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25 September 2018, Volume 38 Issue 5 Previous Issue    Next Issue

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The Essence of the 19th CPC National Congress and Innovation in Humanities

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Differentiation and Reconstruction of Value: Function and Value Orientation of Literary and Art Criticism in the New Era Jiang Shuzhuo, Li Shi 2018, 38 (5):  6-13.  Abstract ( 191 )   PDF (1341KB) ( 114 )   The absence, aphasia and weakening of literary and art criticism are not only related to the strong influence of marketization and western theories, but also rooted in value differentiation in the process of modernization. Xi Jinping's series of speeches on literary and art work have provided an important opportunity of constructing value of literary and art criticism in the new era. Criticism in the new era should function to improve people's aesthetic quality and cultivate modern personality. And value orientation of criticism shall be people-oriented, firmly confident in China's history and cultural traditions, and adhering to the principle of aesthetics. References | Related Articles | Metrics

Studies in Western Literary Theory and Aesthetics

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Federal Literatures: Toward a Theory of Literary Intranationality Albert Braz 2018, 38 (5):  14-25.  Abstract ( 260 )   PDF (1382KB) ( 131 )    There is a general tendency to associate a national literature with a nation-state, a link that at times verges on the mystical. Yet it is common knowledge that there are considerably more sociological nations than nation-states, suggesting that often there is more than one nation in a given country and likely more than one national literature. This essay scrutinizes the real contours of the national bodies of writing produced in multination states in an attempt to develop a method for examining literary production other than the “national literature” paradigm—more specifically, federal literatures. References | Related Articles | Metrics

Western Literary Theory and Studies in Aesthetics

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Retrospect and Re-exploration of Structuralism Zhou Qichao 2018, 38 (5):  26-33.  Abstract ( 322 )   PDF (1913KB) ( 159 )   The cross-disciplinary and multi-lingual theoretical journey of "structuralism" is one of the essential topic in contemporary international literary criticism and comparative poetics. Is "structuralism" a school or ideological trend? Roland Barthes argues that structuralism is neither a school nor a movement but an activity. Is "structuralism" a theory or a methodology? Structuralist Jan Mykarovsky believes that structuralism is neither a theory nor a methodology but a cognitive position independent from both. Structuralism de facto is not only a construction activity but a cognitive position and even an ideological paradigm. It is the structuralist criticism belonging to dialogue and interactivity, contrast and conflict between "poetic paradigm" and "hermeneutic paradigm", "phenomenological paradigm" and "sociological paradigm" that promotes prosperity of 20th century's world literary criticism. We can face the diversified forms of structuralist criticism only through the in-depth exploration of its ideological paradigm thus entering into the multifaceted structuralist criticism and transcending the perpetually popular but being simplified "structuralism". References | Related Articles | Metrics

Studies in Western Literary Theory and Aesthetics

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Allure of Things and Vicarious Causation: Harman's Poetics of Objects Shaobo Xie 2018, 38 (5):  34-42.  Abstract ( 293 )   PDF (1919KB) ( 249 )   Graham Harman's poetics of objects challenges the linguistic turn which has dominated Euro-American philosophy in the past few decades, calling for a return to the world of things and championing a theory of autonomy and democracy of objects. Harman not only equally teats all forms of being as objects, but sees the components of any singular object as sovereign and autonomous objects in their own right. He has created a series of new concepts such as "allure of things" and "vicarious causation," urging us to look at the world from a radically new perspective and explore the ontology and meaning of things as well as their relationship with human beings. However, like all other emerging theories, Harman's poetics of objects is not without flaws and weaknesses. What is most problematic is its insistence on delinking philosophy from its critical role, signaling a total rejection of the critical tradition that has been prevalent in the West since several decades ago, hence eliminating the possibility of resistance to reification and the logic of capital. References | Related Articles | Metrics

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Readymade and the Placing/Stellen of Truth: A Heideggerian Interpretation of Duchamp's "Fountain" Miao Yulong 2018, 38 (5):  43-49.  Abstract ( 254 )   PDF (1903KB) ( 126 )   Through his subversive thinking of Plato's cave metaphor, Martin Heidegger has restored to truth (aletheia) its original significance. Then he bases the origin of art on its relation with truth. The so-called producing (herstellen) of the Earth and instituting (aufstellen) of the World is exactly the placing (Stellen) and placing-together (Ge-stell) of truth. A Heideggerian interpretation of Marcel Duchamp's "Fountain" will attest excellently to the validity of readymade art as the placing/stellen of truth. References | Related Articles | Metrics

