Development Of Chinese Literature Research Articles

Comparative Study of Chinese and Western Literature

The purpose of this paper is to comparatively study the differences and commonalities between Chinese literature and Western literature. First of all, the characteristics of the two are compared from three aspects, namely, presentation methods, thematic contents and literary forms. Chinese literature focuses on mood, ambiguity, and emphasizes the natural flow of emotions; while Western literature attaches importance to structure, logic, and pursues innovation in form. In terms of thematic content, Chinese literature tends to express personal emotions and expresses the harmony between human beings and nature and society; while Western literature focuses on the conflict between individuals and society and emphasizes freedom, equality and human rights. In terms of literary forms, Chinese literature coexists in various forms such as poetry, prose and novels, while Western literature takes novels, dramas and poems as its main forms. Secondly, this study explores the reasons for the differences between the two in terms of cultural background, writers' creative concepts and readers' acceptance. Chinese literature is deeply influenced by traditional cultural ideas such as Confucianism and Taoism, emphasizing moral education and philosophy of life; while Western literature is influenced by ancient Greek and Roman myths as well as religious beliefs such as Christianity, focusing on the inner world of man and exploring human nature. In terms of writers' creative concepts, Chinese writers tend to focus on social harmony from the perspective of traditional morality and ethics, while Western writers advocate the liberation of individuality and the pursuit of the realization of personal values. In terms of readers' acceptance, Chinese literature focuses on aesthetic experience and emotional resonance, while Western literature pays more attention to logical reasoning and thinking. The comparative study of Chinese literature and Western literature can help us better understand the diversity of world literature and enrich our concepts of literary aesthetics and creation. At the same time, by learning from the excellent achievements of Western literature, we can promote the innovation and development of Chinese literature.

A Study on Translation Methods and Strategies in the English Translation of the Li Sao by Yang Xianyi and Gladys Yang

The poem Li Sao in Chu Ci first created the form of the unique genre “Sao Ti” in Chinese literature, displaying a positive romantic spirit. It has been included in textbooks multiple times and has had a significant impact on the development of Chinese literature. After the Han Dynasty, later literati always highly respected Qu Yuan. The quality of the English translation of Li Sao, as a representative chapter of the Chu Ci, directly reflects the quality of the selected translation. This article takes the English translation of Li Sao by Yang Xianyi and Gladys Yang as the starting point, analyzes its translation methods from three levels: rhythm, rhetoric, and culturally-loaded words, and explores the translation strategies the translators adopt. This will provide valuable reference experience for translators and have a certain guiding significance for the English translation of literary classics in China.

Research on the Transformation of Contemporary Chinese Science Fiction

Research on the Transformation of Contemporary Chinese Science Fiction

Synthesis of traditional and new in the works of Chinese poet Hai Zi based on the image of grain

For a long period, the development of Chinese literature is characterized by the continuity of artistic tradition. Chinese poetry of the reform and opening-up era draws profound interest, as it reflects the transformations of modern age and worldview in the Chinese society. This article is dedicated to examination of the traditional images of Chinese literature in the lyrics of prominent Chinese poet of the late XX century Hai Zi (1964–1989). Since old days, the image of grain resembles the world of nature, fertility, cyclicity of life, symbol of ethno-poetic traditions associated with the motif of hard peasant labor. A remarkable representative of the Chinese poetry of “new generation”, whose works embody the spiritual pursuits of the era, is the poet Hai Zi. Along with the traditional motifs and images, he integrates the elements of the original concept. This article is first within the Russian Sinology to analyze the system of artistic images in the lyrics of Hai Zi. The conclusion is made that the artistic uniqueness of the works of Chinese poet, this image acquires the individual authorial content – the bearer of creative energy and active principle, the link between the world of nature and a human.

The Development of Chinese Literature in the Global Environment Based on Big Data

With the rapid development of computer Internet and the deepening of globalization, the development of Chinese literature has been seriously impacted and influenced. Only by fully grasping the opportunities brought by information technology can it effectively cope with the challenges brought by globalization to Chinese literature. Based on this, this paper first analyses the current situation and problems of the development of Chinese literature in the global environment, and then puts forward the countermeasures and development strategies for these problems and the status quo, so as to ensure the healthy and sustainable dissemination, inheritance and development of Chinese literature in the context of computer informatization and globalization.

