從《文心雕龍》的文體論看劉勰的小說文體概念

With his broad knowledge and outstanding vision, Liu Xie, a scholar in the Liang country of the Southern Dynasties, synthesized ancient and contemporary canons, integrated thoughts of all schools, exhausted the mysterious and profound artistic and literary realm, and studied the theories and principles of creation, to compose the masterpiece The Literary Mind and the Carving of Dragons, which consists of fifty chapters and over thirty-seven thousand words to probe into the origin of literature, differentiate literary forms, explicate literary skills, and elaborate on literary criticism. His work searches into the subtle and the hidden, proposed the succinct and accurate comments, and lays down an everlasting foundation stone for the development history of Chinese literary theories. The Qing dynasty scholar Zhang Xuecheng appraised The Literary Mind and the Carving of Dragons as “encompassing all speeches” and” enormous and comprehensive”, which is indeed an insightful comment. The discourse of the whole book is on the use of the mind in composing a work and the knowledge of shaping the beautiful configuration of a written work. Wang Kengsheng once said: “the Literary Mind” denotes a written work’s content whereas “the Carving of Dragons” denotes its form.” Content refers to thoughts and emotions while form signifies dictions and literary skills. When thought and emotion are impartial and expressed moderately, it is called “elegant”. On the other hand, dictions and rhetoric embellishment shall look as beautiful as brocade or sound as pleasant as music from string and wind instruments, which is ornateness. A work made up of ornate form and graceful content and holding beauty that matches reality is an ideal work. One can say that the “qingzhi”(sentiment and aspiration) plus “wencai”(literary embellishment) is the important theme that links the entire book. The chapter “Yuan Tao”(Tao as the source) in The Literary Mind and the Carving of Dragons said that” Now with the emergence of mind, language is created; and when language is created, writing appears. This is natural.” The chapter “Ti Xing”(Style and Nature) also said” When emotions are moved, they express themselves in words; and when reason is born, it emerges in a pattern. For we start with the imperceptible and follow through to the revealed, and on the basis of inner realities seek external realities in harmony with them.” Emotions are stirred inside and manifest themselves in words, thoughts and instruments are inseparable, forms and spirits are interdependent, and a writer’s creation is an artistic process from nothing to something, and turning the abstract into the tangible. The sentiment, aspiration, and thoughts in contents can only manifest through an appropriate form. In light of this, “qingzhi” in this theory denotes a writer’s sentiment and aspiration, whereas” wencai” is an art form which is compatible to the “qingzhi”. Discussions centering on this theory prevailed through the literary theories in the Tang dynasty. In theories of poetry, Jiao Ran proposed to “express genuine emotion, and value artistic conception”, Sikong Tu emphasized that “great graceful appearance is based on the true inner richness”; in theories of history, Liu Zhiji stated that “direct writing and factual record versus casting and cutting of historical article”; in theories of calligraphy, Sun Qianli declared that “expression of emotion is enhanced by full-figured writing”; Zhang Huaiguan advocated “wind and mind, i.e., animation and structure, as the form and modification as the application”; in theories of painting, Zhang Yanyuan esteemed that “vivid portrayal lies in the its bone and spirit”. The above thoughts all inherited the gist of wenxin and the principle of diaolong, and made modification to it. This article, aiming to study The Literary Mind and the Carving of Dragons’s influence on literary theories in the Tang dynasty, put special emphasis on elucidating the continuation and transformation in germination of the “pneuma and literary skills”-related fields and concepts. With The Literary Mind and the Carving of Dragons as the base of the study, the article respectively discusses The Literary Mind and the Carving of Dragons influence on the theories of poetry, history, calligraphy, and painting in the Tang dynasty, as well as collates and categorizes the theoretical viewpoints The Literary Mind and the Carving of Dragons had inherited, in the hope to assist us in understanding the development of Chinese ancient literary theories. This article aims to establish a lucid and threading inheritance relationship on the development history of literature and art, and to link the compatible and common parts of literary theories from different fields. By conducting extensional and associated studies, it aspires to contribute to constructing the development system of the Chinese ancient literary theories.

