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25 January 2018, Volume 38 Issue 1 Previous Issue    Next Issue

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Issue in Focus: Comparative Poetics

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The Illustrations of the Novel and Image Narration Zhao Xianzhang 2018, 38 (1):  6-20.  Abstract ( 351 )   PDF (2134KB) ( 149 )   The illustrations of the novel originated from the "talking and singing show" of the Tang Dynasty. Bianwen ( 变文), Bianxiang (变相) and the illustrations of scripts for story-telling are the visible forms of the early stage, which are repeated and transcended by the illustrations of the novel in late imperial China. From "talking and singing show" in the scene to the text for reading, which is the folding of the narrative of the novel, "illustrations" are inserted in the folds of the narrative text, and bring the evidence to the reader's mind. Story painting and figure painting are the two main types of illustrations, and they can arouse the memory of the "image halo" about the novel, so it's possible for illustrations to escape the text and form an independent narrative. In the pure style of novel, the insertion of the image is a compulsory invasion of symbolic alienation. The "ekphrasis" is the resistance discourse of "speech", the deconstruction of the immersion reading, so the symbolic representation of a novel's illustrations is more of "decoration" rather than of "representation". References | Related Articles | Metrics

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Muses and Dongb Longf: The Literature behind Literatures Xu Xinjian 2018, 38 (1):  21-28.  Abstract ( 302 )   PDF (1238KB) ( 81 )   Literary anthropology focuses not only on the anthropological dimension and content of literary studies but also on the literariness of anthropology. In order to explore what makes literatures literature, this paper tries to explain the existence of literature and its significance from the perspective of literary anthropology. The interpretation to the existence and significance of literature from the perspective of literary anthropology entails exploration regarding what makes literature literature. Both Muses, the inspirational goddesses of literature, science and the arts in Greek methology, and Dongb Langf, or folk bard-singers in Southwest China are associated with literature, but their identities and destinies are vastly different. "Muses" are inherited as they evolve, but Dongb Longf are on the verge of extinction due to external challenges. Muses and Dongb Longf are typical forms of internal inheritance of human life; interntal inheritance makes humans cultural humans that can imagine, conceive and compose. Literariness of human beings is exactly a form of internal inheritance of human life. In other words, it is the literature behind literatures that determines the generation and inheritance of literature. References | Related Articles | Metrics

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The Autonomy of Literature and Literary Standards: A Study of Earl Miner's Methodology of Comparative Poetics Ji Jianxun, Zhang Jianfeng 2018, 38 (1):  29-38.  Abstract ( 287 )   PDF (1415KB) ( 112 )   The autonomy of literature and literary standard is of great significance for Earl Miner's comparative poetics research. The former is the presupposition of Earl Miner's system of comparative poetics, and the latter its basic standard. Departing from these, Miner draws a map for the literary and poetic tradition of the West and the East, thereby redefining the essence of literature and literary genres from a comparative perspective and expounding the cultural and historical factors that have led to the difference. Key to his system, Earl Miner's assumption of literature autonomy and abidance to the literary standard in literary studies are beneficial to current studies of literature, comparative literature, and comparative poetics. References | Related Articles | Metrics

Studies in Western Literary Theory

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Ranges of Understanding: On the Vast Scope of Art Interpretation. A Wittgensteinian Perspective Stefan Majetschak 2018, 38 (1):  39-48.  Abstract ( 174 )   PDF (269KB) ( 92 )   The article examines the question of what "understanding an art work" means and offers some considerations about the ranges of understanding that we experience in interpretations of art: the vast scope between the contrasting extremes "expert knowledge" on the one hand and "art blindness" on the other. With respect to the philosophy of later Ludwig Wittgenstein it will be shown what these ranges originate from and why they are unavoidable. This may come as a surprise to some philosophers since Wittgenstein usually is not regarded as someone from whom one might expect pronouncements of an aesthetic nature. But in fact Wittgenstein had spent much time considering questions of art and art theory. Indeed in 1949 he even noted that besides "conceptual" questions only "aesthetic questions" could "really grip" him (CV 2006: 91e) . However, he never formulated his reflections on questions of aesthetics in an extended and coherent series of remarks. Rather his observations in this regard are to be found in individual remarks scattered in considerable quantity throughout the papers of his Nachlass. In the paper at hand a certain number of them has been reconstructed systematically. References | Related Articles | Metrics

