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25 January 2017, Volume 37 Issue 1 Previous Issue    Next Issue

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Modern and Contemporary Literary Theory and Criticism

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The Genesis of Literature  Du Shuying 2017, 37 (1):  6-17.  Abstract ( 339 )   PDF (8902KB) ( 64 )   Existing hypotheses of the genesis (or the origin) of literature and arts, such as the renowned theory of "mimesis", of labor, of witchcraft, and of play, have made their due contribution, but none of them is entirely convincing. Equally important to the field of study are theories by the Russian scholar Alexander Veselovsky and Chinese scholars Lu Kan and Feng Yuanjun, who have been neglected by academics. It is probable that Giovanni Battista Vico's New Science is the closest to the truth of the origin of arts. Therefore, his ideas are still provocative. This article proposes another hypothesis: literature (poetry) is the product of human beings’ historical practices, which comes into being inevitably due to the desire and pursuit in man's innate nature. The most primal nature of poetry lies in the earliest language and words, wherein poetry comes into being. In other words, the earliest language and words are the most primal poetry, namely the earliest literary form. References | Related Articles | Metrics

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Historical Evolution and Reflection on the Concept "the Essence of Literature" Lai Daren 2017, 37 (1):  18-26.  Abstract ( 357 )   PDF (6881KB) ( 69 )   The essence of literature is an issue of modern literary theory. In the process of Chinese literary theory's modern transformation and development, the theorization of the essence of literature was highlighted, and has become the key issue in modern literary theory. This concept has adapted itself several times through historical construction and evolution, from the beginning of the twentieth century to the period of reform and opening up, in accordance with the change of time and the development of literature. The new period also saw the evolution process of this concept under different critical lenses: social and aesthetic ideology theories, aesthetic and human literary theories, even re-discussion in the context of anti-essentialism. A reflection on the essence of literature and its evolution gives us some lessons and insights, as well as leads us to ponder over difficulties and problems of contemporary literary theory. In this regard, we could overcome the negative influence brought by the anti-essentialism controversy and loss of the self, so as to conduct a rational theoretical exploration and construction. References | Related Articles | Metrics

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Shen Congwen and the Study of Material Culture Ji Jin 2017, 37 (1):  27-34.  Abstract ( 249 )   PDF (5957KB) ( 70 )   Forced to stop writing after 1949, Shen Congwen veered his attention to the study of material culture. Consistent with his literary creation, his study of folk and daily cultural relics was a "lyrical archeology" to present his life. The guideline for his study of material culture was "biographing things" by tracing their histories with a massive amount of literature. His emphasis on the material existence not only echoed ideas in modern archeology, but also related to his long-term obsession with "things", hence the juxtaposition of handed-down relics, newly discovered literature and articles. His study penetrated original discipline boundaries, because he combined the study of literature and history as well as the study of relics, and was involved in the histories of technology, fine arts, aesthetics, and culture. Shen Congwen's study of material culture was not only a methodology for historical interpretation, but also significant references for understanding and modifying the narrative of literary history. By connecting history and human beings, his research enabled a fresh encounter between emotionally underpinning things and humankind after thousands of years. References | Related Articles | Metrics

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The Dilemma of Minority Ethic Group's Literary Theory and the conjunction with "aphasia" of Chinese Literary Theory Yao Xinyong, Liu Yajuan 2017, 37 (1):  35-46.  Abstract ( 247 )   PDF (9305KB) ( 80 )   The paper focuses on the process of Chinese minority ethnic group ancient literary theory discipline construction, introduces the general characteristics of the discipline, and reveals the main dilemma perplexed. And also comparing the discussion of the "Alogia" of Chinese literary theory together with other related disciplines in the recent two decades. Through this discussion we try to practicing multi-dimensional and polygonal speech in which the China's literatures and literary theories should have. References | Related Articles | Metrics

