Transformation and development of digital literary criticism in China

A Study on the Theory of Ethical Literary Criticism

The subject of the research is the reception of A.N. Varlamov in Chinese literary criticism. The object of the study is critical articles, literary works devoted to the work of A. Varlamov, and an interview with the author. The novelty of the article is determined by the fact that the works of Chinese researchers are analyzed in order to characterize critical judgments about the work of a modern Russian author, taking into account national specifics. The article highlights the main aspects in the field of studying the work of A. N. Varlamov by Chinese criticism and literary criticism. It is determined that Chinese researchers pay attention to the consideration of religious themes in the writer's prose, and also analyze Varlamov's creative method, defining it as neo-release. The main conclusions of the study are the definition of aspects of the study of religious themes in Varlamov's novels, such as eschatology, the level of morality and religiosity in Russian society, the spiritual salvation and rebirth of man, sectarianism. According to critics, Varlamov's work shows sectarianism as a viral idea of the Russian people, poisoning the collective consciousness and historical memory. The creative method of A. Varlamov is assessed by critics as neo-releaseism, the features of which are marginal heroes, a combination of mysticism and realism, artistic time-space. Chinese literary scholars also note mythological prototypes and folklore elements that are important for Varlamov's works. The main contribution of the author to the study of the topic is that the points of view of Chinese literary scholars and critics are considered, which expand the reception of Varlamov's work in world art, complementing a single receptive field, organizing a dialogue of cultures.

The work of I. Turgenev was translated into Chinese in the first half of the twentieth century and later spread widely in China, having a great influence on the new generation of Chinese writers. At the same time, more and more literary critics began to study the works of Turgenev. Extensive research and analysis, as well as the study of works from different angles, contributed to a better understanding of Turgenev and Russian literature by Chinese readers. The article discusses the publications of Chinese litterateurs and critics from the second half of the 20th to beginning of the 21st century, the work of Ivan Sergeevich Turgenev, notes the enduring interest of the Chinese audience to the work of Russian prose writer, in particular, to the novel “Rudin”. Special attention is paid to the prose writer's “path” to the novel; it is proved that the high interest of scientists to Dmitry Rudin, the protagonist of this novel, caused by Chinese specifics and the relevance of many problems associated with this image. The article explains the evolution of the attitude of the Chinese to Rudin: from agreement with Russian researchers considering him as a superfl person to disagreement with them. At the same time, Rudin is compared with typically similar images in Chinese literature. An analysis of Turgenev's works by Chinese literary critics will provide detailed information for future studies in international literary circles, and can also lay the foundation for finding differences between Chinese and Russian literary criticism.

This paper discusses the characteristics of ancient literary criticism, including imagery criticism, intuitive thinking, and dialectical thinking, and explores the oneness of literary criticism and creation and its revelations in the study of modern critical history. The process of ancient literary creation is studied in depth, including using LSTM and BERT models to decode the formalized data of poems and control the metre. Meanwhile, the study of ancient literary criticism based on structuralist semiotics is introduced, exploring the operation mode of narrative grammar and two-layer narrative structure. Finally, old literary creation and criticism are discussed in depth through example analysis. By analyzing the course Appreciation of Ancient Poetry, the article demonstrates how literary criticism can enhance the understanding and evaluation of literary works from aesthetic and cultural dimensions. Overall, the article deeply analyzes the methods and theories of ancient literary creation and criticism and explores their application and development in the information age, providing valuable perspectives and tools for understanding and advancing the field.

The literary legacy of the writer Kiều Thanh Quế can be considered a “fertile land” and an “opening structure” which suggest/require numerous interpretations and judgments. Understanding Kieu Thanh Que’s essential contributions to the formation of theoretical fundamentals of literary criticism helps re-evaluate his role and position in Vietnamese literature of the first half 20th century, especially in literary criticism - Kieu Thanh Que’s most dynamic and productive area of work. This article aims to: 1, introduce his monograph Literary Criticism; 2, point out several features of Kieu Thanh Que’s reasoning and critical thinking; and then 3. highlight his contributions to literary criticism of Vietnamese literature over the period 1932-1945. Contextualizing his book Literary Criticism in such early stage of literary criticism allows us to see clearly how he contributed with his ability to recognize and represent some theoretical and current issues in the field of literary criticism.

