-
BULLETIN OF THE DEPARTMENT OF CHINESE LITERATURE NATIONAL CHENGCHI UNIVERSITY NO.41
Publication date： 2024-06
Special Article On Xu Xu’s Poetic Creation
Having a steady poetic style, Xu Xu’s poetic creation spans across the mainland, Hong Kong, Macao and Taiwan regions throughout his whole life. Xu Xu as a maverick maintained a certain distance from that era for a long time. Xu’s choice of self-marginalization made his new poems different from the customary features of contemporaneity. Compared with the new modernist poems of the 1930s, Xu Xu developed a new poetic theme through solitary meditation. He maintained a lifelong belief in the musicality of new poems and devoted himself to the exploration and experimentation of its musical forms, incorporating the freedom to include musical melodies.
Page：
1-20
Keywords：
Xu Xu; self-marginalized; the musicality of new poetry
BULLETIN OF THE DEPARTMENT OF CHINESE LITERATURE NATIONAL CHENGCHI UNIVERSITY NO.41
Lin Xiyuan, courtesy named Maozhen, and also known by the pseudonym Ciya, was born in the 17th year of the Chenghua of the Ming Dynasty (1481) and passed away at the age of 85 in the 44th year of the Jiajing (1565). Hailing from Tong’an County, Fujian, he was briefly mentioned in the History of Ming: Confucian Scholars, with his status being subordinate to Chen Chen. In Huang Zongxi’s Ming Confucianism Cases, he was listed alongside Cai Qing, Luo Qinshun, and Zhang Yue, yet these accounts lacked thorough examination. However, in the anthology of review, one finds a deep concern for the nation and its people. Despite facing setbacks, remained committed to principles of Taoism and scholarly pursuits. He authored the Reserved Questions on the Four Books (Sishu Cunyi), engaging in academic debates, rectifying the style of Fujian school, and opposed Yangming’s theory of “mind,” arguing that despite being part of physical energy, the human mind represents the pinnacle of that energy. The “elite”, represented by Lin Xiyuan, embodied the potential for moral and intellectual ascendance, countering the prevalent overconfidence of his contemporaries. Principle and mind are the key to self-cultivation. Lin Xiyuan’s transition from political engagement to scholarly pursuits was both practical and useful. Grounded in reverence for metaphysical principles, he sensed the prevalence of heavenly truths. Amidst the propagation of the School of Mind, his perspective from the tradition of Min Province offered a unique viewpoint, becoming a poignant voice of dissent amidst the tumultuous societal landscape of his era.
Page：
21-54
Keywords：
Lin Xiyuan; the Reserved Questions of the Four Books (Sishu Cunyi); Cai Qing; Yangming; Min Xue
BULLETIN OF THE DEPARTMENT OF CHINESE LITERATURE NATIONAL CHENGCHI UNIVERSITY NO.41
During the middle to late Ming Dynasty and subsequent periods, literati gardens and related writings reached their pinnacle, becoming a focal point of academic attention. However, most of the previous researches focused on Jiangnan region, where the literati garden culture and writings were the most flourishing. The exploration of interactions and dialogues between the prevailing culture of Jiangnan and the other regions still presents an area for further investigation. This study centers on the writings on the Spring Floating Garden of Xiao Shiwei, a notable figure in Jiangxi in late Ming Dynasty. It particularly focuses on the widely circulated “the Records of Spring Floating Garden” of that time, analyzing its landscape description and emotion-intention connotations. The discussion aims to illustrate how Xiao creatively portrayed unconventional and exquisite garden scenes and how he intricately expressed the leisurely pleasures and contemplations of his garden life. Through this exploration, the study reflects the distinctive aspects of late Ming social and cultural phenomena, including the pursuit of leisure and seclusion, the religious practice of lay Buddhists, and the combat between political factions. Consequently, this paper not only presents a case study deeply influenced by Jiangnan culture but also provides an understanding of the widespread appreciation for Xiao Shiwei and his garden by interpreting the profound meanings and artistic achievements in his poetic and prose writings, such as “the Record of Spring Floating Garden.”
Page：
55-96
Keywords：
Xiao Shi-wei; “the Records of Spring Floating Garden”; garden writings; the social culture in the late Ming Dynasty
BULLETIN OF THE DEPARTMENT OF CHINESE LITERATURE NATIONAL CHENGCHI UNIVERSITY NO.41
This article discusses the debate in the late Qing Dynasty between Kang Yowei 康有為 and Su Yu 蘇輿 on the theory of “Gai-zhi 改制” which could be traced back to Dong Zhongshu 董仲舒 in the Western Han Dynasty and implies the issue of basis of culture reformation. By comparing Kang’s and Su’s explanations of the reasons that “Dao 道” is not only unchangeable but also changeable, this article responds the current discussions about the Kang’s and Su’s different perspectives on the culture transformation, and also presents a Confucian way of thinking on the compromise between culture conservation and radical abolition.
