To clarify the ambiguous areas in The study of Chinese poetics with the cross boundary of knowledge and problems | New Criticism
The book “The Road of Chinese Poetics — Between History, Culture and Aesthetics”, which was recently included in the Collection of Chinese Contemporary Academic Works published by the Commercial Press, is a collection of essays by Jiang Yin, a famous literary researcher.Shi Zhiyong, a young scholar, expressed in an article that there are still many ambiguous places in the traditional poetics research, such as the question of the meaning behind Xie Lingyun’s landscape poems, how the concept of “blending scenes” is finalized, and how to select and examine the vast historical data with a cross-boundary perspective.In a sense, this book points out the way of learning for Chinese poetics and literature research, so that readers can experience more different life modes beyond the individual limited experience, so as to realize the understanding of the rich meaning of life.The book “The Road of Chinese Poetics — Between History, Culture and Aesthetics”, which is recently included in the “Collection of Chinese Contemporary Academic Works” series of the Commercial Press, is a collection of essays by Jiang Yin, a famous literary researcher.I think this book is really quite new to students, especially young scholars.Every time I read one, I felt an Epiphany.This book is divided into four parts, namely, the study of the history of mind, the study of Tang poetry, the study of the basic concepts and propositions of classical poetry, and the study of the history of Qing Poetry.Jiang Yin believed that “predecessors studied poetics mainly to nourish their own creation;The Qing people studied poetics out of pure academic interest.Although he claimed that he compiled the book out of “academic interest” just like the qing people, it can be regarded as a way of learning from the standpoint of readers. It mainly includes four aspects: first, to advocate the correct mentality of literary research.The purpose of literary research is to realize the understanding of the rich meaning of life by observing more different life modes besides the limited and single experience of life.And this “lie flat” in the present era, some scholars of ancient literature study, the only literary studies as a tool of very seriously, and deviated from the original intention of the classical literature research, just like the book “the understanding of the poetry of the meaning of life in ancient China,” noted: “literature as a form of life meaning of life for the individual who intentionally or unintentionally overlooked.”Compose written for “longhu compositions” preamble “read the episode, meet the person, we will make it” in the eye, wu meicun died in the word “set up a boulder the tomb, yue:” the tomb of the poet wu meicun and German philosopher schelling said from secular reality is only two way out: “the poem to the ideal world, our philosophy result in complete resolution of the real world”, after he read worth researchers thought.”Tao yuanming spirit of reclusion history meaning” is mentioned: “tao yuanming became a classic in the history of history of mentality, so he will abandon officer is retirement, put his ideas into real life and feelings in the poems of self-sufficiency, shape their own retirement behavior and lexical, shaped as the first truly will it into practice in the history of the poet.”This attitude is also worth comparing with current scholars.The time Consciousness of Li Dusu’s Poetry and its Ideological Origin analyzed in the article are three kinds of life postulates represented by li Bai, Du Fu and Su Shi, which are resistance to time, obedience to time and transcendence of time, which can also provide support for people’s life.The picture shows Li Bai, Du Fu and Su Shi second, demonstrating the research thinking of “problem consciousness first”.For example, du Fu and the “old” Environment of Chinese Poetry aesthetics reveals that Du Fu is regarded as a successful model of practicing this aesthetic character because of his standard of “old” and his corresponding achievements.In “Quan Deyu and Poems in tang Dynasty”, it is found that before Li Bai and Du Fu wrote only one poem to his wife in the whole Tang Poetry.In Du Fu’s writing, his wife is the content of his speech, but not the object of his speech.In addition to his wife, there were countless potential readers in Li Bai’s mind when he wrote the poem. Li Bai’s wife’s confession was only li Bai’s wife’s mouth to express his wife’s image in his mind, and his wife’s real feelings were not his concern.However, kwon deyu’s unblossoming romance and long-brewing love are all reserved for his wife. He not only regards his wife as the object of care and description, but also regards her as the object of dedication in his works, expressing his attachment and love to his wife in an equal relationship.Without the AIRS of a man or the mask of a man, he completely reveals the frailty, loneliness and longing for love and comfort in the heart of men to his wife, which brings a shock to the lyric tradition and writing paradigm of male poets.In Excessive Rhetoric: Artistic Spirit of Li He’s Poetry, it is said that Li He is a genius poet who sets up a special style with the unique rhetoric of “synesthesia”. He likes to combine extremely abstract adjectives that represent a long time with instantaneous things, and does not easily pass up any opportunity of rhetoric to pursue excessive rhetoric.When he found that using allusion, synesthesia and other defamiliarizing techniques could open up an unprecedented wonderland, he consciously continued to replicate himself.All of the above articles find their turning points in the phenomena of literary history, thus making the issues discussed have great academic value.This can point the way for young researchers who study for research’s sake but can’t find a research problem.Third, to provide a model of “theoretical consciousness”.For example, the article “With high line and low: The Posture set in the Mutual reference of Ancient Chinese