“Judgment within Narrative” could be one of the most brilliant historical writing styles, which is the reflections of Si-ma Qian woven, and absorbed by the previous ancestors, his own intelligence, family education, and personal experiences. The uniqueness of Si-ma Qian lies on the combination of narrative with judgment in way of fable stories. One thing need to be aware is “Shiji” after all is the historical classics rather than fable stories; as the result, it can not have too many implications as the whole. “Shiji”, however, is written in the specific criteria, and specific chapters; thus, when it comes to its literary features (such as appreciation and taboo), “Shiji” has become the renown ‘Si-ma Qian writing styles’. Under the specific writing conditions and writing principles of “Judgment within Narrative”, the author confines the historical events at the time of Chin and Han Dynasty, which is from the war of Chu and Han to Han Wu Di. The author also divides the writing styles into two points (i.e. unprejudiced and prejudiced writings), and seven details to analyze. Si-ma Qian holds the neutral spirit to both praise and criticize the ruling of Han Dynasty. In “Judgment within Narrative”, Si-ma Qian not only judges and describes the lords, and current politics, but he also focuses on the discussion of the war between Han and Xiongnu. As for the disputed and injustice cases on the history, Si-ma Qian regards the belief of investigation and truth as his own job. He further displays the extraordinary sensibility, and neutral insight to project the historical comments and personal interpretations into those elegant narrative lines; “Shiji”, therefore, exploring of virtues and vices, attaching appreciation and depreciation into the historical narrations, which expresses the gentle mercy of poets, and the strict discipline of historians. The superior writing style of “Judgment within Narrative” is inherited by “Han Shu”, which shows on its character biographies; “Judgment within Narrative” has brought great enlightenment for the following historical biographies. Si-ma Qian holds the truth, virtue, and beauty of historians. In terms of judgment within narrative, he balances the literature tradition with safety in the world. He sticks to the neutral spirit, explores the relationship between celestial phenomena and human occurrences, acquires the changes from the ancient to today, and fulfills the original system of thoughts; which immortally marks “Shiji” on the historic classics. It is the writing style of “Judgment within Narrative” that we can understand the key element what “Shiji” is so extraordinary. Based on the main articles, the author will have diverse study on how to enlighten the writing style of judgment within narrative: a) discussing inspirational meaning of “Shiji”, which the writing style of judgment within narrative has the impact on “Zuo Zhuan”; b) exploring the writing style of judgment within narrative has enlightened fictions, Chinese drama, poetry, and other historical biographies, such as “Han Shu”, “San Guo Zhi”, “Hou Han Shu”, “Nan Qi Shu”, and so on.

This paper analyzes Ferenc Tőkei's trans-cultural interpretation of Wen Xin Diao Long (《文心雕龙, The Literary Mind and the Carving of Dragons ) from the perspective of the ‘Variation Theory of Comparative Literature’. Ferenc Tőkei, an academician of the Hungarian Academy of Sciences, was an important Sinologist, Marxist philosopher and literary theorist. His interpretation of Wen Xin Diao Long has been noted by some Chinese scholars, but not investigated in detail. With the emergence of Variation Theory, the significance of Tőkei's interpretation is revealed. On the basis of György Lukács's aesthetics of genre and of the comparison between western and Chinese culture, Tőkei reveals his conceptualization of Liu Xie's theory of genre and raises it to the level of universal value in world literature. Tőkei's trans-cultural interpretation, one of the theories of genre of Marxist aesthetics in Eastern Europe, demonstrates the Variation Theory of Comparative Literature.

