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BULLETIN OF THE DEPARTMENT OF CHINESE LITERATURE NATIONAL CHENGCHI UNIVERSITY NO.6
Publication date： 2006-12
Theme Thesis The Art of Popularizing Narratives in Sung and Yuan Literary Novel Scripts “Ru-hua”: A Guide and Introductory Scene
Literary novel scripts of ancient China, depicting vividly its life and culture, capturing the real conditions of its society, were widely read by the general and simple folks of its time. The “ru-hua” and common language played a pivotal role in guiding the general public into the very heart of the novels, showing its artistic features to the readers. The “ru-hua” included the popular mentality of its time, the author’s rhetoric, the society’s trends as well as the economic diversity of its market, appealing to the interest and temperament of both the learned and the uncultured. “Ru-hua” in the Sung and Yuan literary novel scripts offers the different levels of artistic expression to the public. The author specially highlights how ru-hua is used in leading the readers to its desired effect. Therefore, besides examining the contents, the author pays attention to the form, structure, and the art of narration. This process is intimately corelated to its popularization. “Ru-hua”, compared to the common language, shows more concretely the variety of popular art. From this realization, the author makes use of “ru-hua” form not only to exhibit concretely the artistic appreciation and connotation of its beauty, but also to guide the readers to enter easily the process. Through deatiled analysis of the “ru-hua” in Sung and Yuan literary novel scripts, we can detect and know the demands of the readers as well as the audience at that time as regards the novel script. This demand directly reflects the narrative skill of its author; thus, offering different levels of art popularization.
During Yuan Dynasty to early Ming Dynasty, the government forbade silver as currency by introduction and promotion of paper currency. But in novels and operas of this period, the use of silver in daily life and transaction is quite common. This is the lively image of social life at that time and reflects the limited effect of government rules. So the conclusion that Tale of Water Margin was written in early Jiajin period due to the widely use of silver in scenarios may not be credible. This can not only remind us of the difference between government regulation and actual daily life, but also the importance of “double check on historical materials”.
This article is mainly focus on investigating “how” and “why” Xingshiyan (model) modeling the generation. The article one by one talks about the depth-of-field and particular centre points of Xingshiyan’s arguments through three aspects—inspecting the change flow of language emphasizing meaning and grammar, the context of time and space in fictitious story-telling-field, and the cultural alternatives between “current events”, “history creation” and “scripture creation”. It also examines how the stories, comments and thought-transmissions which made by Liu Ren-Long and Liu Yun-Ling reveal their demonstrative skill and the declination of popularization. The article points out that, in real demonstrative context, Xingshiyan combines both argument and aesthetics, underlining the preaching literary form, mixture the recreation of literature art in “current events”, “history creation” and “scripture creation”. It recreates the story-script form as “bottle gourd style” style, carefully composing new change flow of language, being mixture the traditional time-and-space thoughts of “picture and text”, and looking after both the rhetoric of fiction “vulgar delight” and “logic delight” at the same time. The intention of creating it is not the combination of the depth-of-field of the “current event” and history.
This paper examines two issues. The first studies the explanation of lai shu（ 書）and ce lai（冊 ）in the 42-year Lai Ding （四十二年逨鼎）.The meaning of lai shu（ 書）is an account about rewarding, which has not the meaning of ce ming（Conferring Titles on nobility）.The meaning of ce lai（冊 ）is to reward according to the lai shu（ 書）.The meaning of lai（ ）which after lai bai ji shou（逨拜稽首）should be xi（繫）.The other issue, which is even more important, concern the name and substance of Ce Ming Ming Wen（冊命銘文，The inscriptions which recorded the conferring titles on nobility）.The academic circles unanimously use the name of Ce Ming Ming Wen to name these inscriptions which were recorded the conferring titles on nobility now, but the name of Ce Ming can not summarize all peculiarities of these inscriptions really. These inscriptions which were recorded the conferring titles on nobility should be named Xi Ming Ming Wen（錫命銘文）.