Studies in Western Literary Theory and Aesthetics

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Descartes's Theory of Passion and Le Brun's Theory of Expression: A Study of Details Regarding the French Classicist Aesthetics during the 17th Century Zhang Ying 2018, 38 (1):  49-60.  Abstract ( 311 )   PDF (1901KB) ( 106 )   Charles Le Brun, the first painter of Louis XVI, delivered several speeches in the Académie royale de la peinture et du sculpture and talked about the question of expressing people's passions. He developed his own theory of expression by consulting the Les passions de l''âme by René Descartes. Some scholars think that it was Descartes who influenced essentially the classicist aesthetics of Le Brun and the académie. Others think that Le Brun radically misread Descartes, and thus they depreciate his theory of painting. This article has a different opinion: the theory of expression was formed by reforming substantially the text of Descartes, and in so doing it deviated fundamentally from the latter. Le Brun made the reform on purpose: on the one hand, Le Brun, as a painter, always concerned how to use the visage to express the soul; on the other hand, Le Brun, as president of the académie, internalized the pressure of the institution. By exploring this problem, this article tries to use this detailed issue to reflect the resources, methods, institutions of the French classicist aesthetics during the first half of the 17th century. References | Related Articles | Metrics

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St John the Baptist: Da Vinci's Irony Chen Chunlian 2018, 38 (1):  61-68.  Abstract ( 296 )   PDF (1108KB) ( 162 )   In Leonardo da Vinci's St John the Baptist, the figure is androgynous, whose expression and posture look enchanting and tempting. Such an image does not accord with the description in the Bible, which is remarkably unusual in Christian culture. People in the Renaissance began to rethink about truth and revelation of Christian religion, believing that Christian thoughts and culture were not monolithic any more. St John the Baptist predicts the coming of Jesus; namely, he witnesses the true light. However, da Vinci transformed his image characteristics and gave the image new connotation and symbolic meaning, which made Christian truth that St John foretells ambiguous. This is an irony in the painting. Da Vinci brought this figure inner tension by means of causing contradiction between the Christian prophet and the androgynous image, which suggested serious conflict between Hellenistic truth and Christian revelation. The irony in this painting is double: first, the figure St John the Baptist is ironic, for he predicts truth and he himself is not truth; second, the way da Vinci represented the image is ironic, as the figure is St John the Baptist but not the original prophet John in the Bible. In double ironies, da Vinci implied his rethinking about two questions: What is truth? What is the way to truth? References | Related Articles | Metrics

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Kristeva and the Generation of Postmodernist Literary Theory Zhao Xuemei 2018, 38 (1):  69-79.  Abstract ( 234 )   PDF (1468KB) ( 78 )   Postmodernist Literary Theory starts from the French poststructuralist and deconstructivist literary theory, Kristeva plays a vital role in the generation of French Postmodernism Literary Theory. In France, Bakhtin's poetics introduced by Kristeva plays a landmark role in the transition of the ideological trend from structuralism to post-structuralism. On the basis of inheriting and developing Bakhtin's dialogue theory, Kristeva proposes the Intertextuality theory, Which establishes her position as the pioneer of poststructuralist literary theory and directly contributes to Roland Barthes' transition from structuralism to poststructuralism. Kristeva also inspires the master of deconstruction Derrida. The "May Storm" in 1968, the Tel Quel group's membership, acute sensibilities and academic ambition, as well as the unique experience of life as a female migrant from Eastern Europe are important reasons for Kristeva's being the illuminator of the postmodernist literary theory. References | Related Articles | Metrics

Classical Literary Theory and Criticism

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The Transition from Ritual to Text: The Value of Poetics of Verse Composison in the Spring and Autumn Period Liu Yanqing, Zhang Xinke 2018, 38 (1):  80-88.  Abstract ( 175 )   PDF (1270KB) ( 133 )   In the Western Zhou Dynasty, poetry, music and dance were combined to become an important part of rituals. The spreading of poetry in this period is consistent with rituals. The rituality of poetry gradually faded and its textual value grew as poetry in the Western Zhou ceremony became verse in the Spring and Autumn period. The spreading of poetry shifted from rituality to textuality. In Spring and Autumn poetry, the consistency between poetry and ceremony began to disintegrate, but the consistency between poetry and text had not yet emerged. This situation led to multiple interpretations to the meaning of the texts of poetry; therefore, the inheritance of Western Zhou patriarchal thought, ethics and governance as carried by poetry might be endangered. It is thought such as "poetry as an expression of intent" and "songs and poems as an expression true meaning" that takes on the responsibility of cultural inheritance. In the classical interpretations to texts of poetry by Confucianists as represented by Confucius and Mencius, poetry was textualized into Shijing, known as Book of Songs, the consistency between poetry and texts was formally established, thus facilitating cultural inheritance. References | Related Articles | Metrics