SUMMARY “Yuan Dao” the dao body mainly for the ontology elaboration, the natural elaboration, the essential elaboration, is a multi-dimensional combination theory system.Its content: （1） has characteristic of the nature.（2） includes the strong humanities.（3） emphasis classics and sage's function.4, advocated can pass the standpoint which changes suitably. The meaning of dao essence theory has an effect in the creation of rhetoric using and is primarily based upon the quality of nature, the quality of authoritativeuidance, and the principle of change. Furthermore, he does not separate literary genre and dao essence theory, but combines both concepts, to allow dao essence theory to be placed into the writing of literary genre. This allows the author’s feeling and aspirations to congeal with the essence of literary genre and conform with the natural principle of creativity. The origin of each literary genre is interrelated with the Five Classics, allowing the use of literary genre to conform with the Classics.Last is the rhetorical conception of literary genre and form, which must undergo the author’s change of literary diction to complete. INTRODUCTION “Yuan Dao” in Wenxin diaolong (Literary Mind and the Carving of Dragons) is an important metaphysical concept in Liu Xie’s theoretical and interpretive process, thus acting as a core for the support of theoretical structures. This metaphysical concept allows his literary theory to be investigated more deeply. Liu absorbed previous the results of previous philosophical thinking and mastered them through comprehensive study—to then create a theory of dao essence and system of self. The meaning of dao essence theory is not merely a metaphysical concept of philosophy, for it possesses in the entirety of literary theory an original principle. Even though it is used as rhetoric in writing, it still has its function. MATERIALS AND METHODS Through greater textual exploration and analysis, it can be seen that Liu Xie’s dao essence theory does not only deliberate on the “yuan dao” chapter, but in fact, the chapters pertaining to the origin of wen such as “yuan dao,” “zheng sheng,” “zong jing,” “zheng wei,” and “bian sao,” all act to construct important chapters of his dao essence theory; only by a comprehensive analysis can we understand the dao essence theory in its entirety. Liu Xie absorbed previous the results of previous philosophical thinking and mastered them through comprehensive study—to then create a theory of dao essence and system of self. His dao essence theory, primarily elucidates the question of being, which is interrelated with Wang Bi’s philosophical thinking. As a figure living in the turbulent Six Dynasties Era, Liu Xie the universally accepted discourse on the natural, of which is one of the characteristics of the dao essence concept. By understanding dao essence in Wenxin diaolong, we can master its substance, which continues the cognitive traditions of Dong Zhongshu philosophical thinking, Yi zhuan, as well as Ruan Ji’s Heaven and Humanity relationship. From these points of analysis, we can be sure that Liu Xie’s dao essence theory is a theoretical system of diverse synthesis and is not limited to any school or system of thought. This is what we need to master the literature. RESULTS AND DISCUSSION The meaning of dao essence theory has an effect in the creation of rhetoric using and is primarily based upon the quality of nature, the quality of authoritative guidance, and the principle of change. The principle of nature points to a creative method and position based on “acting on the external from the internal” (you nei er wai), “writing from the mind” (wei wen yong xin), “confluence of feeling and essence” (qing zhi xiangfu). This position conforms with the patterns of the dao essence theory and is an unchanging principle in the creative process. Thus, the use of rhetoric in the creative process must be in