Western Literary Theory and Studies in Aesthetics

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A Reinvestigation of Kant's Concept of "Interesse": A Reinterpretation of the Chief Element of the Power of Judgment Xu Xianliang 2018, 38 (5):  50-57.  Abstract ( 244 )   PDF (1928KB) ( 164 )   This article takes Immanuel Kant's concept of "interesse", and investigates its meaning for understanding of Critique of the Power of Judgment. According to Kant, interesse does not mean that the judging subject is disinterested in beauty, but in the real existence of the object of judgment. Within such a frame, the freedom internal to aesthetic judgment is highlighted. Because interest always concerns the real object, aesthetic judgment without interest is free from subjective preference. Under such circumstances, the subject is entitled to the request of the same judgment from others and thus together they reach universal identity. The freedom is the basis of identity between judgment of taste and judgment of morality, and thus beauty is a symbol of morality. References | Related Articles | Metrics

Studies in Western Literary Theory and Aesthetics

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On Interpretative Validity of Intentionalism Against Fallacy of Private Language: Based on Levinson, Carroll and Davidson's Approaches Zhang Qiao 2018, 38 (5):  58-68.  Abstract ( 269 )   PDF (1997KB) ( 156 )   Anti-intentionalism always thinks that any commitment to the concept of intention will lead to the fallacy of private language, representatives of which are theoretical samples like Humpty Dumpty-ism. If Intentionalism is to continue to have interpretative validity, alternative concept of intention must be provided to get rid of the fallacy of private language. This paper presents three approaches of intentionalism revival in analytical aesthetics. The first two versions of the intentionalism reactivate the intention in text interpretation in a place, but still make concessions to anti-intentionalism. It is because both of them share the view with anti-intentionalism that language conventions are determinants in language communication and the concept of intentions is a derivative element. Davidson, however, putting intention in a hermeneutic horizon, argues that the essence of language communication is the interpreter’s recognition of the speaker's intention, while language conventions is not the necessary condition for language communication. With the three versions in comparison, Davidson's theory of intention thoroughly gets rid of commitment of language convention. He put intention as the key factor of text interpretation, which could show more interpretative validity than the first two versions in the debate with anti-intentionalism. References | Related Articles | Metrics

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Aesthetic Freedom and Ethical Obligation: A Review of the Construction of Lyotard's Theory of the Sublime Ma Xiaoyuan 2018, 38 (5):  69-76.  Abstract ( 302 )   PDF (1919KB) ( 135 )   Applying the aesthetic theory of Immanuel Kant into contemporary cultural context, Jean-François Lyotard finds that due to grand narratives such as ideology and technological sciences, aesthetic feeling is no longer a free game between intellectuality and imagination, and aesthetics has become something "permitted" and "realistic". Lyotard criticizes grand narratives, claiming that art could break up the framework of grand narratives only if it jettisons the limits of recognizable representations and presents "the unpresentable". Lyotard therefore integrates avant-garde art as well as other theories into his postmodern aesthetics of the sublime. He believes that free aesthetic activities of contemporary culture could only be realized with the postmodern sublime. Moreover, introspection represented by aesthetic activities, according to Lyotard, is a unique human mentality different from techno-science, which, as he holds, is the basis for aesthetics and ethics, and could keep human thoughts free. Hence Lyotard regards the sense of the sublime as an ethic feeling, and forms his ethic theory about obligation based on aesthetics. References | Related Articles | Metrics

Modern and Contemporary Literary Theory and Criticism

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The Intentional Confusion of Narrative Viewpoint in Eileen Chang's Novels Xu Zidong 2018, 38 (5):  77-90.  Abstract ( 421 )   PDF (1989KB) ( 510 )   Throughout her life, Eileen Chang has used the third-person narrative that limited the viewpoint of the protagonists; however, this narrative method underwent different changes during different stages of Chang's life. In her early works, the perspective of the protagonist was depicted by the omniscient narrator and some settings were described through the perspective of the protagonist as well as the narrator. This type of intentional confusion created by the narrative method was an important technical feature in Eileen Chang's novels. In The Rice Sprout Song, Chang still remained insistent on using the third-person narrative that limited the characters' viewpoint. What was different, however, was the inclusion of multiple subjective perspectives from various characters that live in social conflicts as opposed to having one or two male and female protagonists, which in combination created a seemingly realistic effect. As for the representative novel of her later works, Little Reunion, Chang abandoned other narrative viewpoints and only used the perspective of the female protagonist from start to finish. In the novel, there were still some changes or even "confusion" of the narrative viewpoint, which was caused by the protagonist's various perspective in different time. References | Related Articles | Metrics