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The Likening of Pen into Weaponry in Ancient Literary Criticism and the Metaphor System of Literati's Writing and Craftsmen's Crafting Huang Minxue 2018, 38 (1):  89-98.  Abstract ( 208 )   PDF (1407KB) ( 93 )   The analogy of pen with weapons is a phenomenon rich in hierarchy and systematicness in ancient literary criticism. It comes from the ancients' pursuit of words' real power, the habits of mind of metaphor with objects, the influence of war craft on art theory and the literati's hope of being well-versed in both polite letters and martial arts. It has kinds of existence forms and concludes words, literary form, atmosphere and ornate wording and so on. Besides, the analysis of the analogy of pen with weapons' production will guide us to a deeper system of literary criticism, which is the analogy system of literati's writing with craftsmen's crafting. The generation of this system is closely connected with the change of the situation of comments on literati and the formalization of literature. References | Related Articles | Metrics

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A Fusion of Yangmingism, Politics and Literature: the Constructional Dimensions of Li Fu's Literary Ideas Chang Wei 2018, 38 (1):  99-107.  Abstract ( 312 )   PDF (1390KB) ( 89 )   Li Fu's ( 1675-1750) literary ideas are a fusion of Yangmingism, politics and literature, due to his profound research on Yangmingism, his political expectation for being a man like Yi Yin, his appreciation for Ouyang Xiu, Zeng Gong, Wang Anshi, a group of people born in Jiangxi who put great importance on literature, his rich literary experience and profound insights in his articles. Based on Yangmingism, he cleared the barriers to be a saint and got the ideas which could turn thoughts into action. He then bridged the traditional gap between "Confucian orthodoxy" and "dominion", constructed the discourse system about "literature-Confucian orthodoxy-state governance", and integrated all of them. The idea that "theoretical contributions must be accompanied by noble virtues and practical achievements" reflected his political endeavor. The theory that "poetry and articles come from the mind" was characterized by Yangmingism. Because of the influence of the traditional textology from Yangmingism and the revival of textology in the early Qing dynasty, he put textology into articles. As a Noe-Confucian, Li Fu broke through the limitation of Cheng-Zhu Confucian School and Yangmingism, and considered content, style, writing techniques of articles from a literary perspective. References | Related Articles | Metrics

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Refiguring "Philosophical Words": The Genesis Context and Classification of Wang Chuanshan's Theory "Integrating Philosophy into Emotions" Yang Ningning 2018, 38 (1):  108-115.  Abstract ( 270 )   PDF (1390KB) ( 104 )   "Philosophical words" in poetry has always been an important issue in classical Chinese poetics. In its complicated development process, the poetic discourse of Wang Chuanshan played the role of clarification and remodeling. From the point of view of the source, some theories of poetry, such as "the law of things" in the Song dynasty, Yan Yu's ideas of "language, thought and image", "opposing reason in favor of emotion" put forth since the Yuan and Ming Dynasties, Hao Jing's idea of "the reason of poetry", Chen Baisha's idea of "using emotions to govern reason", became the context for the genesis of Chuanshan's poetic concepts. In terms of the process of discrimination, Chuanshan's poetic view was underlain by a classification mentality. He criticized using argumentation in poetry and considered such poetry's characteristics of "logic", "vituperation" and "messiness" a violation of poetry's conventional characteristics, such as "lyricism", "peace" and "purity". He acknowledged the necessity of "the law of things" in poetry, but he tended to focus more on the connotations of emotion behind the law. As for the metaphysical and moral words that explored the mysterious and philosophical problems of the world of poetry, Chuanshan also insisted on the principle of "integrating philosophy into emotions", and strongly highlighted poetic emotion's fundamental significance to poetic philosophy in terms of both theory and practice. References | Related Articles | Metrics

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Fang Dongshu's Comments on the Jiangxi Poetics Wu Sheng 2018, 38 (1):  116-123.  Abstract ( 239 )   PDF (1252KB) ( 119 )   Fang Dongshu was an important writer of the later Tongcheng Literary School. He discussed poetics from the perspective of article writing style and therefore reframed the historical connection between the Jiangxi Poetics and Du Fu's Han Yu's "prose style in poetry". Fang Dongshu argued that although Huang Tingjian had learnt the creation of artistic conception from Du Fu and the expression of style from Han Yu, he didn't achieve the natural realm and smooth aesthetic found in them.Fang had a comprehensive and detailed analysis about the Jiangxi Poetics, summarized its value, ways of composition, experience, etc. These are the historical contribution and development of Fang Dongshu's poetics. References | Related Articles | Metrics