accordance with this position, to then not violate the dao essence. On the other hand, it may be changed into an overly ornate and decorated style that was criticized by Liu Xie. The use of rhetoric is also regulated by authoritative guidance. This authoritative guidance is, simply put, the classics; it can be termed the spirit of zong jing (“Elevating the Classics”). The authority of Zong jing exists as a model of classics. It is the paragon of natural writing that is exemplified as “to speak the mind and speak through literature” (dao xin er dao wen). Through the function of human culture, it gains status in its original meaning. Classics act as the fountainhead of literary genre. It is also the origin of creativition, which makes it necessary for the function of rhetoric to reach back logically into the source of the classics. The principle of change points to the necessary tendencies toward development in literature. Fixed and unchanged, literature will remain stagnant, and thus the way of literature will fail to epitomize the way of the mind. “Zheng wei” and “Qu sao” precisely echo this type of positioning in chapter and topic. In emphasizing the natural way and the authority of the classics, it magnifies the rationalizing and necessity of changing diction, to then allow writing to continue acclimating to different periods, authors, and topics. CONCLUSION Liu Xie contemplates deeply in his investigation of literary genre. In this process, he arranges specific writing methods and rhetoric usage. Furthermore, he does not separate literary genre and dao essence theory, but combines both concepts, to allow dao essence theory to be placed into the writing of literary genre. From this, he constructs his theoretical framework. The driving principle of literary genre is in its construction process, which follows the pattern of creating literature through true feeling. This allows the author’s feeling and aspirations to congeal with the essence of literary genre and conform with the natural principle of creativity. The origin of each literary genre is interrelated with the Five Classics, allowing the use of literary genre to conform with the Classics. Here, there are six series of literary genres, which can be categorized as a combination of the Five Classics and Chu ci as origins, and match both literary diction style. Last is the rhetorical conception of literary genre and form, which must undergo the author’s change of literary diction to complete. This allows the expressive forms to possess different possibilities. Furthermore, in regards to the usage of literary diction in literary genres, no matter what genre, its diction will still need to follow models of the natural principle, elevation of the Classics, and the principle of change. Creative rhetoric perpetually needs a kind of method that reaches out externally from an internal source, to then conform with the language of the author’s emotions and breadth of mind. Any creation must still return to the source of wen—Classics, and the allusion to ancient times as the method of writing. Liu Xie follows this method and arranges the Six Meanings of the Elevated Classics for later generations, to become a functional principle for any creative rhetoric. Furthermore, the individual, groups, and generations are all factors that influence creativity. The author’s personal talent, feeling, learning, habits, and the period in which he lived all become the creative impetus of the author. In addition, it is the fountainhead in which he acts internally on the external, as well as write from true emotion. This will naturally give his expression a rich and diverse literary style, which makes changing creative rhetoric absolutely necessary. Since this congeals with the positions of the elevation of the Classics, the essence of literary genre, as well as historical tradition, creativity will then need to regulate and adapt to change.

