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25 September 2017, Volume 37 Issue 5 Previous Issue    Next Issue

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Classical Literary Theory and Criticism

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The Evolution of the "Poetry as an Expression of Aspirations" Theory and Its Multi-layered Significance Qian Zhixi 2017, 37 (5):  6-18.  Abstract ( 288 )   PDF (1876KB) ( 132 )   The statement that poetry is the expression of aspirations is the first ontological definition of poetry in China, and therefore its significance should be understood in its ontological perspective. The paper explores the historical context for the generation of the statement in three respects, namely, the maturing of the artistic trinity of poetry, music and dance, the establishment of the ancient politics-education system, and the establishment of the system of ethics. As a classical theory, this statement is inherited by the gentry scholars' poem writing during the Spring and Autumn period, and promoted by the hundred schools of scholars. "Aspiration" is the classical property of The Book of Poetry. The paper also discusses the extension of this statement to the notions of the six types of musical language use, and the six types of poetic styles and methods of expression. It argues that On Music is the continuation of the statement. References | Related Articles | Metrics

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The Socializing Function of Chinese Characters and the Worship of Character Power among Intellectuals in Jiangnan in the Qing Dynasty Luo Shijin 2017, 37 (5):  19-32.  Abstract ( 254 )   PDF (2160KB) ( 194 )   During the Qing Dynasty, intellectuals in Jiangnan communicated with each other through literature, which could be analyzed in three aspects: talking about literature while drinking, taking writing as a profession, and achieving great success in writing. These three aspects embody the overall condition that the intellectuals take writing as a channel, a profession and a tool, reflecting their cognition of the social effects and cultural functions of "character-literature" in different levels. Socializing through writing is not a phenomenon in Jiangnan alone during the Qing Dynasty, but a shared practice among all intellectuals in ancient China to some extent. However, the complexity of society and history during the Qing Dynasty and the aggregation of Jiangnan literati turned their preference to "character-literature" into a culture-worship mentality. In particular, when facing radical social changes, the literati seemed to believe in Chinese characters' enormous creative power more than their material strength. Socializing through writing and the worship of characters embody Jiangnan literati's aesthetic experience and value exploration of their local cultural symbols, showing their pursuit of enlarging literary field and of moral principles. References | Related Articles | Metrics

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The Confucian Character of Late Tang and Five Dynasties Poetry, Its Role in the Bixing Tradition, and Its Construction of Lüshi Zhong Yao 2017, 37 (5):  33-42.  Abstract ( 223 )   PDF (1836KB) ( 140 )   The appearance of the numerous poetry formats in the late Tang and Five Dynasties is the result of Confucian consciousness and the popularity of poetry as well. Poetry, interwoven with imperial examination-oriented education, becomes an important way to realize the Confucian scholars' self-cultivation. Therefore, the form of "industrious and bitter versification" reflects those Confucians' inner world. Meanwhile, the metaphorical satire embedded in Mao Shi Zheng Yi is developed into such new concepts as bixing or "image analogy and evocation", and "inner and outer meaning", which influences the valuation of "conception" and the metaphorical and imagistic thinking of late Tang poetry, and, as a result, promotes the status of Lüshi, or metrical poetry both in essence and artistic style. References | Related Articles | Metrics

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The Tendency of Restoring Ancient Ideas in Tang Xianzu's Literary Theory of Love: A Case Study of The Peony Pavilion Sheng Zhimei 2017, 37 (5):  43-51.  Abstract ( 352 )   PDF (1471KB) ( 333 )   For a long time, in the study of Tang Xianzu, most scholars believe that "countering Confucian ethical codes with emotion" is core to his idea of love, and Du Liniang is his spokesperson. In The Peony Pavilion, before her death, Du Liniang's image is an awakening young person, which is from the original material that Tang Xianzu adapts. From her death to resurrection, she gradually steps towards tradition and returns to the ethical codes. Du Liniang's journey from a human being to a ghost and from a ghost to a human being starts from love and ends in ethical codes, which means that she returns to the order of reality. The image of Du Liniang indeed contains the factors of the Neo-Confucian School of Mind's challenge to traditional ethical codes, but there are more the author's dream and pursuit to advocate rites and music as means of education. It clearly reflects the author's attitude to the Neo-Confucian School of Mind, namely to correct its errors and restore ancient ways. References | Related Articles | Metrics