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Genesis and Evolution of the Concept "Chinese Painting" — the Art of the Early Republican China Xiong Yiran 2017, 37 (1):  47-57.  Abstract ( 366 )   PDF (11269KB) ( 86 )   The concept "traditional Chinese painting" was originally a by-product of the establishment of a national state. In the process of naming, there existed an intervention of state power and a repression of cultural diversity. At the same time, concepts related to "traditional Chinese painting", such as the artist's identity, ink, the artistic function of Chinese painting, were also changed with the expansion of the concept "Chinese painting". In the early Republican China, when the West stood out as the other, the positions of "the Westernized Chinese style" or "the Sinicized Western style" underpinning experimental arts were further highlighted, showing the dislocation of modernity on the temporal and spatial dimensions. In the long-term discourse interpretation, the concept of "traditional Chinese painting" gradually took on more complex meanings, thus contributing to the multiplicity of its definitions. References | Related Articles | Metrics

Classical Literary Theory and Criticism

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"As if before the Eyes" and "Seen beyond Words": the Aesthetic Pursuit and Function of Inner-Vision in Chinese Poetics Zhang Jing 2017, 37 (1):  58-66.  Abstract ( 278 )   PDF (7016KB) ( 77 )   Images and artistic conception in ancient Chinese poetics are in fact a beauty of inner-vision, which is the origin of what are seen as aesthetic standards: "yan wai zhi yi (lit. implication beyond words)" and "yun wai zhi zhi (lit. resonance beyond tone)". The beauty of inner-vision exactly reflects the basic aesthetic attributes of literature. Mei Yaochen, a poet in the Song Dynasty, says, "Depicting what is hard to depict as if before the eyes and expressing unlimited meaning beyond words." The inner logic for this sentence is that the former is the premise of the latter. Ideas such as "interest in the glorious age of Tang" by Yan Yu, "clear image" by Wang Tingxiang, "non-partition" by Wang Guowei etc., are all examples of inner-vision beauty. In terms of poetic writing, the beauty of inner-vision relies on the integrated artistic conception created by the subject's imitation of appearance and capture of the essence, with perception playing a key role. In terms of artistic media, the inner configuration is the foundation of "implication beyond words". References | Related Articles | Metrics

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Difference and Nexus between Yijing and Chanjing: a Brief Discussion and Response to Yang Chu Gu Zuzhao 2017, 37 (1):  67-77.  Abstract ( 266 )   PDF (8478KB) ( 56 )   The nexus between poetry and Chan is a hard issue in literary history. The paper outlines the formation of the theory of yijing, the ideo-mood-imagery, or the poetically evoked realm so as to tell that yijing is an original Chinese aesthetic category and it cannot be distorted by alien culture. The article, drawing on Sutra Spoken of Southern Buddhism, proceeds to show that chanjing, or the zen-induced realm, is characterized by the absence of images and emotions and aesthetic purposes, thus highlighting the basic difference of Yijing and Chanjing. The above argumentation aims to clarify various kinds of misunderstandings about this and respond to Yang Chu's critical views and misreading. References | Related Articles | Metrics

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The Paradigm of "Ego Absent" in Classical Chinese Poem Writing: A Case Study of Tang Poems Jiang Yuqin 2017, 37 (1):  78-88.  Abstract ( 302 )   PDF (8406KB) ( 59 )   It is usually believed that in classical Chinese poem writing, except on the form, there is little emphasis on internal aesthetic rules. Or rather, such rules are invisibly there, but simply defy any expedient attempt at summarization or generalization. Based on a textual examination of Tang poems and on critics' diachronic observations about Tang poetry, the paper contends that in classical Chinese poem writing, there does exist an aesthetic rule which can be termed the paradigm of "ego absent" characterized by the representation of scenery as a metaphorical expression of feelings and emotions. The emergence of the scenery-as-feelings/emotions paradigm in classical Chinese poetry is closely associated with the profound Chinese cosmology of in ancient times. References | Related Articles | Metrics