”QuanFu” in ”The Literary Mind and the Carving of Dragons” says: The change of language style's form” in Zi-Yuan's Dong Xiao. After comparing the theory between Huang Pu-Mi and Yan-He, Rao Zong-Yi discovers that Yan-He put Wang-Bao in an important position and expelled Ma-Rong. Now I try to interpret the reasons. Usually, the explanation of Sheng Mao puts more emphasis on the beauty of voice and image. I bring up a different definition about ”The change of Sheng Mao” on the foundations of comparisons among contexts and the phrase ”Sheng Mao” in The Literary Mind and the Carving of Dragons as well as the examination Wang-Bao's ”Dong Xiao” on the base of the change of Fu style which passes through transforming duality thinking of The Literary Mind and the Carving of Dragons. In my opinion, ”Change” is a new situation under the anxious influences of contexts and is also a new rhetoric strategy. ”Sheng Mao” is the beauty of language's image and voice. ”The Change of Sheng Mao” is a starter of new language style in the ”Fu” style and the anxious influence of contexts.

Reviewed by: Dragon-Carving and the Literary Mind Eugene Chen Eoyang (bio) Yang Guobin (translator into English) and Zhou Zhenfu (translator into modern Chinese). [Liu Xie.] Dragon-Carving and the Literary Mind. Beijing: Foreign Language Teaching and Research Press, 2003. 799 pp. in 2 Vols. 110.00 RMB, ISBN 7-560O-2996-5. The Wenxing diaolong is an incredible work: part literary theory, part literary criticism, part cosmological treatise, it is also perhaps the best guide I know on how to write well. The translator for such a work must be thoroughly familiar with the texts referred to and the terminology used, and must also have a command of language sufficient to do justice to the poetry in the treatise, because not only is the Wenxing diaolong a work about literature, it is also a literary work in its own right (which cannot be said for many texts on literary theory and criticism nowadays). In addition, the translator must be able to capture with fluency the particular Chinese flavor of the text—not to mention Liu Xie's unmistakably vigorous and imaginative style. For more than a generation, Western students and scholars of Chinese literature have had to rely on Vincent Yu-chung Shih's bilingual translation of the [End Page 587] Wenxin diaolong (Columbia University Press, 1959). While extremely useful, this edition has been very much in need of revision, given the enormous progress made in Liu Xie studies in the last half-century. Shih's translation, while serviceable as a rough guide to the meaning of the original, was, however, leaden and paraphrastic rather than evocative and metaphorical. This lacuna in Chinese aesthetics has now been admirably filled by this new bilingual edition, which is part of the Library of Chinese Classics series published by the Foreign Language Teaching and Research Press, featuring an English translation by Yang Guobin and a translation into modern Chinese by Zhou Zhenfu. To read the original in the light of the modern Chinese version and the English translation is an interesting exercise in genre study. The modern Chinese version is not a translation so much as it is a commentary, often quoting the original verbatim, and modernizing certain idioms and constructions no longer current. But the work of interpretation seems more evident in the English version, which harkens to different reference points, and employs a different palette of nuances. Where the original embodies concepts which may be understood by a native, if only by familiarity, the modern Chinese version needs merely to quote the original rather than translate it, whereas the English must venture semantic equivalences, which cannot be the ipsissima verba. In this way, the modern Chinese may be less prone to "inaccuracies," but it does not fully address problematic phrases and passages as the English must. I am filled with admiration for the achievement that the English translation represents. It is readable, clear, poetic where necessary, analytical where appropriate, and accessible to any attentive and intelligent lay reader. Yang's introduction (in English) is helpful and comprehensive: he is particularly adept at explaining certain key concepts in terms of commonalities (not identities) with notions found, for example, in Coleridge, Keats, Hopkins, and Eliot. This by itself is a considerable feat of accessible scholarship. My only objection, inevitably, is with the title. There is no question about "the carving of the dragon"; it is the "literary mind" that bothers me. Although it has the sanction of Vincent Yu-chung Shih and James J. Y Liu, and despite the fact that it reads well in English, "Literary Mind" doesn't really capture the sense of Wenxin, which really means "manifestation of mind." The parallel with "carving the dragon" is extremely important: just as the dragon is brought out (in German this would be comparable to the multiple meanings of ausdruck), so literature brings out what is in the heart. I cannot claim to have found the perfect translation either, but there are times when I think that something like "Carving Dragons, Writing Out Our Feelings" (Yang uses "sentiments") would serve the original better. "Carving Dragons, Manifesting Meaning" is a more succinct rendering. I mention this because Yang graciously, but misleadingly, acknowledges my...

Since Confucius praised Dong Hu (董狐) of Jin as a ”Liang Shi (True Historian)”, the Grand Historian Sima Qian (司馬遷, 135-86 B.C.), Ban Gu (班固, 32-92), Chen Shou (陳壽, 233-297) have been also referred to have the quality of Liang Shi. Later, more and more people discussed about the characteristic features and nature of this designation. This issue had been raised again during the mid-Qing by the famous historical philosopher Zhang Xuecheng (章學誠, 1738-1801) and later by Liang Qichao (梁啟超, 1873-1929) in the early 20th Century. What were the criteria worthy of the title ”True Historian”? And who according to what principles made these criteria? Throughout the last two thousand years, had the criteria of Liang Shi changed over time? And if it did, then what were the causes behind these changes? This article tries to discuss the meaning of the Liang Shi in different periods respectively, indicating that there had been change and continuity regarding the criteria of being a True Historian. What remains constant is basically the fearlessness and honesty. The changing part, however, reflected the different cultural climates and historical consciousness of the people of the time.