ABSTRACT
 The current study entitled The Concept of Literature and Literary Criticism in Kamil Hassan Basirs’ Views” is a critical study that deals with Kamil Hassan Basirs’ literary views and criticism as far as theoretical basis is concerned. Therefore, the study revolves around what is called ( critical criticism). The purpose behind choosing his works is related to his well- informed knowledge regarding literature in general and criticism in particular. Furthermore, it serves to be a scientific reflection on the works of a treasury and outstanding critic in the country considering that his works have not been paid much attention within the field of literary criticism as well as in an academic setting.
 The aim behind this study is to review and evaluate, on one hand, Basirs’ views which have a remarkable position within literary essays in general and critical essays in particular. On the other hand, his views carry his own forms and distinguishing features. For this reason, the researcher has found it necessary to take his views into consideration under the concept critical criticism.
 The method of the study is analytical descriptive. It consists of two main parts. The first part sheds some light on Basirs’ views regarding poetry, poets and specifying the role and the participation of Kurdish literature in Kurdish society. The second part is devoted to the terms and concepts concerning criticism in Basirs’ viewpoints. It also studies the qualifications of the critic and the requirements of the scientific criticism. The paper ends with the conclusion in which some important points are concluded.

Indo-Iranian Journal (IIJ), founded in 1957, focuses on the ancient and medieval languages and cultures of South Asia and of pre-Islamic Iran.It publishes articles on Indo-Iranian languages (linguistics and literatures), such as Sanskrit, Avestan, Middle Iranian and Middle & New Indo-Aryan.It publishes specialized research on ancient Iranian religion and the Indian religions, such as the Veda, Hinduism, Jainism and Buddhism (including Tibetan).The journal welcomes epigraphical studies as well as general contributions to the understanding of the (pre-modern) history and culture of South Asia.Illustrations are accepted.A substantial part of the Indo-Iranian Journal is reserved for reviews of new research.Twice a year it contains a detailed bibliography of all publications received.

Regardless of Science or literature, there is no aspect of social life beyond the research. Creation without research deprived from track and sources of originality. Foreseeing the same significance of the phenomenon a potential number of researchers in Urdu literature have enumerated a dignified place. As a potential contributor, Dr. Jamil Jalbi is one of the same who added valuable food for thought and brainstorming for literary criticism and research culture for the scholars. Through his vision research and criticism have amalgamated in a tone of creation and art for life. His phenomenological style of research leads to criticism. Critical vision always justifies the thinking process logically which reflects feeling, observation, and sensitivity.
 ADBI TEHQEEQ is one of the authentic road maps for researchers authored by " Dr. Jamil Jalbi" in which the author’s viewpoint about theory and practice and research methodologies have been narrated. The researcher has concluded through critical discourse analysis of “ADBI TEHQEEQ” that Jamil Jalbi as a school of thought has authentic views regarding research and criticism in literature. Dr. Jamil Jalbi being a multidimensional personality in ADBI TEHQEEQ explored multi aspects of literary criticism and literary history. For future researchers and critics, it is a reference and a glowing monument for guidance. As stated by Ahmed Nadeem Qasmi As an authority in literary criticism, the dignity of ADBI TEHQEEQ is not only beyond doubt but unavoidable for valuing /ranking/assessing any masterpiece in literary studies. The article on Tehqeeq Kay Jadeed Ruhjaanat reflects the significance of research under specific advocacy with in-between-the-line hard and fast rules to follow strictly and institutional barrenness in higher education institutions. Global vision and humanism distinguish him from Longinus and Arnold Bennett in the field of literary criticism. Critical thinking, secondary imagination and reflection of political epistemology are knacks of Jamil Jalbi which inspired the scholastic elite to acknowledge his contribution to introducing the sightedness of life canvas. His contribution is prismatic which inspired the researchers from dogmatism to pragmatism in literary criticism.