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Charm of Fictitious History: The Literary Value of New Historical Fiction Wang Ping 2018, 38 (5):  91-98.  Abstract ( 486 )   PDF (1341KB) ( 133 )   Focusing on the forms of new historical fiction, this article analyzes general artistic features of its narrative. Since new historical fiction no longer attempts to construct a historical stage of facts, the writing patterns of previous historical fiction have been gradually broken. In the new artistic forms — fade-out and circularity of time, "intertextualized" narrative strategy, personalized historical discourse — new historical fiction assumes new meanings, which gives its text fictitious charm. The type of fiction uses new narrative to depict history which, significantly different from the past, embodies the wisdom of literary creation and also provides a new possibility for the development of fiction. References | Related Articles | Metrics

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Knowledge Fragment and Theoretical System: Keywords as the Philosophical Basis for the Knowledge System of Literary Theory Li Hongbo 2018, 38 (5):  99-105.  Abstract ( 229 )   PDF (1325KB) ( 74 )   This paper discusses deep changes of literary theory as a subject of knowledge writing when keywords are used to construct the knowledge system of literary theory. It reveals knowledge assumption behind the changes from the perspectives of disciplinary boundary, meaning reconstruction, and study acceptance. According to the paper, it is fuzzy disciplinary boundary of literary theory that makes it possible to perceive and generate theory by using keywords; with the narrative of literary theories questioned, it thus becomes necessary to use keywords and reconstruct meaning. At the same time, the knowledge of literary theory marked by keywords provides readers with a variety of choices, which thereby contribute to a colorful landscape of theoretical knowledge for their study. References | Related Articles | Metrics

Classical Literary Theory and Criticism

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Xing in Mei Shi: A Theory on Genetic Poetics Liu Xiaoming, Sun Xiangrong 2018, 38 (5):  106-117.  Abstract ( 239 )   PDF (1965KB) ( 150 )   Different from general arguments mainly concerning the expression of Poetics in Shi Jing. This article is mainly concerned with "Xing Yi" (Affective Image's inner motif) of the authors' internality, which is also in the scope of mei shi. It is not only dynamic but also uncertain. It has not been conceptualized yet and is in an unattended state. Therefore, in this way it generates infinite possibilities, which thence constitute the constitution and genesis of poetics. This paper expounds four connotations on "Xing" in mei shi, and the generative mechanism of genetic poetics. "Xing Yi" encounters emotional experience in unattended mei shi. Xing of generation is thus initiated, the genetic mechanism of which is actually driven by a kind of energy of mei shi that the authors do not even realize. On this basis, the expressive program has been made into Xing-style poetry. Since creative consciousness is no longer stipulated as the necessary condition for the formation of poetry, mei shi becomes the possibility and "effect" of poetry. Existence presented by Xing of generation is often an unnoticed feeling which thereby reveals "the existing forgotten" of literature. References | Related Articles | Metrics

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Records of what he saw and heard of: the Principle and Methods in the Composition of Classical Chinese Xiaoshuo Luo Ning 2018, 38 (5):  118-131.  Abstract ( 869 )   PDF (2082KB) ( 119 )   Xiaoshuo (lit. petty discourse) in classical Chinese, the predominant genre of xiaoshuo in ancient China, is different from vernacular xiaoshuo and western novel. Its major principle and methods are accounts of what one saw or heard of rather than mere conception or fiction. This feature finds clear expression in elaborations on ancient works about bibliography, in the naming of xiaoshuo, in the preface or postscript of xiaoshuo, and in scholarly discussions of ancient China. In modern times, due to the influence of the Western conception of the novel, modern elements and strandards of writing such as fictionality, narrative and character are incorporated into the examination of ancient Chinese xiaoshuo, and therefore misunderstandings arise. It is important to return to the original concept of xiaoshuo and to respect the fact that xiaoshuo means accounts of what one saw and heard of so that the history of xiaoshuo in classical Chinese can be reconstructed. References | Related Articles | Metrics