The prose genre zhuan 傳 (biography) originated in historical texts, and initially took the recording of historical fact as a baseline writing principle. However, the close tie between zhuan and history began to loosen during the Tang and Song dynasties, when fictional elements became one of the genres most important features. The emergence of this trend is exemplified by Su Shi's ”Biography of Fangshanzi,” a half-fictional biography widely regarded as one of the most famous and outstanding zhuan works ofthe time. Using modem narrative theories as an important analytic device, this paper aims to reinterpret Su's ”Biography of Fangshanzi” within the context of the classical Chinese writing tradition of historical prose. In opposition to previous research, I claim that the content of the biography is not totally based on truth. I try to identify its lyrical character and analyze the narrative strategies Su used in an effort to see how the essay, which roams across the borders of history and prose, as well as fact and fiction, could serve as a metaphor of the author's life. Through this discussion, I re-examine the tradition of Chinese narrative literature, and explain why it is necessary to include guwen (古文) within it. Moreover, I show how an expressive zhuan like the ”Biography of Fangshanzi” is interrelated with lyrical poetry. By elucidating this interrelationship, I hope to provide a basis for further investigation of the connection between the narrative and lyrical traditions in Chinese literature.

Jin Ridi was one of the most important ministers of Western Han dynasty although he was a Xiongnu originally. Xiongnu was the most serious trouble-maker in the frontier of the Western Han. Almost all his life Emperor Han Wudi made his best efforts on the wars against Xiongnu and from the wars he gained part of his great successes which made his name widely known by later people. Contradictory Jin Ridi made his own influence and importance during Han Wudi's reign although his ethnicity was usually seen as a Xiongnu. When Han Wudi was dying he made Jin Ridi one of regent ministers of his successor, an eight-year-old boy-emperor. According to the biography of Jin Ridi in Ban Gu's Hanshu, this paper focuses on how Jin Ridi transformed his identity from a Xiongnu aristocrat into a Han Chinese official, how he entered the main centre of political power of early Western Han, and how his descendants succeeded the identity he had constructed.

There have been wars since the beginning of the history. Wars are the most common ways for human beings to deal with conflicts. Therefore, there were many records about wars in the historical books. As a result, the writors had to face the problems of handling the war plots when they narrated the historical stories. Although historical biographies and historical novels were about the wars, they were different in the narrating ways. Besides, perhaps there was something worthy of thinking in the meanings of narrating. Since the historical noves were retrieved from the historical biographies, was there a continuation of some cultural spirit? Did they have the same value and reflection on the meaning of wars? Therefore, this study was aimed to write from the perspective of the war meaning. It would focus on the Ming Qing Jia Jiang Novels. By the comparison between the ancient war ideas and the narrative contents of the novels, the reflections of the historical novels on the meanings of wars were explored. And then, the continual value of historical biographies to the historical noves in cultural spirit was proved.

呂碧城向有「近代女詞人第一」的美稱，因此後人對呂碧城詩詞方面的研究亦已有相當成果。相對而言，呂碧城的散文成就多為其詩詞成績所遮蔽。因此，本文擬全面而有系統的研究呂碧城的「散文」成就，以補（文學）史之闕。其散文涵括以下幾類主題，一是女學（女子教育），二是行旅遊蹤，三是佛教與護生∕蔬食因緣，四是夢境與靈異等主題。茲以呂碧城散文話語的流動現象，以討論她的主體價值。一是變換的身分，從投身公共領域成為女報人與教育家，乃至皈依為佛教徒；其人生由亢奮的革命激情到慈悲的護生戒殺，展現多樣化的流動履歷。二是流動的主體，移動於虛實不同空間的女遊體驗，既漫遊不同國度，也出入夢境∕靈異的邊緣；移動於虛實空間中的體驗，展現其無限寬廣的生命空間之可能。三是對文化主體的確認與游移，呂碧城對自身文化既有一定的堅持，對西方價值的認識亦有所選擇。既表現在其人對五四後全面改用白話文的反對立場上，也表現在對國人過度崇尚英文的批判上。然而，她又表現出一種自我悖離的態度，堅守文言文，卻也曾寫過唯一一篇白話創作；雖批判過度使用英文的媚外風氣，但英語的優勢卻又讓她得享西式生活的便利與奢華。綜合以上，呂碧城流動的散文話語，除了展現一代才女叛離傳統的新世代姿態之外，也多方呈露她自閨閣出走後的自我轉化歷程，且為自我主體賦予了現代性意義；其人因此堪稱晚清民初知識女性的典範人物。