Is “literary criticism” a foreign concept? What is the impact of the reception of literary criticism on the modern studies of Chinese literature? Zhu Ziqing's 朱自清 (1898–1948) conception of the function of literary criticism is illustrative of these questions. Zhu developed an interest in Western literary criticism before entering Tsinghua University, where he absorbed more ideas about Western literature. With the support of department head Yang Zhensheng 楊振聲 (1890–1956), he planned a new curriculum in 1928, in an attempt to make literature in his concept a subject as important as classical exegetical studies. From Zhu's curriculum planning, his research orientation, and how he tried to put his ideas into practice, we can observe the oppositional tension between the modern concept of literary criticism and the traditional philological approach of Chinese study. Through an examination of Zhu's academic role, this article explores the emergence of the concept of literary criticism in modern China. It will be compared and contrasted with the situation in the West, with an aim of giving a detailed analysis of the way literary criticism has become an essential part of modern Chinese literary study.

This paper attempts an exploration of the development of the Marxist literary theory in general and the concept of ideology in particular. Showing the significant role this theory plays in the field of literary criticism, the paper focuses on remarkable Marxist figures, explores their most notable works, and sheds light on their contributions to the theory and the field of literary criticism. For this purpose, the paper starts with basic Marxist principles of reading literature set by Marx and Engels and examines the changes that occurred with other critics, mainly Althusser, Jameson, and Eagleton in their attempts to show the importance of ideology in explaining literature and understanding its backgrounds, goals, and methods. Thus, the methodology will include an historical overview, shedding light on early Marxist perspectives, comparing and contrasting the contributions and adjustments added by remarkable Marxist thinkers, and illustrating by examples of literary texts and how they are seen and analyzed by these Marxist scholars.

Formation of the latest scientific and methodological principles and the determination of the most important directions of the paradigm of the analysis of artistic creativity and text have been represented as actual problems of the theory of modern Kazakh literary criticism. The purpose of the work is to consider and analyze the modern concepts of Kazakh literary criticism, to evaluate the contribution of scientists from the period of independence of Kazakhstan in the development of theoretical analysis and interpretation of the artistic originality of national literature. The article discusses new trends in the theory of Kazakh literary criticism, changes in methodology, which are due to the leading positions of world literary criticism. In this regard, the article offers an analytical review of the main scientific and theoretical studies in the field of literary criticism, defines the evolution of the concepts of scientific and theoretical thought, identifies the principles and main aspects of the study of literature in a new way, shows certain achievements in close relationship with historical stages, as well as tasks future research; literary-theoretical and philosophical-aesthetic searches in modern Kazakh literary criticism are evaluated, the prospects for its development are determined.

In analyzing Askar Egeubaev's work literary criticism not only gives an aesthetic assessment of the work of art, but also analyzes how the depicted reality of life has turned into artistic reality, explains its essence, identifies and gives direction to the current peculiarities of literary life. The national character of Askar Egeubaev's poetics is a special feature of the poet's work. He is a great poet who has been able to show himself in this regard in every possible way. He is a patriotic poet, and he says about the patriotism problems in his works, connecting his great humanity, who bowed heads before his native land and people, their customs and traditions, with national ideas in his poems. One of the differences between literary criticism in his work and the history of literature is that it analyzes today's works and evaluates them from the point of view of the modern era requirements. Although criticism arose in ancient times, for a long time it could not go beyond the author's direct liking or disliking of a work of art, and as the literature genre began to develop the goals and tasks of literary criticism also became stronger. Also, the history of the birth and development of Askar Egeubayev's critical thinking was different in each period and literature. The article not only talks about the poet's great respect for the Kazakh people and their life principles, great personalities, sacred language and land, but also emphasizes that it is an exemplary and moral act. In general, it is worth mentioning that the issue of patriotism in the poet's poetry makes a great contribution to the education of the next generation.