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Zhiyan and Zhuangzi's Concept of Yan  Liu Shugang 2017, 37 (1):  89-95.  Abstract ( 462 )   PDF (4843KB) ( 62 )   This paper investigates zhiyan ("the goblet words"), which is the most important of the three kinds of words Zhuangzi used. In Zhuangzi, yan ("words") refers to the speeches peoples make, or texts the scholars write, and also concepts hidden in peoples' behavior. Therefore, zhiyan is not only a special way of speaking or writing, but also suggests a special style of living, and it depends on the deconstruction of the self. Zhiyan is closely related to Zhuangzi's essential theories such as the equalities between all speeches and the transformation of things. Based on the consciousness of language that zhiyan implies, Zhuangzi creates some distinctive literary forms to express his thoughts. Related Articles | Metrics

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A Study of the Origin of "the Feng Brothers" Poetics from Home Influence and Discipleship Li Yafeng, Zhang Youliang 2017, 37 (1):  96-104.  Abstract ( 314 )   PDF (6903KB) ( 69 )   The Feng brothers of Haiyu are important figures of the Yushan School of poets, and have been regarded as the backbone of those who opposed of the retro-poetics in the late Ming and early Qing dynasties. But few people have discovered the relationship between the Feng brothers and the retro school. This is not conducive to understanding their true poetics, and not conducive to clarifying the actual trajectory of poetry evolution from the Ming to the Qing. And this affects the correct understanding and evaluation of the status and the role of the Yushan School of poets. A comparative analyses of the poetic Origin of the Feng brothers from home influence and discipleship may enable us to conclude that the Feng brothers' poetics, influenced by the poetics of the late Tang and even the Qi and the Liang, values bi and xing, rhetoric, and moderation, which reveals the influence from their father and their tutor Qian Qianyi. This is to some extent an inner transcendence over and development of the "style and tone" of the "Qi Zi" (the seven men of letters) School.   References | Related Articles | Metrics

Studies in Western Literary Theory

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Ecocriticism and Shakespeare, until 2016 Simon C. Estok 2017, 37 (1):  105-124.  Abstract ( 314 )   PDF (18779KB) ( 119 )   Ecocriticism is a fairly new area of investigation that has rapidly and sometimes controversially expanded. Theorizing ecocriticism has at times been met with debate, and traditional areas of literary studies have not always been entirely receptive. Thus, the expansion of ecocritical theory into Shakespearean studies (now a thriving micro industry all its own) warrants serious discussion, both from contextual and theoretical positions.  This article will cover three main sections: 1] an introduction to the general field of ecocriticism; 2] the theory and the practice of ecocriticism (including the problems and the promises); and 3] Shakespeare and ecocriticism. The more that ecocriticism theorizes itself in confluence with other activist theories, the better off it will be. Using Shakespeare and his representations of a certain breed of anti-nature ethics (which I term "ecophobia") can produce the basis for such an ecocriticism that theorizes in confluence, and it is the goal of this article to do so. Ecophobia is certainly not the only ethical paradigm Shakespeare represents, and this article does not on any level want to imply that it is. Ecocriticism and the paradigm of ecophobia, similarly, do not and cannot give us all of the answers; but each can help us enormously in moving toward them. References | Related Articles | Metrics

Modern and Contemporary Literary Theory and Criticism

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The Void as the Effect: the Constructive Precondition of Buddhist Aesthetics Wang Yun 2017, 37 (1):  125-133.  Abstract ( 264 )   PDF (7149KB) ( 58 )   If the "void" is taken as an aesthetic concept, the idea of the "void as the effect" should be its indispensable condition. If "cause and effect" is understood as a kind of time sequence, then "effect" is undoubtedly the end of this process. This "sequence" indicates the pursuit for reason and emphasis on the end, and thus it establishes the aesthetic vision for the "void". The development of the idea of the void has revealed that it is getting increasingly result-oriented with more emphases on proving and tracing the result that one gets what the mind turns to. Thus the idea of the void is becoming an aesthetic concept.     Related Articles | Metrics