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The Bi Xing Poetics in the Late Ming and Early Qing Dynasties: The Cases of Zhu Heling, Feng Ban, He Shang, and Wu Qiao Huang Zhuoying 2017, 37 (5):  52-62.  Abstract ( 220 )   PDF (1757KB) ( 275 )   In the late Ming and early Qing's poetry circle, a new poetics system, Bi Xing poetics, came into being with representatives of Zhu Heling, Feng Ban, He Shang, and Wu Qiao, who were discontented with the popular poetics of the time, for example, Seven-Scholar School's ancient poetics and the Jing-Ling School's natural disposition and soul theory. The Bi Xing poetics had four characteristics: multiplicity of structure, introverted aesthetic affection, the orthodox style, and strained interpretation of history. It became very popular after the advocates' detailed explanation and arguments. Significantly, this new poetics directly led to some remarkable phenomena, such as attaching importance to critical spirits in poetics, debating about poetic pros and cons of Tang and Song poetry, redefining Li Shangyin's poetic status, and emphasizing the use of Bi Xing in poetry writing and criticism. References | Related Articles | Metrics

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The Play-text Forms of Early Zaju and Narrative Sanqu in the Jin and Yuan Dynasties Xu Dajun 2017, 37 (5):  63-75.  Abstract ( 195 )   PDF (2170KB) ( 283 )   The setting of the recitative protagonist is the core of Sanqu's narrative in the Jin and Yuan Dynasties, who is a firstperson narrator undertaking responsibility for chanting the progression of story with his vision and position. Similarly, the leading singer (Zhengmo or Zhengdan) of Zaju is also a first-person protagonist who undertakes responsibility for chanting the whole librettos of a play-text, so he should be a recitative protagonist of librettos of Zaju. With a comparison of the librettos of Zaju's text attribute and the play-text forms with those of narrative Sanqu, we find that the play-texts of early Zaju have the same text form as the joint-structure narrative Sanqu, which is an inheritance from the written Zajuci that appeared in the Song Dynasty. References | Related Articles | Metrics

Modern and Contemporary Literary Theory and Criticism

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Zhu Guangqian's Translation of Hegel's Aesthetics and the Construction of Modern Chinese Literary Theory Li Yongyin 2017, 37 (5):  76-85.  Abstract ( 309 )   PDF (1497KB) ( 175 )   As a classic work, Zhu Guangqian's translation of Hegel's Aesthetics has influenced Chinese literary theory profoundly. Many significant theoretical topics in Chinese literary theory are rooted in either imagination or a critical reconstruction of Zhu's translation. However, to some degree, Zhu's translation misses some thought of Hagel's aesthetics. Therefore, a comparative reading of Zhu's translation and Hagel's German texts is conducive to a better understanding of Hagel's aesthetics and, as a result, to the construction of literary theory in China. References | Related Articles | Metrics

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The Illusion of Emergency and the Future of Cultural Studies: Thirty Years of Cultural Studies and Cultural Criticism in Mainland China Zhou Zhiqiang 2017, 37 (5):  86-96.  Abstract ( 222 )   PDF (1724KB) ( 145 )   Since 30 years ago, cultural studies in mainland China has established its own history, theoretical characteristics and framework of inquiries thanks to the introduction of Western theory, discussions of Chinese issues, and the engagement of active dialogue with international cultural studies. Chinese cultural studies started with a critical consciousness, then activated the drives of anti-authoritarianism, and generated an illusion of emergency. Today, it has outgrown the paradigm of the 1950s, and must establish new theories and thoughts on the basis of a new sense of criticism. References | Related Articles | Metrics