IT IS WELL KNOWN that both traditional, historically orientated, literary criticism and new-critical studies were inseparable from a belief in the “unity” of meaning – a belief in the existence, below the multicolored surface of the literary text, of a single semantic center, which unifies the text and turns it into an “organic whole.” Similarly, Russian Formalists and Prague Structuralists, though critical of the notion of the “organic whole” and its use in art criticism by the Neo-Romantics and the Symbolists, never questioned the alleged semantic unity of the literary text. An alternative approach to the problem of meaning was developed in the early books of Michel Foucault and conceptualized in his Archeology of Knowledge; he described meaning as “dispersal” and “dissemination.” A little later, in Dissemination and On Grammatology, Jacques Derrida radicalized Foucault's position by questioning the existence of clear-cut boundaries for Foucault's semantic “dissemination,” and he applied this notion in both philosophy and literary criticism. The resultant polemics between the two major approaches to the problem of the organization of meaning in the literary text caused the extreme polarization of literary studies; moreover, this polemics was often based on the tacit assumption that there exist only these two possibilities of the formal description of such organization: it should be described as either “unity” or “dissemination.” At the same time, from the logical, a priori, point of view, these terms describe only the poles of possible organization of meaning; moreover, practical criticism tends to show that both pure “unity” of meaning and its pure “dissemination” are very rarely found in literary texts. Thus, it seems to me, that those scholars who work in the field of literary criticism and cultural theory should attempt to create more complex and more precise models of the organization of meaning, which will transcend the dichotomy of “unity” and “dissemination.” One of these such models, the model of “semantic counterpoint,” is described and exemplified in this paper.

The literary criticism is one of the main narrative devices used by Ricardo Piglia in his novel Respiración artificial (1980). One of the particularities of this novel is the presence of multiple citations and references that place the intertext in the foreground, from which it defines a rich and complex narrative imbrication that oscillates between fiction, autobiography, and literary criticism. In this paper we will explore Piglia´s novel from the point of view of his metatextual theory, which will allow us to understand it as a cartographic construction that not only seeks to reinterpret, but also to reconfigure the literary tradition at its core. The experimental writing, composed of references, openly calls into play a series of procedures that intermingle literary genres, fragment and recreate a variety of works which, taken to different narrative planes, ultimately dissolve the limits between the field of literary criticism and creation.

At the present paper, we aim at explaining T.S. Eliot’s own poetry considering his own essayson the art of writing poetry. Thomas Stern Eliot (1888-1965) was a British essayist, publisher, playwright, literary and social critic, being regarded “one of the twentieth century’s major poets” (Bush, 1999) in the English language. Eliot’s poetry was seen as representative of the Modernist movement, beginning with The Love Song of J. Alfred Prufock(1915) and followed by some of the best-known poems, including The Waste Land (1922), The Hollow Men (1925), Ash Wednesday (1930) and Four Quartets (1943), among others. He was also known for his work as a playwright, although he was awarded the Nobel Prize in Literature in 1948 due to his pioneer contribution to nowadays poetry.T.S. Eliot also made significant contributions to the field of literary criticism, strongly influencing the school of New Criticism. It is, in fact, this arena of the literary criticism the main topic which will be dealt throughout the whole paper. In the current essay, we will explain Eliot’s critical ideas, in other words, what he conceives of poetry and the art on writing poetry, and how his own critical ideas influence on his own poetry. The poet introduces the idea that the value of a work of art must be viewed in the context of the artist’s previous works. He also covers the idea of an objective correlative which shall be dealt with in this paper. We should also consider that Eliot revived, when writing his own poetry, the interest in the Metaphysical Poets as well as in Shakespeare and, specifically, in Hamlet. After having explained the existing relationship between his own criticism and his own poetry, we will conclude the current paper by explaining what Eliot conceives of the concept of communicating. Keywords: English literature; Poetry; Modern poetry; Literary Criticism;art of poetry; Metaphysical Poets.