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The Aesthetic Ideology of Post-Marxism Fan Yongkang, Liu Fengjie 2017, 37 (1):  134-142.  Abstract ( 228 )   PDF (6964KB) ( 50 )   This paper aims to analyze the philosophical basis, theoretical connotation and theoretical characteristics of the theory of post-Marxist aesthetic ideology. The influential theory about aesthetic ideology in China belongs to the "problematic" of traditional Marxism, but the contemporary Western aesthetic ideology belongs to the 'problematic' of post-Marxism. The former is based on historical materialism, and the latter on cultural materialism and language constructivism. From the perspective of post-Marxism, aesthetic ideology no longer stays at the ‘metaphysical’ linguistic, cultural and symbolic levels; it is integrated with "physical" material systems and social reality and becomes parasitic within the institutions, thus having material support and practical effects. Compared with traditional Marxism, post-Marxism ignores the aesthetic function of aesthetic ideology, but emphasizes its social function, namely, the function of political interference, cultural governance and social distinctions. The philosophical foundation for the theory of post-Marxist aesthetic ideology has the risks of diverging from historical materialism, but it conveys the significance and necessity of constructing the theory of 'aesthetic ideology of everyday life'. References | Related Articles | Metrics

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The Philosophical Art Criticism of Rosalind Krauss Zhou Wenji 2017, 37 (1):  143-151.  Abstract ( 409 )   PDF (6828KB) ( 92 )   As a well-known American art critic and art theorist, Rosalind Krauss established her own criticism style from the perspective of structuralism and post-structuralism, drawing on Saussure's ideas, semiology, psychoanalysis and various theories to take a philosophical art criticism on modern and postmodern art. This paper explores her particularly philosophical idea about the theory of grid and the formless while reviewing her philosophical art criticism, and therefore it presents the cultural logic behind modernist myths and essential postmodernism ideas. Hence, through philosophical art criticism, Krauss went through the change from the formalism to post-formalism during the course of unveiling the modernist idea. References | Related Articles | Metrics

Highlight:Studies in the Genre of Ancient Chinese Novels

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A Conceptual Change of Style in the Officially Complied Catalogue of Novelists from the Eastern Han Dynasty to the Northern Song Dynasty Lv Hailong 2017, 37 (1):  152-161.  Abstract ( 247 )   PDF (6526KB) ( 117 )   From the Eastern Han dynasty to the Northern Song dynasty, the official amendment of "novelists" had changed its style from "little narration involved" to "valuation of narration" This change of the concept of style was first initiated by Liu Zhiji was established by Ouyang Xiu. Their views were mainly seen in Shitong: Zashu and A Xintangshu. The former had had a great influence on the latter, especially in terms of how to assess the status of fiction, how to explain the nature of a novel as well as how to make additions and deletions to the works collected in Novelists, etc. References | Related Articles | Metrics

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The Construction of Literary Theory of the Individual Chuanqi in the Mid-Tang Dynasty  Li Junjun 2017, 37 (1):  162-170.  Abstract ( 285 )   PDF (6634KB) ( 76 )   The individual chuanqi of the Mid-Tang Dynasty established the model for chuanqi's style and its fundamental connotation. In terms of form and narrative pattern, the individual chuanqi of the Mid-Tang Dynasty was different from tales of the miraculous before the Tang Dynasty, early Tang Dynasty chuanqi and historical biographies. The individual chuanqi of the Mid­-Tang Dynasty was intentionally created by literati to showcase their literary talent. In the lifelike and intimate narration, real-to-­life details helped to shape the reality of characters' emotions and story development. In the process of circulation, the writing style of the individual chuanqi became a genre; at the same time, the works were canonized gradually. As a result, the name for this style was used by modern academics as a concept in the construction of early Chinese fiction history.  Related Articles | Metrics

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The Adaptation of Chuanqi in Fiction Anthologies of the Ming Dynasty and Its Significance for Stylistics Ren Minghua 2017, 37 (1):  171-179.  Abstract ( 303 )   PDF (6426KB) ( 76 )   Among about 200 fiction anthologies published in the Ming Dynasty, there were nearly 70 that included chuanqi. Compilers often rewrote the original text according to their own aesthetic tastes and ideas of fiction. There existed three strategies of rewriting. First, compilers added or deleted verses, which consolidated or undermined the style of chuanqi by working on its form, making verse a variable of the style of fiction. Second, they changed characterization, plot design, narration, etc., and even transformed the style, which reflected compilers' understanding of characterization and the art of narration. Third, they changed the language by making the original text either popular or refined. These strategies of adaptation were tied to its time and had unique stylistic significance. To conclude, the compilation method of verse fiction in this period was constantly changing, the emerging chuanqi novella had wide influence, and elements of the vernacular novel were comprehensively integrated into chuanqi. References | Related Articles | Metrics

