Abstract
American sinologists and Chinese scholars' researches on Yang Xiong's Fu show heterogeneity and variation in their perspectives, paradigms and views due to the differences in cultural moulds and poetic traditions. The primary divergences lie in their researching backgrounds and purposes, perceptions of the literary and ideological value of Yang Xiong's Fu, and their comments on Yang's imitation of his predecessors in his Fu writing. American sinologists develop fresh insights in this research and their erudition and precision cast new light on their Chinese peers. A mutual interpretation, testimony, complementation and communication between Chinese and American cultures can be gained through the study on divergences in researches on Yang Xiong's Fu carried out by Chinese and American scholars.
Highlights
Burton Watson’s “Chinese Rhymed Prose: Poems in the Fu Form from the Han and Six Dynasty Periods”, James Robert Hightower’s “Topic in Chinese Literature”, Timoteus Pokora’s “Huan T'an and Yang Hsiung on Ssu-ma Hsiang-ju: Some Desultory Remarks on History and Tradition” all spontaneously focused on the literary value, artistic aestheticism, and the literary status of Yang Xiong’s Fu
Since the opening-up policy at the end of the 1970’s, literary status of Fu has been restored to some extent, and the study on Yang Xiong’s Fu has get warm again after a cold spell
This controversial writing turns out to be much-touted in American scholar Knechtges’ study. In his doctoral dissertation in 1968, he made a thorough introduction and research on Yang Xiong’s biography and major writings. His supervisory committee commented that his dissertation demonstrated “his intimate familiarity with the literature, his unusual, even exceptional, skill in handing the philological and literary problem of his texts, a sharp acumen when confronted with problem textual criticism, and, above all, a well-balanced reasoning capacity based on a broad knowledge of comparative phenomena, on a wide acquaintance with conceptual criteria.”[7]. His exceptional skill in handing his texts is extraordinarily embodied in his analysis of the Faan-sau
Summary
Due to China’s promotion of realist literature and suppression of formalist literature since the establishment of the Republic of China, and the subsequent movement of “elimination of the four stereotypes” in “the Great Cultural Revolution”, Fu’s status plummeted and lingered in the bottom of literary pyramid. American sinologists’ study in this field began to boom
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