Page：
97-132
Keywords：
Dong Zhongshu; Kang Youwei; Su Yu; the Uncrowned King; Confucian political thought
BULLETIN OF THE DEPARTMENT OF CHINESE LITERATURE NATIONAL CHENGCHI UNIVERSITY NO.41
Nanshe is a modern society with complex members, but scholars mostly focus on the poets of Nanshe from Jiangsu and Zhejiang, and pay less attention to the members or branches of other provinces. Nanshe Guangdong Branch is extremely regional, and its cultural position and aesthetic purport were quite consistent and firm from the late Qing Dynasty to the early Republic of China, and even led to the differentiation of Nanshe organization. “Su Shi” is a common cultural symbol in the singing and chorus of poets in the Guangdong Branch. Su Shi’s relegation to Lingnan had a far-reaching impact on local culture and literature, resulting in the formation of the poetic style of Song-advocacy that became popular in the middle of the Qing Dynasty in addition to the Lingnan poetry tradition of advocating Tang poetry style and bold style, and it was in this context that the Guangdong poets of Nanshe grew up. Therefore, it is extremely necessary to locate the cultural position and aesthetic purport of Guangdong poets in Nanshe and explore its influence by Su Shi.
This article delves into the intricate interplay between Guangdong geography and the evolution of poetry through the lens of literary geography. It places special emphasis on the literary landscape and the popular Su Shi birthday in the middle of the Qing Dynasty, intricately linked to the renowned figure Su Shi, thereby exemplifying the embodiment of Song-style culture. The primary objective is to gain a thorough understanding of the resolute pursuit of elegance and the stance towards new literature exhibited by Guangdong poets. By bridging the existing research gaps on Guangdong poets, this article not only enriches scholarly discourse but also fosters a more holistic grasp of the poetic backdrop within the modern Song-advocacy school. Simultaneously, it endeavors to reshape the multifaceted nature of Nanshe poetry and the prevailing aesthetic inclinations.
This article delves into the intricate interplay between Guangdong geography and the evolution of poetry through the lens of literary geography. It places special emphasis on the literary landscape and the popular Su Shi birthday in the middle of the Qing Dynasty, intricately linked to the renowned figure Su Shi, thereby exemplifying the embodiment of Song-style culture. The primary objective is to gain a thorough understanding of the resolute pursuit of elegance and the stance towards new literature exhibited by Guangdong poets. By bridging the existing research gaps on Guangdong poets, this article not only enriches scholarly discourse but also fosters a more holistic grasp of the poetic backdrop within the modern Song-advocacy school. Simultaneously, it endeavors to reshape the multifaceted nature of Nanshe poetry and the prevailing aesthetic inclinations.
Page：
133-172
Keywords：
Su Shi; Nanshe Guangdong Branch; literary landscape; Su Shi birthday party; Song style culture
BULLETIN OF THE DEPARTMENT OF CHINESE LITERATURE NATIONAL CHENGCHI UNIVERSITY NO.41
"Renowned for his motto “Feet in both Eastern and Western cultures, heart in critiquing the universe,” Lin Yutang (1895-1976) returned to Shanghai in 1927. Besides serving as the editor-in-chief for publications such as Lunyu 論語 (The Analects), Renjianshi 人間世 (This Human World), Yuzhoufeng 宇宙風 (Cosmic Wind), Tianxia 天下 (T'ien Hsia), and Xifeng 西風 (West Wind), Lin Yutang also led as columnist for the English weekly “The Little Critic” in The China Critic 中國評論週報. He’s English essays from “The Little Critic” were soon compiled into a book. Then, his work swiftly found its way into French, published simultaneously in La Politique de Pékin (The Politics of Beijing, 1914-1940) and later as an offprint, titled L’Humour chinois ou Recueil d’essais, satires et esquisses (Chinese Humor: Essays, Satires, and Sketches). This paved the way for Lin Yutang’s literary journey through Europe.
Many of Lin Yutang’s English essays from the era of “The Little Critic” were subsequently reimagined in Chinese and published, marking a pivotal phase in his literary trajectory, as it signifies a distinct stage in his literary viewpoint and the formation of his prose writing style, still requires further in-depth examination. Furthermore, the process of translating “The Little Critic” into French has remained relatively understudied. Therefore, this paper focus on the genesis and translational journey of Lin Yutang’s “The Little Critic” into French. Through the lens of Walter Benjamin’s concept of “panoramic literature” (la littérature panoramique), it explores the global generation and transformation of the essay and sketch genres, aiming to delve into the multifaceted implications of Lin Yutang’s “The Little Critic” born amidst the rapid flow of world cultures and the convergence of Eastern and Western intellectual currents in Shanghai. This study seeks to elucidate the shaping of modern Chinese prose aesthetics, the dual nature of translating China and imagining the world, and the representation of modernity, thus bridging the existing gaps in research."
Many of Lin Yutang’s English essays from the era of “The Little Critic” were subsequently reimagined in Chinese and published, marking a pivotal phase in his literary trajectory, as it signifies a distinct stage in his literary viewpoint and the formation of his prose writing style, still requires further in-depth examination. Furthermore, the process of translating “The Little Critic” into French has remained relatively understudied. Therefore, this paper focus on the genesis and translational journey of Lin Yutang’s “The Little Critic” into French. Through the lens of Walter Benjamin’s concept of “panoramic literature” (la littérature panoramique), it explores the global generation and transformation of the essay and sketch genres, aiming to delve into the multifaceted implications of Lin Yutang’s “The Little Critic” born amidst the rapid flow of world cultures and the convergence of Eastern and Western intellectual currents in Shanghai. This study seeks to elucidate the shaping of modern Chinese prose aesthetics, the dual nature of translating China and imagining the world, and the representation of modernity, thus bridging the existing gaps in research."
Page：
173-216
Keywords：
Lin Yu-tang; The Little Critic; World Literature; Bilingual Writing
BULLETIN OF THE DEPARTMENT OF CHINESE LITERATURE NATIONAL CHENGCHI UNIVERSITY NO.41