Vklad Li Czin'hueya v istoriyu razvitiya kitajskoj kul'tury i iskusstva

The publication is devoted to the research of the life way and career of the outstanding composer, producer and writer Li Jinhui. It is determined that he had done a significant contribution to the development of Chinese literature, and is also the founder of the pop and vocal art of China. The composer’s work had a significant effect on the formation of Chinese opera. It is educed that Li Jinhui was the founder of children’s song, modern song (shidaiqu) and children’s song and dance performance.

The Main Trends in the Development of Chinese Literature from 1949 to Nowadays

The Main Trends in the Development of Chinese Literature from 1949 to Nowadays

A Brief Analysis of the History and Present Situation of Overseas Yan’an Literature Research

In 1942, Mao Zedong’s Talks at the Yan’an Conference on Literature and Art opened a new era in the development of Chinese literature. Through the brief description of the translation and spread of Yan’an literature in foreign countries, especially in Japan, Russia, the former Soviet Union and United States, the paper aims to outline the status of the Yan’an literature throughout the world, in order to emphasize the particular importance of Yan’an literature, to understand the relevant research status quo, therefore providing practical suggestions for future research.

Mystical and monotheistic motives in ancient Chinese “Book of Songs”

The purpose of the article is to explore main mystic and monotheistic motives in Chinese ancient “Book of Songs”. The historical circumstances of its genesis, including the hypothetical reconstruction of ancient Chinese beliefs and the intellectual atmosphere of the studied period are observed. The article explores the main religious themes in ancient Chinese poetry, especially in the part of Hymns and part of Big and Small Odes in the “Book of Songs”.This paper tries to systemize main mystic motives in ancient Chinese Poetry. Also one of the most important tasks of this article is to study ancient Chinese monotheistic believes. The focus is on the concept of Heaven as the reflection of the highest mystic power in ancient Chinese literature and the role of the cult of Heaven in ancient China. The heaven power is personalized by figure of the Heaven Emperor, who is believed to be the world ruler in cognitive conceptual system of the Book of Songs. The urgency of the paper concerns the analysis of the structure of the “Book of Songs” and the history of its current version (“Mao Shi”). In particular it is important to systematize all hymns and songs that include mystical motifs and monotheistic component of the classical ancient Chinese culture.The Book of Songs contains the key monotheistic motives of the cult of Heaven and it’s emperor, the legend about the contact of ancient Chinese princes with higher heavenly powers, the heavenly emperor, which is the source of monotheistic and theistic beliefs in the culture of ancient China. Poetry “Book of Songs” greatly influenced the further development of Chinese literature, literature in the countries of the Far East, Central and Southeast Asia. The observing of this influence is a perspective direction for further scientific research.

МІСТИЧНІ МОТИВИ В КИТАЙСЬКІЙ СЕРЕДНЬОВІЧНІЙ ПРОЗІ

The purpose of the article is to study Chinese medieval mystical novel’s genesis, the main mystic motives in Chinese early medieval short novel, including Taoism and Chinese Buddhism influence. The historical reason’s observation of medieval short novel`s genesis, including the analysis of intellectual world atmosphere in early dark medieval times is also proposed. This thesis systemized different genres of Chinese medieval mystical short novel, influences from sociо-historical process to mystical novel’s genesis. The key attention is focused on Gan Bao “Sao Shenji” and Buddhist short novel’s genesis and main characteristic.Using the methods of historical cross-culture studies and historiographic analysis of classical Chinese texts, such as Bao “Sao Shenji”, Lu Yiqing, Wang Yan and Hou Bo short medieval Buddhist novel (xiaoshuo) the author explores ер specificity of Chinese medieval prose. Chinese medieval prose is analyzed in the context of world history and in the context of Chinese literature genre paradigm history. It has also analyzed the main characteristic of a short mystical novel chronotope, which, according to the author of the article, usually reflects two mains levels of reality: absolute and relative. The article explores the main religious influences on the short medieval novel, especially the influence of the cult of Heaven, Tengranism, Chinese Buddhism and religious Taoism. Chinese medieval mystical novel was a new Chinese literature genre, which included detailed portrait characteristics of the main heroes, pseudohistorical motives and structured symbolic chronotope.It has combined Buddhist, Confucian and Taoist philosophy, high literary style, unpredictable plot and elements of folklore. Short medieval novel had a strong influence on the further development of Chinese literature.