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Chuxiang, Annotations and Performances of Moon Prayer Pavilion: A Case Study of Li Zhuowu's Annotated Edition and Ling Yanxi's Engraved Edition Ding Shumei, Zhang Ranran 2018, 38 (5):  132-142.  Abstract ( 270 )   PDF (4388KB) ( 155 )   Based on Li Zhuowu's annotated edition and Ling Yanxi's engraved edition of Moon Prayer Pavilion, the article analyzes intertextuality and connection between its illustrations and dramatic narrative. Specifically, it makes an analysis from the following aspects: chuxiang (illustrations on the upper part of a page with texts below), illustration order and inscriptions on the illustrations, textual meaning expression and performance of story scenes, figure gestures and scenic tension, etc. Considering all the aspects, the article tries to illuminate how the book reconstructs artistic conception by inserting annotations instead of only displaying the plot through pictures; how it shapes the characters through coordinating illustrations and corresponding plot with narrative details; how the illustrations leave a space for imagination, appreciation and performance, diverse in form but same in substance with the text, when depicting virtual scenes and creating images by characters' costume and gestures, which further establishes the interactive relationship among characters and scenes, pictures and texts, picturing figures and performances. Interpreting graphic details contributes to further understanding of the internal relationship between illustrations and textual structures as well as of the significance of illustrations in spreading xiqu plays in the middle and late Ming dynasty. References | Related Articles | Metrics

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The Proposition of Li Yu's Reincarnation and the Development of Ci-Poetry in Early Qing Chen Changqiang 2018, 38 (5):  143-153.  Abstract ( 340 )   PDF (1977KB) ( 145 )   The proposition "Li Yu's Reincarnation" was put forward initially based on the analogy of reincarnation, and later acquired a clear reference. In the Qing Dynasty and the Republic of China, the discussion of this proposition focused on Chen Zilong and Nalan Xingde. On the one hand, Chen and Nalan are similar to Li Yu in themes of romance, patriotism and style of Ci-poetry; on the other hand, there are differences in the theory of Ci-poetry. It not only reflects the canonization and acceptance of model-poets such as Li Yu, but also reflects the evolution and the orthodox order of Ling-Ci (Short Lyrics) in the Later Ming and Early Qing Dynasties. The admiration of Chen Zilong, especially his identity shown in the Early Collection of the Present Ci-poetry, not only reveals the consciousness of the school of Ci-poetry of Nalan, but also shows his clearer clarification of the Ci-poet community. It is known that the orthodox order of Ling-Ci in the proposition "Li Yu's Reincarnation" is also an important force in the Ci-poetry community of the early Qing. This force, together with other Ci-poetry forces, participates in and underpins the resurgence of Ci-poetry in the early Qing. References | Related Articles | Metrics

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Three Academic Trends of Versification Theories of Regulated Verse in the Early and Middle Qing Dynasty Liu Yang 2018, 38 (5):  154-164.  Abstract ( 220 )   PDF (1966KB) ( 126 )   It is generally accepted that the current versification standard of regulated verse established in the Tang dynasty remains unchanged over one thousand years. However, until the early and middle Qing dynasty, there were actually at least three different academic trends of versification theories of regulated verse. This article concentrates on three representative publications, Four Studies of Regulated Verse by Li Zongwen, The Definite Form of Regulated Verse by Wang Shizhen, and The Sound Manual of Poetry by Yun Zonghe, in order to demonstrate the diversity of the versification theories in the early and middle Qing dynasty. The versification standard of regulated verse is not an unvarying "law", but an academic question that deserves discussion and a knowledge system that keeps changing and developing in history. References | Related Articles | Metrics

Issue in Focus: Pragmatic Aesthetics

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Richard Rorty and the Possibility of a Neo-pragmatic Literary Theory Tang Yonghua 2018, 38 (5):  165-175.  Abstract ( 201 )   PDF (1948KB) ( 271 )   In virtue of the logic of Richard Rorty's neo-pragmatism, it is problematic to claim that Rorty's literary theory is based on his philosophy. Rather, Rorty as a neo-pragmatist and a literary theorist can both make more sense if they are put together. So we may need start from the controversy over the definition of neo-pragmatism, and activate the tension between literature and philosophy, in order to give a more thoughtful examination of Rorty's design of literary theory. Besides, we can divide theories into three types according to their function: inquiry, problematization, and therapeutics. Thus we may place better a possible neo-pragmatic literary theory, including how it asks, how it thinks, and how it answers. References | Related Articles | Metrics

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On Richard Rorty's Concept of Imagination Li Xiaolin 2018, 38 (5):  176-181.  Abstract ( 243 )   PDF (1314KB) ( 143 )   Richard Rorty constructs "a poetized culture", in which literature substitutes for religion and philosophy as the leading role of culture. It is the "culture" respecting "imagination" and "liberal utopia". The "imagination" of Rorty includes not only the imagination of private perfection and human solidarity, but also the utopian imagination of the future. Rorty's "imagination" carries forward the concept of romantic literature, as well as practices the proposition of "philosophy as cultural politics" of neo-pragmatism. References | Related Articles | Metrics