The concept of “Peng Lai Mount” in Shan Hai Jin went to Qin and Han Dynasty, it appeared in the form of “Three Mounts” or “Five Mounts”, indicating that the ancestor’s view of the eternal world. Within the increasing mythological research of “Peng Lai Mount”, the imagination and depiction of ravine in the sea, spirit in the ocean, and other worlds in the ocean shows that ancestor’s religious emotion and philosophical thinking towards the ocean. All these contain plenty of cultural significance. By re-examining the articles about “Peng Lai Mount” in ancient books, we found that, within the fragmental and limited records, concepts and plots such as “Bo Sea”, “ravine”, “furnace”, “turtle bear mount” are all close related to the “ocean” concept. These articles are full of ancestor’s imagination and observation towards ocean, and depiction and explanation towards the universe. Due to its abundance about the thinking of “ocean” (original water), languages in mythology try to depict the arbitrariness, which actually has something related to ancestor’s views of world and thinking about the universe. This paper adapts the theory of comparative mythology, starts with the fundamental question, and tries to re-examine and discuss the concept of ocean and its meaning, basing on some existing conclusions in this academia.
Biography of Ying-Ying 鶯鶯傳is a great masterpiece in the Tang Dynasty Legend. Yuan Chen 元稹can penetrate in the characters’ feeling of the story, is an important reason which this story succeeded. Zhang Sheng 張生is facing the desire and the academic honor choice, as well as Ying-Ying 鶯鶯struggles to individual emotion and the Confucianism fetter conflict. In the story, two leads both have personally with society's conflict. This article by the psychoanalysis inquired about Ying-Ying Chuan, and "passion/Confucianism" how the conflict does penetrate "the self-/society" the cognition, achieves "in/outside" linking with break. In addition, in author Yuan Chen and the novel lead Zhang Sheng, two forms mirror image relations. Yuan Chen penetrates Zhang Sheng to reflect own psychology, and affirmed from the society that achieved oneself redeems. Again an amphoteric love world which constructs from the language and the symbol, the introspection novel text how reflects self- and society's relations.
Qian Xuan is one of the most famous and important painters in the end of Sung dynasty. Undoubtedly the loyalist (yi-ming) usually stayed in the cultural frame of dislocated space-time. When they stood in front of the historical ruins, their minds were occupied with drifting and diaspora life experiences, Qian Xuan often developed the dialectical themes which covered the past/current dynasty, reality/ideal, present/ history in the dialogue of poem/painting intertext rhetoric. His works reflected the loyalist’s memories which re-create a unique space for themselves to articulate the traditions in the changing present world. This paper sets out to explore Qian Xuan’s poem/painting collection in terms of three aspects: “immortal hide/idly occupied being”, “nostalgia/memory”, and “cross waiting/grieves for the loss”. It also attempts to analyze the empty emotions of loyalist’s life being and the historical feelings of revivalism in the poem/painting intertext rhetoric. Through the metonymy of poem/painting intertext rhetoric, Qian Xuan also developed a new cultural imagination; and further, he built himself as a desire-subject to perform culture structure in the creating work of fine art. Therefore, the poem/painting intertext rhetoric not only demonstrated the loyalist’s constant cultural nostalgia as the desire-subject, it also reflected the cultural-identity actions transcending the reality of society and the deep sadness of loyalist due to their marginal status and life’s inconstancy. Finally, this paper discusses Qian Xuan’s outstanding handwritings while in his painting he used mostly wild and individual technique with the open space-time vision. Those works release nostalgia emotions in a neoclassic style . Qian Xuan’s unique aesthetic style, such as “anti-image”, ”anti-drawing”, have made the shift of aesthetic paradigm of Chinese paintings. This also results in his unique position in the history of Chinese paintings.
This study is to discuss Hui Dong Han Yi in the view of the hermeneutics, conceiving the contemporary annotation of Han Yi under the sign of the image-numbers in Han Dynasty. In modern hermeneutics trend, the author attends to define Han Yi with “the historical image” method and hermeneutics methodology, meanwhile, explores objectively the time significance of HanYi from the macroscopic explanation angle by the introspection and the self-criticism. The core value of Hui Dong Han Yi lies in the restoration of the original appearance of Han Yi, striving for “real” and “true” value to build its foundation of “fact judgment” and “value judgment”. Hui Dong’s explanation of Chou Yi, lacking the rational content of philosophic elements, is too pure and simplified to be the philosophic classics. Hence, the pure content of the image-numbers cannot receive the universal value and approval. Hui Dong paid attention to the accuracy and rationality of explanations of words in ancient texts. He transformed the implicated hermeneutics question the simpler explanation questions, which is beneath the level of the cycle of hermeneutics. Hui Dong Han Yi is approved by the language and the literature archaeology. Its annotation value or characteristic is mainly from the restoration of the original text and meaning of Chou Yi. Namely, the very value of Hui Dong Han Yi lies in the establishment of the ancient meaning of Chou Yi and its realistic annotation spirit.