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A Study of Acoustic Narrative in A dream of Red Mansions Yang Zhiping 2017, 37 (1):  180-188.  Abstract ( 403 )   PDF (7626KB) ( 115 )   Acoustic narrative is widely used in A Dream of Red Mansions. It greatly enhances the artistic value of the novel and plays an important role in highlighting the novel's multi-significance. The acoustic narrative in A Dream of Red Mansions promotes the development of the plots, strengthens the characterization, and contributes to improving the poetic significance of the novel. Due attention should be given to the acoustic narrative in reading and studying A Dream of Red Mansions. References | Related Articles | Metrics

Highlight: Cross-cultural Studies

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Charles Morris's Pragmatics and the Paradigm Shift in Southern Song Landscape Painting Duan Lian 2017, 37 (1):  189-199.  Abstract ( 231 )   PDF (8015KB) ( 67 )   Studying the landscape painting of the Southern Song period, this essay proposes a semiotic paradigm to examine its artistic change. The idea of this paradigm is inspired by the theory of Charles Morris, specifically, the Morrisian hypothesis about the pragmatical dimension of semiosis. From this point of view, this essay explores the inwardness of Southern Song art, and observes that, due to the change of cultural context, Chinese landscape painting in the Southern Song experienced a paradigm shift from realist representation to self-expression, which decisively re-directed the course of the mainstream in Chinese landscape painting from being external sensitive to more internal sensitive, and thus a new paradigm has ever been set up for the development of Chinese art. References | Related Articles | Metrics

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The Italian Renaissance in China Gao Xin 2017, 37 (1):  200-208.  Abstract ( 238 )   PDF (6696KB) ( 52 )   The Italian Renaissance, as an "Other" of Chinese thoughts, has been playing an important role in helping Chinese intellectuals and scholars to reshape their subjective imagination about nations, states, arts, beliefs, values, and individuality. From the outset of Modernization, it provoked several waves of debate among Chinese artists, theorists, historians, intellectuals and scholars, respectively during the early 1930s, 1978-1980, and 2007-2008. Broadly speaking, the Chinese scholarship on the Italian Renaissance has developed in several directions. In terms of research objectives, it ranges from instrumentalist and pragmatic appropriations of Western learning, to more comprehensive, sophisticated socio-historical research and cultural studies. In terms of judgment stance, it ranges from idolization of the Italian Renaissance to a more objective critique of the different contexts between Chinese and Western art, literature, and culture, and of the disadvantages of "individuality", "secularization", etc. In terms of research objects, Chinese scholars shift their focus from master artists and thinkers, famous families to more diverse topics, including such cultural aspects as wedding, funeral, sexuality, city, everyday lives and so on. Related Articles | Metrics

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World Literature as a Literary Space Yao Mengze 2017, 37 (1):  209-214.  Abstract ( 273 )   PDF (4638KB) ( 69 )   "World literature" has multiple meanings such as world literature as a discipline, as a pedagogical practice, or as a theoretical problem. As to the last meaning of the concept, scholars worldwide have emphasized the institution of world literature more than world literature works. This emphasis comes as a result of a rethinking of the world after the 1970s, so that the "institution" here is substantially the institution of the world. However, this "world" should not be taken as the real world, but a unique world of literature, and the essence of this institution is the more complex and more subtle literary relationship. Therefore, world literature as a literary space is a new paradigm in literary studies and a new subject in comparative literature studies. References | Related Articles | Metrics

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Contemplations on the Construction of an Internet Literature Evaluation System  Ouyang Ting 2017, 37 (1):  215-216.  Abstract ( 204 )   PDF (1412KB) ( 46 )   Related Articles | Metrics