“Creation Through Translation” in Early Twentieth-Century Women’s Fiction: On a Literary Trend in the Initial Stages of Cultural Exchange Between China and the West

In the 1910s, the trend of “creating through translation” emerged in fiction by female Chinese writers. This concept, similar to that of “covert translation,” introduced by the contemporary Western translation theorist Juliane House, sprang up from the early stages of new literary forms that developed in the context of changes in early modern Chinese literature. The works of female Chinese authors were influenced by the plot, characters, and narrative techniques in Western literary works from which they consciously or subconsciously took inspiration, passing from the imitation of foreign novels to “creation through translation.” The arrival of this phenomenon is closely connected to the increased dissemination of Western knowledge and to a wider circulation of foreign novels among female writers in China. When reading and translating foreign literature, female authors transposed, filtered, and rewrote it into new texts that featured local elements. Ideologically and artistically, the practice of “creating through translation” provided enlightening guidance for modern women’s fiction in that it broadened the means of learning from Western literature, proving beneficial to China’s literary and cultural development. The same trend appears in early vernacular poetry during the May Fourth era, from which it can be traced further back to scholarly texts of the early modern period, such as Wei Yuan’s Illustrated Treatise on the Maritime Kingdoms (Haiguo tuzhi 海國圖志) or Wang Tao’s Report on the Franco-Prussian War (Pu-fa zhan ji 普法戰紀). Also Liang Qichao’s writings on Western thought and culture, for example, his Notes on Rousseau (Lusuo xue’an 盧梭學案), are written in a similar form. The emergence of “creation through translation” therefore evidently represents both a conscious, active effort by a generation’s intellectual elite to seek knowledge and truth from cultural exchange between China and the West, and a new exploration and practice under Western influence that had a positive impact on China’s literary and academic history, in that it broadened cultural/academic perspectives and stimulated the development of Chinese literature and culture.

The Historical Development of Chinese Literature in Seongju(星州) Area

The Historical Development of Chinese Literature in Seongju(星州) Area

Redefine Literature through Chinese Culture: On the Development of Chinese Literature and World Literature in the Age of Globalization

Literature, in the age of globalization, has gradually been marginalized with the blossoming of electronic art, while its position as an icon of culture has been highlighted. The tension between these two tendencies currently cannot be relieved by maintaining the mainstream Western definition of literature (literature as fiction, poetry and drama), but alternatively, the definition of literature in Chinese culture (literature as the beauty of language) may provide a better solution. Thus the redefinition of literature through Chinese culture is necessary and essential for literary development in the global age.

從吳浣素到吕碧城

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
 中國文學歷史上，婦女文學創作之母系傳承現象衆多，但以往的研究，大多注目於同一歷史時期此種現象的介紹與解讀，本文則以跟蹤研究的方法，剖析了一個母女相傳五代之久、歷經乾隆、嘉慶、道光、咸豐、同治、光緒、宣統以至民國的文學創作個案，揭示了從清中期到近現代，中國婦女文學在社會背景、女性意識、地域分佈、美學風格等方面的諸多變化，展現了我國知識女性由古代進入現代的坎坷歷程。In the development of Chinese literature, matrilineage is a very common phenomenon in female literary practice. Studies of this issue used to focus on specific historical eras. The present thesis, however, traces the materilineage through five generations, extending from individual literary practices during the reign of Qianlong, Jiaqing, Daoguang, Xianfeng, Tongzhi, Guangxu, Xuantong until that in the National Government period. The thesis intends to demonstrate the changes that Chinese female literature has experienced through mid Qing Dynasty to modem times in several aspects such as social background, female consciousness, geographic and aesthetic features; meanwhile, it also attempts to delineate the thorny path that carries Chinese female intellectuals from ancient era to modem times.

The Collision, Interaction, and Integration of Heterogeneous Cultures in the Global Context: The Impact of The Monument on Huaju (Modern Chinese Drama)