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Disenchantment: Gu Cheng and Hai Zi in the Illusion of Cultural Memory Yan Dong 2017, 37 (5):  97-105.  Abstract ( 255 )   PDF (1438KB) ( 411 )   In the history of Chinese new poetry since a century ago, Gu Cheng and Hai Zi have become a cultural memory symbol indispensable to contemporary culture. Their similarities in people's memory continue to affect later readers' interest, which gives them an enduring position in the age fragmented with information. However, being in the cultural memory illusion, they gradually reveal how new poetry becomes an object of consumerism and entertainment. At the same time, because of the function of the symbol system called "condensed structure" by Jan Assmann, factors within and without their poetry are mixed together and indistinguishable, which affects the popular judgment and reception. Due to the intentional elevation of their poetry and the deification of their daily life, literature and life experience merge into each other, and the image of the poets is continuously reinterpreted. Acceptance of illusion, however, is not equivalent to deep-rooted identification. The "condensed structure" of Gu Cheng and Hai Zi have to be reinvestigated for an accurate interpretation of their poetry. From the perspective of similarities of cultural memory, there must be "disenchantment" to bring readers back to their poetry, and to bring the poets back to the world. References | Related Articles | Metrics

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"Totality" and "Fracture": the External Context and Internal Opportunity in the Generation of Literary Experience Wang Yan 2017, 37 (5):  106-117.  Abstract ( 218 )   PDF (1649KB) ( 289 )   As a basic theory of literary research, literary experience has been a hot topic in the field of literary theory once again in the recent decade, but nowadays the understanding and use of this concept is ambiguous and random. The Western modern experience theory provides the basis for studying literary experience, which is an aesthetic presentation of human experience in the fictional world interwoven by discourses, and thus the human experience is born in the collision of perception and fiction. The world of experience is the external context for the generation of literary experience, which requires cultural memory to provide "a transcendental" presupposition and a "totality of historical experiences". In this way the writer becomes capable of feeling, imagining and narrating the world. The perspective marked by fracture in the "structures of feeling" is particularly invaluable in this regard. It is here that stabilized emotional factors gush out with the force of fracture, and become the kernel of literary experience. The capture of the "perceptual opportunity" is a critical shifting point from the mundane world to the experience world. Therefore, the study of literary experience from the aesthetic point of view has become significant to solve the problem of literary theory being too elitist, and to resolve various crises of literary creation. References | Related Articles | Metrics

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The Translation and Writing of Modern Chinese Poetry: A Case Study of Xu Zhimo Chen Liming 2017, 37 (5):  118-131.  Abstract ( 334 )   PDF (2083KB) ( 342 )   Since the publication of Wellek's "The Crisis of Comparative Literature" (1959), the study of literary influence has been legion, either focusing on (un) intentional misreading or misunderstanding. The perspective of influence is vital to clarifying the mechanism of Chinese new poetry's production. This article aims to illustrate, through a detailed survey of the intrinsic relation between Xu Zhimo's translation and poetic writing, how he creatively transformed modern western poetry, which not only brought vernacular Chinese poetry prosperity, but interrupted the predominant unpoetic trends by giving new poetry aesthetic temperament, though not yet so satisfactorily. The "anxiety of influence" became motivation to innovate. This was almost the same case with such modern poet-translators as Guo Moruo, Wen Yiduo, Feng Zhi, Dai Wangshu and Bian Zhilin, which reminds us of the importance of such influence (s) . References | Related Articles | Metrics

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Affirmative Action and Identification: A Rethinking of the "Seventeen Years" Minority Film Liu Chun 2017, 37 (5):  132-139.  Abstract ( 200 )   PDF (1092KB) ( 232 )   The tension between ethnic group and the nation state, as well as the nation state and the international order, is the core conflict of globalization. From the aspect of visual identification, the article reviews the "Seventeen years" minority film (1949-1966) when China was not involved in globalization in a modern sense. Through a comparison with the U. S. affirmative action which has been commonly adopted by ethnic studies, this article creates a new explanation frame, arguing that such policies in the 1950 s as nationality identification, ethnic equality and ethnic autonomy were a part of the Socialist affirmative action. Based on analysis of some representative films, this article discusses how the logic of "people's sovereignty" shaped the idea of "people", and as the "universal identity", how "people" overcame the specific ethnic identity, which also responds to the "Han centrism" criticism towards this kind of movies. The article attempts to point out that "people's sovereignty" also constructs a "common humanity", and the "seventeen years" minority film reminds us of not sticking to the "particular" to understand the minority movie. "The Chinese nation community" depends on universal equality and participation, and the film is always a part of this historical movement. References | Related Articles | Metrics