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
 劉勰將自己的著作命名爲《文心雕龍》，很自覺地使用“文心”與“雕龍”兩個關鍵詞，表述全書的文學理論體系。什麽是“文心”？劉勰只簡單説是“爲文之用心”，也就是創作文章所運用的“心”；然而，這一“文心”實質的内涵是什麽？包含哪些要素？諸多要素之間，以什麽邏輯關係形成整體的“結構”？這一“結構”有何相應的“功能”？這是“文心雕龍學”必須解答的基本論題；然而，關於這一論題，學界至今只做了粗略、表淺的論説。本論文針對《文心雕龍》全書的相關文本，經由精密的分析，有效地揭明其中隱含的二重“文心”，並分别詮釋這二重“文心”各自具有什麽實質内涵？各自包含哪些要素？諸多要素之間，以什麽邏輯關係形成整體的“結構”？而這一“結構”有何相應的“功能”？
 When entitling his Wenxin diaolong (The Literary Mind and the Carving of Dragons), Liu Xie consciously employed the two key terms wenxin and diaolong to recapitulate the theoretical framework of the book. But, what is wenxin? Liu Xie only explains it as “the creative mind for literary composition.” Several questions have remained unanswered. They include: what is the actual content of wenxin? What elements are included? With what logic and relationship are these elements connected to make a comprehensive “structure”? To what functions does this “structure” correspond? These are unavoidable questions in the scholarship of wenxin diaolong. However, these questions have not been amply answered and only dealt with in a rough and shallow manner. The present essay focuses on related contexts in the Wenxin diaolong and shall analyze and interpret the content, essential elements, and logical structure of the double “literary mind,” attempting to discover its holistic structure and its corresponding features.