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Form in the Vein of Pragmatist Aesthetics: Dewey's Debt to and Distance from Emerson Yin Xiaofang 2018, 38 (5):  182-190.  Abstract ( 314 )   PDF (2512KB) ( 122 )   This article makes a comparative analysis of Dewey's debt to and distance from Emerson in the vein of the aesthetic theory of form. In their aesthetic projects, Dewey and Emerson, departing from the criticism of the relevant traditional theories of form, base their formal thoughts on the everyday experience, construct them into formal theories with organic and dynamic features, and eventually treat the way of achieving aesthetic form as a valid approach to human significance. But in methodology, Dewey differs from Emerson. In the aesthetic subject's detached phenomenological observation of natural facts, Emerson, in the logic of sensory-perception, transforms analogically his experience of seeing into a form of an organic whole, while Dewey is more concerned with the opening of natural facts (or artwork's facts) to the aesthetic subject's multiple sensory, the subject's coordination with nature as well as his growth in wisdom in the collaborative process. Dewey's form, as a dynamic balance of conflicting forces in nature, is of historical and progressive rhythm and harmony formed through the subject's doing with nature and his undergoing in nature. If Emerson's theory of form is a method in which for Man to realize his self-renewal, then Dewey's theory of form is a paradigm by which for Man to live an artful life. References | Related Articles | Metrics

Issue in Focus: Media Poetics

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Mediated Subjectivity: Reflections on and Reinterpretations to Discourse of Post-human Subject Shan Xiaoxi 2018, 38 (5):  191-198.  Abstract ( 335 )   PDF (1340KB) ( 107 )   Discourse of post-human subject is formed in the process and context of of reflecting on and criticizing the discourse of modern subject. In this regard, the "Cyborg" discourse of subject, informationalism discourse of subject and "universal-vitality" discourse of subject can be seen as the representative forms of discourse of post-human subject in Western countries. When it comes to the reflections on problems related to solipsism, autonomy and modern subject of possession, discourse of post-human subject has made some achievements. However, there are still some limitations which are respectively the subject concept of adherent entity, the relationship mode between the subject and the object, residual anthropocentrism and so on. This paper has put forward the "mediated subjectivity" discourse which aims at providing a new explanation for post-human subject. Mediated subjectivity discourse takes the mediated "Cyborg" life forms as the material basis. The mediated "Cyborg" is in the basic structure as "individual (body-consciousness)–media–identity". Mediated subjectivity is specially presented as active connection, inviting, gathering, tolerance, interacting with the outside world, joint, infusing and other features. Furthermore, mediated subjectivity also practically realizes the communication between the subject and the world, as well as the existing forms of post-human subject which are intertwined and infused with one another. References | Related Articles | Metrics

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Visual Modernity and Media Archeology: The Techniques of the Observer and Modern Visual Culture in China Tang Hongfeng 2018, 38 (5):  199-207.  Abstract ( 405 )   PDF (1928KB) ( 248 )   Jonathan Crary's The Techniques of the Observer is one of the most important works of visual culture studies, which provides a new historical perspective on modern western vision. Crary traces modern vision to the subjective vision based on new scientific discoveries on vision and new inventions of optical apparatus of the nineteenth century. Thus a new type of observer, who is seen as a modern subject by Crary, was formed. Crary's study has enlarged the field of art history and he has conducted lots of in-depth analysis of visuality, media, perception, etc. His book especially shows two new trends in visual and media studies, which are the studies of visual modernity and media archeology. Such studies could also inspire Chinese scholars to investigate the complicated historical experiences and practices of vision and media in modern China. References | Related Articles | Metrics

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The Evolution of "Global Village" Theory: From Tribal Phenomena to the Media Ecology Gao Huifang 2018, 38 (5):  208-216.  Abstract ( 622 )   PDF (1961KB) ( 259 )   Since "Global Village" theory was proposed, it has been the label of McLuhan's media ideas and in a well-known yet vague situation. In order to clarify the misunderstandings, according to the basic line of McLuhan's media exploration, the text elucidates the combination of literature research, media research and urban studies in detail, and clarifies the process of the unique perspective on the dialogue between disciplines, which put forward the "Global Village". But due to the limitations of the perspective, in most cases "Global Village" is regarded as electronic illusion, and has become the footnote of Technological Determinism. With the development of media technology, especially in the digital process, "Global Village" which McLuhan predicted has increasingly penetrated into human life. Therefore, on the basis of the reflection on "McLuhan's Perspective", this text claimes that "Global Village" has become the media ecology, which is constituted by the interaction between men and media environment. References | Related Articles | Metrics