Issue in Focus:Studies of Critical Theory

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The Semiotical Expansion of Critical Theory: The Semiotical Methods in Baudrilard's Academic Research Yang Jian'gang 2017, 37 (5):  140-151.  Abstract ( 274 )   PDF (1518KB) ( 326 )   Jean Baudrilard made great contributions to the dialogue between Marxism and Semiotics. Although he changed from a Marxist to a Post-Marxist, semiotics has always been his methodology throughout his academic career. This intrinsic tension between breakage and connection is primarily caused by the usage of semiotics. By introducing semiotics into Marxism, he began to analyze and criticize the object system, fashion, auction of work of arts and the consumer ideology of consumer society, and formulated his unique critical theory of the political economy of the sign. As a result, he enriched and developed the critical theory of classical Marxism and the Frankfurt School. Also because of the usage of semiotics, he deviated from the basic principles of production theory of Marxism and put forward important concepts such as simulacrum, simulation, implosion and hyper-realism, and criticized the Gulf War as a media event. Ultimately, he became a typical postmodernist. References | Related Articles | Metrics

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A Return to Gramsci: The Theoretical Origin of Cultural Politics and the Gramsci Shift of in Cultural Studies Li Yanfeng 2017, 37 (5):  152-161.  Abstract ( 368 )   PDF (1274KB) ( 219 )   Since the 20th century, the Western Marxism underwent an important discourse transformation from the emphasis on economic foundation and the material structure to the superstructure and cultural ideology, from class politics to cultural politics, and ultimately established the discourse paradigm of cultural politics. The theory and practice of cultural politics come from Gramsci, whose dialectical thinking on the economic basis and superstructure, as well as interpretation of culture, politics, ideology and hegemony, directly affected cultural politics of western Marxism and promoted the Gramsci shift of cultural studies in the post-Gramsci era. Based on the analysis of Gramsci's cultural and political theory, the paper further explores the Gramsci shift of the western cultural studies from three aspects of cultural politics: semantic connotation, theory and method, and value. References | Related Articles | Metrics

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Reconstructing the Emancipatory Aesthetic Discourse in the Globalization Era: Three Discourse Domains of the Political Aesthetics of Contemporary Western Marxism Wen Yuanzhong 2017, 37 (5):  162-171.  Abstract ( 242 )   PDF (1330KB) ( 166 )   The aesthetics of the Western Marxism is not a "pure" aesthetics, but a "political aesthetics", or an aesthetic discourse of emancipatory politics, whose objective, to use Althusser's words, is to achieve the transformation from a man of class shaped by ideological state apparatuses to a free subject. Since the 1960s-1970s, contemporary Western Marxists have learned from the Western Marxist tradition of political aesthetics, confronted the political, economic and cultural changes of the Western society in the context of globalization, and explored the way to reconstruct the emancipatory aesthetic discourse. They have reconstructed the perception of reality and history by criticizing the cultural logic of late Capitalism, aroused the long-term forgotten utopian impulse, and laid the historical foundation for political aesthetics. They have also prioritized the body and work as two struggle fields of political aesthetics through demonstrating the influences of the aesthetic ideology on body and the immaterial labor on workers. By considering the inter-connections and differences between politics and aesthetics, they have explored the possible ways of struggling for political aesthetics. The political aesthetics of contemporary Western Marxism are expanded within these three domains of discourse, which ultimately aims to transcend the global Capitalism and to achieve the freedom and full development of human beings, thus conveying important implications to the development of society, culture and art. References | Related Articles | Metrics

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Tarrying with the Surface: The Screen Theory of Slavoj Žižek Wei Guangji 2017, 37 (5):  172-179.  Abstract ( 418 )   PDF (1217KB) ( 275 )   Centered around Lacan's concept "screen-image", this paper, proceeding from Žižek's interpretation of Lacanian psychoanalysis, especially from Žižek's critical theory of ideology, tries to elaborate, on the level of the image, how "the real/the Real" is visually constructed, and to demonstrate that the invisible is not the mystery beneath the appearance, but the manner with which the real "tarries with the surface". References | Related Articles | Metrics

