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The Realization of Poetic Composition and Literary Conception: How the Creation and Development of Ye Xiaoluan Imagery Contributes to the Literature History
DU Guiping
Front Liter Stud Chin. 2010, 4 (3): 462-481.
https://doi.org/10.1007/s11702-010-0108-4
Being a real historic personage, Ye Xiaoluan 叶小鸾, a talented lady in late Ming dynasty, not only triggered a literary family’s calamity, but also became into a public topic of discussion by widely circulating Wumengtang ji 午 梦堂集 (Collection of Noon Dream hall). She was clever and quick on the uptake, and excessively sentimental. Being romanced by her family, especially by Ye Shaoyuan 叶绍袁, her profile opened up a new outlook of literary conception, while her immortal sense and supernatural power, played up by Jin Shengtan’s 金圣叹 planchette writing, was endowed with romantic charm and rebelling appeal. Since being into Qing dynasty, Ye Xiaoluan had became the element for various literary works, but most of the works could simply simulate fairy tales or copy planchette words, except Honglou meng 红楼梦 (Dream of the red chamber) could deeply expand this imagery’s literary grace and core value in light of cultural interest and aesthetics aspect. The development of Ye Xiaoluan’s imagery and its success on aesthetics clearly indicated a literary element’s roadmap and structural feature, also disclosed that writer’s personality, liking, even the ethics level, could make significant effect on the literary conception and compositional structure.
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A Study into the Incident of the Hongdumen Academy
QIAN Zhixi
Front Liter Stud Chin. 2010, 4 (4): 483-522.
https://doi.org/10.1007/s11702-010-0109-3
In the late E. Han, Emperor Ling founded the Hongdumen Academy so that political favors were bestowed upon the literati to reshape the policy of personnel placement, which aroused violent remonstrations lodged by the ministers. And this became a significant event in the contemporary politics and in the literary history of the late E. Han as well. Scholars through the ages have dealt with the contentious issue, but the realm does not abound with in-depth and profound research studies. Beginning with the viewing angle of the complicated relationship between Confucianism and literature, where the background to the establishment of the Academy is painted in a great variety of academicism; this article analyzes the normal practice of the Han System of the Personnel Recommendation with a view to pinpointing the underlying cause of the Incident of the Hongdumen Academy. The cause is that the Han System of the Personnel Recommendation was bucked, which was grounded upon the Confucian moral integrity as the content, and upon xiangju lixuan as the norm. This article states that the Incident was, in relation with the danggu zhihuo, interconnected with the political structure based upon such social strata as shizu and shuzu, which had gradually been created since the E. Han. By means of the investigation and debate on the Incident, this article is written to demonstrate the relationship between literature and Confucianism of the Han dynasty, the literary conditions under development, and the complex political and ideological background against which the literary conditions existed by the end of the E. Han.
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The New Type of Buddhist Chanting and the Poetry Transformation in Yongming Reign’s Period
JIN Xi, WANG Xiaodun
Front Liter Stud Chin. 2010, 4 (4): 523-552.
https://doi.org/10.1007/s11702-010-0110-x
This paper examines the Buddhist chanting in Wei, Jin and Southern and Northern dynasties from several aspects, such as the historical position of it, the reason for its flourish, its speech way, etc. This paper also redetermines the relationship between Buddhist chanting and poetry writing in middle ancient times. The results for this research are as the following: First, The effective factor of Buddhism on Chinese phonology was not Buddhist chanting, but Sutra translation. Second, Buddhist verses were mainly translated or created by monks. However, in Yongming reign’s period of the Southern Qi dynasty, more and more verses were written by the literati. Third, the new type of Buddhist chanting had the same principle with poetry in Yongming reign’s period, and they were two major cultural movements keeping pace with each other in the same time. Fourth, the influence of the new type of Buddhist chanting on Yongming poetry was displayed on verbal expression. It made the way of Buddhist chanting in Wu region official, and pushed forward the establishment of a new way of poetry intoning which also based on the accent of Wu.
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On the Theatricality of the Ci-Poetry in Tang and Song Dynasties
TAO Wenpeng, ZHAO Xuepei
Front Liter Stud Chin. 2010, 4 (4): 578-601.
https://doi.org/10.1007/s11702-010-0112-8
Ci-poetry and drama are both genres of musical literature and the theatricality of the ci-poetry is demonstrated from many different aspects, such as the first-person narration, the emotional lyrics with unique features, the musical dialogues between two people or among many people, the dramatic conflict presented in the lyrics, the dramatic actions and the dramatic situations, etc. There are all kinds of plays in the ci-poetry, namely the serious drama, the comedy, the tragedy, the comedy with tears, the fantasy and the allegorical play. The ci-poetry of the Tang and Song dynasties exerted great influence on drama and on the other hand, the army-joining drama of the Tang dynasty and the miscellaneous drama of the Song dynasty to some extent inspired the creation of ci-poetry. The relationship between ci-poetry and drama confirms the mutual infiltration and cross reference among different literary genres in the Song dynasty.
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From Early Compilations to a Corpus: The Making of a Literary Talent
CHEN Zhenghong
Front Liter Stud Chin. 2010, 4 (4): 630-643.
https://doi.org/10.1007/s11702-010-0114-6
Shuangliu xuan shiwen ji 双柳轩诗文集 (Anthology of sanctum with two willows) was an anthology of some early works of Yuan Mei (1716-1798), an eminent writer of the Qing dynasty, and had been published before he got famous. Taking the enormous differences found during collation of this anthology with Yuan Mei quan ji 袁枚全集 (Corpus of Yuan Mei), a contemporary collated edition of Xiaocangshan fang quan ji 小仓山房全集 (Complete works of Xiaocangshan villa) compiled in Yuan Mei’s senectitude, as an example, this paper is trying to reveal that a work may go through continuous revisions or even recomposition before they are finalized and taken into a corpus. Like burying a body, every compilation of one’s work is a layer on the first-hand work, and the latest layer is no doubt the farthest from the body. Thus the author suggests that researches attempting to trace diachronies of a renowned writer’s works should dig deep, and if the body itself has lost into dust, at least the early compilations could bring us much closer to how the works used to be.
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