One of the development features of the academic research in the Qing Dynasty is the emergence of prospective of academic history. Confucians in the Qing Dynasty held great ambition to distinguish boundary between disciplines and carefully analyze boundary and difference among various kinds of knowledge of Classics, Shi, Zi and Wen through this perspective. So, this paper will discuss, under this perspective, the classification of distinguishing the academic chapter and examining the origin and branch Ruan Yuan Circle did against the literature in 18th century of the middle of the Qing Dynasty which leaded it to free from constraint of writing being for conveying the truth and promoted literature to stand alone to become a potential school of pure literature emerged in the late Qing Dynasty and early Republic. In this paper it holds the opinion that behind the dispute of parallel prose and prose in the Qing Dynasty it is not completely the result of debate between Sinology and Song Learning but Qing Confucians should hold a bigger target. Therefore, the writer basically puts in order literature views from the Tang Dynasty, Song Dynasty to the middle of the Qing Dynasty and gets the results that the theory of writing being for conveying the truth was deep in scholars’ mind, whether the “truth” refers to social function of music education or formal meaning of heavenly principles and natural law. In short, writing should primarily link truth, translate truth and convey truth, and especially through the way of compiling collection it further commit and promote the effect of spreading this theory. Facing thousand-year long obstacles, scholars of Ruan Yuan Circle struggled to hold the opinion that the works in the Six Dynasties should be the very literature, and even collected and explored school vein of literature from Wenyanzhuan of Confucius to The Four Books of the Min Dynasty with the purpose that made literature to be an independent discipline different from Neo-Confucianism, study of Chinese Classics, Historical Science and Confucianism. As a result, they took theory of verse and prose and Zhao Min Selected Works as their theoretical basis and first criticized the works of eight great writers, praised highly by the later generations, in the Tang Dynasty and Song Dynasty in thought that the content of these works were all in the fields of the Classics, History and Confucianism but not writings. They, therefore, through discrimination and propagation of theory, stated that literature should have features of antithesis and rhyme on form and content and should express one’s feeling by using rhetoric but not be restricted to outmoded conventions and old laws. Secondly, they showed their spirit of being practical and realistic through the way of worshipping scholars of the six dynasties and declared that their concept of literature didn’t words without basis. The Preface of the Selected Works held the principle that it would not select anything but literature writing, and that’s why it was thought highly by Ruan Yuan Circle. Under the study style of character being the first in the Qing Dynasty, Ruan Yuan was the first putting forward the view of ancient Chinese fiction sharing the same origin and school with verse and prose which resulted that the research to Selected Works was badly influenced and it embodied in analysis to Annotation of Li Shan and even thought on the same level of Xv Xuan, Xv Kai and Cao Xian, Li Shan. Therefore, scholars in the Qing Dynasty thereby opened another scholastic trend of science of name and object system, car and clothes in palace, and grass, wood, bird and beast in the Selected Works. The scholars in Ruan Yuan Circle not only introspected ancient Chinese and the Eight Great Men of Letters of the Tang and Song Dynasties, but also promoted the research of Dragon-carving and the Literary Mind. Besides, the emergence of rudiment of viewpoint of literature history was inherited and praised by literary historians in the early Republic. This achievement was formed on the basis of the prospective of literary history. Its influence involved until Zhang Taiyan, Liu Shipei and Huang Kan in the late Qing Dynasty and early Republic who all inherited and proposed the theories that the basic lesson was that writing should be form with rhetoric and that the ancient writers were all Confucians in the Min Dynasty. On the other hand, they didn’t accept completely but did some change and even criticized Ruan Yuan in some place. Now, it went into the nest phase of complicated and versatile literary transformation.

興起於東漢末年的門閥，曾掌控了政治和學術，直至唐代，歷史的舞臺上幾乎看不到「小人物」的蹤影。隨著唐代實行科舉制度和禁止五姓通婚的措施，門閥在中晚唐已沒落衰微。新興的進士階層，較貼近平民生活，也較能欣賞「小人物」的嘉言善行，自韓愈、柳宗元起的中晚唐古文家，在此社會氛圍及心理背景下，又受「文以載道」觀的導引，遂寫作工人、農人、小商人、兵卒小吏、僮僕婢妾、歌兒舞女以及普通家庭的老弱婦孺等「小人物」的傳記，其中有些被宋人收入正史。宋代以後，古文家及史官繼續此一工作，遂使「小人物」與「大人物」一同登上歷史的舞臺，都成了歷史的一部分。

When making use of the biographical method, it is quite common to collect stories directly from those who lived the narrated events. Those stories can be focused on either their entire life or specific aspects that the researcher considers relevant or important. There is an unwavering fact related to the research carried out on the recovery of the memory of Valencian immigrants to the United States of America during the first two decades of the 20th century: those who emigrated have already passed away. One may think that their stories have also disappeared with them. However, thanks to exhaustive work with their descendants (sons, daughters, grandsons and granddaughters, nephews and nieces) making use of techniques that are closely related to this methodology (biographical interviews, analysis of correspondence and other documents such as photographs), it is still possible to recover assets that otherwise would have ended up disappearing. The work presented here is organised around several specific issues. If someone narrates another's a life, what do they really remember? How do they remember it? How do they transmit it?Key words: biographical method, Valencian immigrants in USA, recovered memory, emigrants' descendantsOriginal source: Periferia. Revista de Recerca i Formacio en Antropologia, 20(2): 271-289 (2015)