Studies in Western Literary Theory

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Re-packaging a Cultural Revolution Model Opera: Politics and Commerce in Tsui Hark's The Taking of Tiger Mountain Han Li 2017, 37 (5):  180-192.  Abstract ( 302 )   PDF (395KB) ( 234 )   Tsui Hark's The Taking of Tiger Mountain (Zhiqu weihu shan, 2014) presents an unique text to examine the ramification of the Cultural Revolution in contemporary China and its interplay with the explosive growth of the mainland film industry in the global context. First of all, examined herein is the CCP's discourse on the role of cinema in its cultural enterprise plan in recent years. By situating The Taking of Tiger Mountain in the state's refreshed propaganda campaigns, the paper demonstrates how this work participates in the continuing exploration of new possibilities for the "main melody" elements. Secondly, conducted here is a close reading of the ideological and aesthetic modifications done to the Maoist model work in addition to the commercially appealing makeups. The discussion of the characterization of two heroes in the film, Jimmy and Yang Zirong, seeks to demonstrate an embedded ambivalence in the film — its looming conspiracy with the state's advocacy for a "homecoming" to the revolutionary tradition and a simultaneous discontent through infusing the revolutionary narrative with hybrid references to the homegrown folklore and Hong Kong-trademarked gangster genre. Re-packaging a Cultural Revolution model opera into a quasi — "main melody" film in the new millennium, Tsui Hark's blockbuster sheds new light on the rigorous interplay between the politics and commerce within the grand restructuring of the mainland film industry as Hong Kong directors' ever-deepening predicament with it since the return. References | Related Articles | Metrics

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Seduction: from the "Aesthetic Stage" to the Postmodern Mirror: Baudrillard's Interpretation of Kierkegaard's Seduction Shang Jingjian 2017, 37 (5):  193-200.  Abstract ( 407 )   PDF (1166KB) ( 279 )   In his Seduction, Baudrillard interprets Kierkegaard's concept of seduction: he regards seduction as a behavior of the "aesthetic stage", including Don Juan's physical seduction and the spiritual seduction of Johannes, represented as the male's desire and seduction to women, and also as a guiding spirit of Socrates' maieutics and Jesus' sermons, while Baudrillard is concerned more about nature of women's seduction. He regards seduction as a game which disintegrates the hierarchy of gender, power and production with its superficiality and meaninglessness, from the post-modern perspective. He considers Johannes' seduction as an artificial strategy, which is the mirror image of the female seduction and therefore is a stronger reflection of the invincibility of seduction. His concept of seduction follows Kierkegaard's reflection on reason, and also highlights the postmodern deconstruction of seduction. References | Related Articles | Metrics

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Prosthesis of Speed, Aesthetics of Disappearance and Logistics of Perception: Paul Virilio's Discussions of Cinema Zheng Xing 2017, 37 (5):  201-208.  Abstract ( 429 )   PDF (1238KB) ( 241 )   By integrating scatted discussions of Paul Virilio, this paper will give a comprehensive mapping of his thought on cinema and reveal its inner logic. Virilio's discussions on cinema are based on his "Dromology" theory. He points out that cinema is a kind of Prosthesis of Speed. It mimics an experience of perception which is peculiar to children, and has made it reborn in the adults. In this context, a new aesthetics related to modern art and media has emerged, which is named "Aesthetics of Disappearance" by Virilio. This new aesthetics has reshaped the perception in modern society in all dimensions, the typical performance of which has been presented in the battlefield. It has been named by Virilio as "Logistics of Perception". References | Related Articles | Metrics

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Art's Border Crossings, Crisis or Rebirth of Aesthetics: A Study of Rancière's Critique of Lyotard Zhang Haochen 2017, 37 (5):  209-216.  Abstract ( 186 )   PDF (1303KB) ( 121 )   Following the Utopian tradition characterized by the interaction between aesthetic autonomy and aesthetic criticism, many Western scholars have critical attitudes towards art's border crossings and therefore are pessimistic about the trend of aesthetics. Rancière, through reflections on Lyotard and the whole postmodern "ethical turn" that he represents, tries to activate the political potential within border crossings of art and thereby reconstructs aesthetics' critical dimensions. However, due to the confusion of the "unpresentable" and the "unrepresentable", Rancière does not sympathetically see Lyotard's sublime aesthetics' direction; his route of aesthetic politics also has some limitations. Both his insights and limitations as manifested in Rancière's "critique of Lyotard" help us not only to rethink the relationship between aesthetics and art's border crossings, but also to reflect on the legitimacy and borders of aesthetic criticism. References | Related Articles | Metrics