China's Central Experimental Theatre first staged the Canadian drama The Monument on October 28, 2000, in Beijing. It was the first Canadian drama to be produced in China and performed in Chinese. Set in an unnamed country in the wake of an unnamed conflict, the play unfolds to the audience a seemingly simple story. A young soldier, Stetko, has confessed to raping and murdering 23 enemy women and girls, acts he claims to have committed only because it was expected of the soldiers at the time. Just as he is about to be executed, a woman named Mejra appears, the mother of one of his victims--a woman who might be his tormentor, his executioner, or his savior: he will be allowed to live on the condition that he obey her every command. Mejra then carries out a confounding revenge. In a desperate scheme to undermine Stetko's will, she chains and beats Stetko and torments him with horrible stories of his girlfriend's possible gang rape and murder. Eventually, Mejra orders him to dig up the corpses of the 23 women he killed, stacking them into a monument to their memory. This is a journey--or rather, a trying pilgrimage--for both characters. As it unfolds, they discover not only unpleasant truths about themselves, but also truths about human nature that they wish could have remained buried beneath the scorched earth of war. Canadian playwright Colleen Wagner, inspired by the war in Bosnia and its cruel aftermath, wrote The Monument as an examination of crime and redemption, a dark fantasy about war and human nature under extreme circumstances. The play poses to audiences, Canadian and Chinese alike, timeless questions that try our soul: To what extent does a soldier have moral choices in wartime? Can murder, rape, and other atrocities be justified under wartime circumstances? Can there be a so-called war of justice or injustice (zhengyi zhanzheng / [TEXT NOT REPRODUCIBLE IN ASCII] of fei zhengyi zhanzheng / [TEXT NOT REPRODUCIBLE IN ASCII])? Must a soldier follow orders? And what is left for the mother of the victim--vengeance, forgiveness, or ...? What can be said about human nature--sinful (according to Christianity) or benevolent (in Confucian terms)? Which force is greater, love or hate, redemption or damnation? Part myth, part ritual, part rite of passage, The Monument explores the darkness in human nature and ultimately chooses redemption and the healing power of love. Wagner's cruelly truthful drama demands the attention of both Chinese audiences and Chinese dramatists, challenges mercilessly the playfulness and lack of universality in recent Chinese dramas, and leads Chinese dramatists to reexamine the meaning, value, and nature of drama in general and modern Chinese drama in particular in the global context. China's open-door cultural policy, first implemented in the 1970s and early 1980s, has attracted a large number of Western plays to the Chinese stage. Through these performances, Chinese audiences become closer to Western dramatic theories and practices, in a time when China is in close contact with the rest of the world in matters economic and political as well as cultural. Shouyi Fan observed the far-reaching impact of translated literature on the development of Chinese literature, arguing that it broadens the vision of China's writers and offers up-to-date information about the state of world literature. As a result of that impact, Chinese writers have studied diverse literary trends and adopted diverse literary techniques. Shouyi Fan concluded: Above all, the importation of Western literature into China had helped shape the ideology of the Chinese intellectual community. Many of the famous men of letters in China's modern history began to be exposed to works of translation. In the process, their modes of thinking began to change, they perceived the world from new angles, and found themselves caught in the clashes between the East and West. (1) During the 1980s, an increasing number of Canadian literary works began to be introduced to Chinese readers through translation. …

Reflections on “literary awareness in Wei and Jin Dynasties”

Literary awareness in the Wei and Jin Dynasties (Wei Chao 魏朝 CE 220–265; Jin Chao 晋朝 CE 265–420), as first proposed by Suzuki Torao, is not a “scientific” argument. From the relationships between “practicalism” and “literary awareness” as well as “individualism” and “lyric literature” in the Han (Han Chao 汉朝 BCE 206–CE 220) and Wei Dynasties, it can be seen that the fundamental drive of medieval literature was the social changes taking place during these dynasties, the emergence of the literati as a social stratum, and their attitude towards literature. The concept of “literary awareness in the Wei and Jin Dynasties” cannot describe the literary development in medieval China. As it misunderstands the essential characteristics in the development of Chinese literature, it should be discarded.

Chinese Popular Culture and Ming Chantefables

In 1967 a body of Chinese texts was discovered in a tomb outside Shanghai. It contained a set of unique examples of an oral genre favoured by unlearned classes in the late imperial period (15th century), best called 'chantefables', appearing at the beginning of a profound historical shift which resulted in a broadening of the uses of writing and printing in China. These texts are now generally seen to occupy an important place in the development of Chinese literature as a whole, and of Chinese vernacular literature in particular. In the first monographic treatment of all the chantefable corpus in English the author, by examination from a more anthropological view, points out that these 'oral traditional texts' can only be appreciated in the festival, ritual and performative context of their derivation and reception. Topics dealt with in this important work include the popular interpretation of Confucian orthodoxies, the literary recycling of the oral tradition, and the influence of chantefables on the development of Chinese vernacular fiction. The author offers interesting comparative perspective on the different social consequences of print technology in China and the West. Illustrations of ten chantefable woodblocks are included.