Issue in Focus: Modern Xiqu Studies

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The Theatre of Purgation and the Theatre of Cultivation: as Related to the Complex Definitions and Ramifications of Theatre, Drama, Chinese Opera in the Context of Chinese and Western Cultures Sun Huizhu (William) 2018, 38 (1):  124-139.  Abstract ( 301 )   PDF (2522KB) ( 144 )   Two important aspects of western theatre have escaped the attention of most Chinese theatre people and scholars. One of them, originated from Greek tragedies full of familial killings, is a preference for the display and purgation of things unclean. This is largely incompatible with Chinese culture, in which theatre, especially Chinese opera, tends to showcase positive role models in uplifting stories. The other ignored aspect is reflected in a huge portion of western theatre that parallels the Chinese preference for moral cultivation and/or entertainment. In China theatre studies has been dominated by western discourse on serious drama, i. e. the theatre of purgation. It is equally important, however, to study the more popular western theatre genres, e. g. musical, comedy, and mystery, especially in terms of their similarities with Chinese opera, largely an epitome of theatre of cultivation. References | Related Articles | Metrics

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A Differentiation and Rectification on "Modern Xiqu" Li Wei 2018, 38 (1):  140-147.  Abstract ( 224 )   PDF (1042KB) ( 67 )   The concept "modern xiqu" is used usually in three senses: First, it refers to all xiqu works of the modern period; second, it refers to some xiqu works that depict modern life; third, as a theatrical and a cultural term, it covers works with the quality of modernity. These meanings apply to different fields, but both the first and the second overlook the connotation of modernity. When discussing the modernity of "modern xiqu", professor Lü Xiaoping emphasizes both modern spirit and the dramatic principle of "the unity of plot", and professor Fu Jin emphasizes virtuosity and the subsequent self-discipline and popularity. This article argues that both the dramatic principle and virtuosity are only sufficient conditions but not necessary conditions of "modern xiqu", because its core is modern spirit and idea. In a word, "modern xiqu" refers to xiqu works adapted and created by modern dramatists with modern spirit and idea. References | Related Articles | Metrics

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The Classical Propositions of Ancient Opera Studies in the Historiography of Opera in the Period of the Republic of China Huang Jingfeng 2018, 38 (1):  148-160.  Abstract ( 218 )   PDF (1945KB) ( 127 )   Chinese opera historians in the first half of the 20 th century continued the discussion of the classical propositions of ancient opera studies in their historiography of traditional Chinese opera. They conducted historical criticism through reconsidering the classical propositions and appropriately placed them in the historical context, thus making it a part of historical narrative. There are four categories of classical propositions that entered into the historical studies in this period: classification, comparison, revelation of causes, story prototype tracing. The reconsideration of classical propositions has not only historiographical value, but also twofold significance at the level of opera history. On the one hand, historians sorted out ancient people's "trans-time-andspace" debates before reopening the discussion, which are actually reviews of ancient studies of opera. On the other hand, the differences in perspectives and viewpoints between modern historians and ancient people reflect that the studies of opera history have entered into an era of logical positivism. References | Related Articles | Metrics

Issue in Focus: Phenomenological Aesthetics

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The Awakening of Time Consciousness and the Outset of Modern Art: A Phenomenological Interpretation of the Impressionist Painting Su Hongbin 2018, 38 (1):  161-169.  Abstract ( 377 )   PDF (1214KB) ( 164 )   The impressionist painting became the outset of modern art because impressionist painters had grasped the characteristics of modern life: variability. Their pursuit of variability awakened their time consciousness which was later introduced into their paintings by portraying the transient moments of objects as the theme. In order to capture that moment, impressionist painters valued perception but denied memories and imagination for perception could grasp the original impression of the certain instant while memories and imagination could only catch the past and the future in the complete time consciousness. Impressionist painters were preoccupied with the beauty of transience but ignored that of eternity. Therefore, they were replaced by the subsequent modernist painters shortly after they unveiled the history of modern painting. References | Related Articles | Metrics

