onna" (sometimes translated as "The Woman of Snow") which, according to its storyline, is a story that cannot be told. The paper will then analyze the narrative structure of this story that marks strangely on its impossibility, and reveals how the idea of origin is produced as an effect not only through repeated iteration/translation, but also out of the structural demand of a narrative that posits and erases, at once, the notion of origin.

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