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Art and Objecthood: An Explication of the Debate Inspired by Martin Heidegger Wang Zhenglong 2018, 38 (1):  170-176.  Abstract ( 370 )   PDF (946KB) ( 152 )   In his middle and later writings, Heidegger puts forward the issue of the relation of art and objecthood, holding that creation presents an object as a production and an artwork manifests the thingly element in a broad field, with criticism of the three definitions of the thing: the thing as a carrier of properties, the thing as a unit of sensorial perception, and the thing as matter moulded in a particular form. Heidegger's ideas based on his art ontology reflect his thoughts about what art is and what a human being is, which are related to the art trends of the 20th century and then become a core issue of contemporary debates in aesthetics and art theory. Although other aestheticians or thinkers seem to discuss such issues in a remoulding way of what Heidegger criticizes while seldom following his own thinking, they are similar with Heidegger in the terms of anti-mimesis and anti-metaphysics. References | Related Articles | Metrics

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A Study of Heidegger's "Interpretation for Van Gogh" from the Perspective of "Becoming and Manifestation" in the Sensory Structure of Artistic Works Zhang Yunpeng 2018, 38 (1):  177-183.  Abstract ( 191 )   PDF (884KB) ( 123 )   While Heidegger's "Interpretation for Van Gogh" is influential in academic circles, there are also some challenges, criticism and arguments. In order to deepen the understanding of Heidegger's interpretation, we need to contextualize it in the theory after the turn of his thought. To determine whether the explanation is reasonable and appropriate, we need to verify it by returning to the phenomenon of "becoming and manifestation" within the sensory structure in aesthetic experience of artistic works. If the sensory manifestation of artistic works is poetry, then the aesthetic interpretation is thought. Whether poetry and thought are identical or not should be the fundamental basis and reference to understand Heidegger's "Interpretation for Van Gogh". References | Related Articles | Metrics

Chinese Literary Critical Discourse: Contemporary Marxtist Aesthetics

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The Destiny of Western Theory in China: Jameson and Jamesonism Liu Kang 2018, 38 (1):  184-201.  Abstract ( 219 )   PDF (580KB) ( 149 )   This essay is the first of a series of inquiries. It takes Jameson as a point of departure for the reflection on the reception, revision and transformation of western literary theories in China over the last four decades. It examines the path of "translating and borrowing", "addressing Chinese issues with western discourses" as the intellectual background, and then explores "Chinese Jamesonism" as a neo-Marxist academic discourse befitting current Chinese circumstances, invented on a selective themes of postmodernism and Third World "national allegory". Chinese Jamesonism has little to do with what Jameson thinks and writes, and this kind of selective misreading and theoretical displacement is an impediment to meaningful conversations. References | Related Articles | Metrics

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A Study of "The Anti-modern Modernity" and Its Change in Two-way Travels Wu Yuyu 2018, 38 (1):  202-211.  Abstract ( 321 )   PDF (2557KB) ( 147 )   Since Wang Hui discussed "the anti-modern modernity" in detail in his article "Contemporary Chinese Thought and the Question of Modernity", the issue of Chinese modernity has become a bone of contention in the ideological circle of China. In fact, the theory did not grow from China, but was initially proposed by Western Leftist theorists. It affected Chinese scholars in the West and then entered China. This article focuses on the discussion of "the anti-modern modernity" by Arif Dirlik, Liu Kang and Wang Hui, and compares their different understandings and interpretations in Chinese and Western contexts. The theory of Arif Dirlik and Liu Kang was to reflect on the West by using Chinese theory. When Wang Hui introduced the theory to China, there was a structural change. By analyzing the practical experience of China with abstract theory, he reduced the critical power of the original Western Leftist theory and gave it a superficially glorious coat. The original insights in Western theories became useless for interpreting Chinese experiences. References | Related Articles | Metrics

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Overseas Research on Marxist Aesthetics: A Comparative Reading and Thought Construction Li Song, Yu Muyi 2018, 38 (1):  212-216.  Abstract ( 246 )   PDF (636KB) ( 68 )   Marxist aesthetics had a significant position in aesthetics in twentieth century China, heavily influencing China's social transformation and thought construction. In studies of Marxist aesthetics in China, it is necessary to draw on Marxist aesthetics of the West as a frame of reference and incorporate it studies of China's history of thought. With a comparative, cross-cultural approach, Liu Kang focuses on contemporary Marxist aesthetics in China or related topics. His studies have not only offered new dimensions and methodologies for studies of Marxist aesthetics in China, but also helped to construct a frame of reference and to reflect upon contemporary Chinese thought and culture. References | Related Articles | Metrics