styles” reveals the characteristics of mutual infiltration of styles and the direction of mutual reference theoretically.The expression of Aesthetic Perception and its Linguistic Form in Ancient Chinese literary Theory makes a holistic theoretical analysis of the terms of positive valence and negative valence in poetics.The concept of “Qing” in Classical Poetics summarizes the composition, use and theoretical connotation of “Qing”.These theoretical summaries can change the common cognition of literary studies, and it can be found that literary studies can be promoted to the height of theory in addition to the two academic approaches of superficial description of literary history phenomena and only literature research.This has theoretical guiding significance to the study of “ancient literary theory” and “ancient literary theory”.Fourth, it shows the research perspective of “selecting key points” in the study of literary history.Such as “poetry in the qing dynasty and the construction of regional literary tradition” summed up the universality of regional literary tradition in the qing dynasty consciously build meaning, tone on the history of “ancient poems and qing are analyzed in detail about the specific content of ancient tone debate and its value of literary history, the writing and the social function of qing zhen with rich historical detail describe the qing zhen writing form and function,The aesthetic connotation and Artistic Spirit of Wang Yuyang’s “verve” carefully analyzes the connotation of the poetic concept of literary leaders.In the numerous literary works and documents of the Qing Dynasty, the key problems are found and the key points are selected to study, which can provide effective research perspectives and paths for young scholars.The above experience is only as far as it is concerned. If it goes into more detailed academic thinking, it can also gain more enlightenment.The following is only to illustrate the relationship between landscape and scene in this book.In the transcendent Field: The Significance of Landscape to Xie Lingyun, Jiang Yin mentioned the Wei and Jin dynasties, taking feeling as the basis, people regarded their own experience as the emotional subject, and the combination of the sorrow of feeling and the theory of the thing produced the unique tragic life sentiment and the corresponding emotional aesthetics during the Wei and Jin dynasties.Therefore, Xie lingyun’s excursion to the mountains was just a means of adjusting his mind to get rid of the anxiety echoed by the secular world.The metaphysical is something he already knows, and the expression of the poem can be seen as a reaffirmation.Why reconfirm with the help of landscape tour?Because it is the result of a rational battle of the heart from restlessness to peace.Therefore, for Xie Lingyun, what he pays attention to when visiting is not the landscape as an objective phenomenon at all, but mainly his own behavior and self-consciousness, which interact with the metaphysics in his mind at any time.The description of landscape is not so much an object for recording and viewing as to construct a transcendental environment, making it a background existence for poets to show their transcendental interest and psychological achievements, which contains metaphysical nomology.Therefore, Xie Lingyun symbolically occupies the landscape as the field of freedom in poetry.This argument is refreshing.Then, is the landscape described in Xie Lingyun’s landscape poems “scenery”?Is Xie Lingyun’s expression “blending scenes”?This requires a clear understanding of what is called “situational interaction”.In liu Changqing and the Evolution of Tang Poetry Paradigm, Jiang Yin observed Liu Changqing as a case and pointed out that the realm displayed in Liu Changqing’s works had obvious characteristics of freehand brushwork, and the freehand brushwork nature of his poems determined that the objects in his poems must have the characteristics of stylized and typified, and lost the sense of individuality.Liu Changqing’s lyric no longer relies on the way of feeling and feeling, but turns to the way of freehand brushwork based on symbols, which later becomes the basic character of Chinese classical poetry.Jiang Yin judged that “the blending of scenes was not finalized until the grand Calendar poetry”, and the most important representation was that the images in the poem did not point to the specific expression of the images themselves, but to the stylized and typified symbolic meaning.So, in this sense, the landscape in Xie Lingyun’s poems, as a stylized and typified symbolic expression of metaphysics, is the “blending of scenes”?If so, wouldn’t Chinese poetry have reached the “blending of scenes” in the wei, Jin and Middle Tang dynasties?To clarify this question, the more theoretical article “Situational Blending and the Shaping of the Imagistic Expression Paradigm of Classical Poetry” is worth careful reading.Jiang Yin points out that in the history of classical poetics, the prototype of the concept of scene blending was not seen until the Southern Song Dynasty, and the examples of “scene blending” were first seen in Ji Yun’s poetics, which became popular in the poetry circle after jia Dao.One of the most important is that “the proposition of scene blending does not focus on composition, but on function, that is, the function of scenery to express emotion.”The imago expression of scene blending lies in the fact that the identity of the scene is no longer the object of expression, but the medium of expression.In the middle Tang Dynasty, the meaning of “scenery” and even “scenery” changed.In da Li poetry, scenery “conveys the author’s mood through its accumulated emotional content”, which is the expression of imagization and stylized image.Because the relationship between poetry and aesthetics, ideology and culture in the middle Tang Dynasty turned around and changed, ye Xie called it “among hundreds of generations”.In this discussion, the other core of “scene blending”, the “emotion” factor of “accumulated emotion” and “author’s mood”, is emphasized.It can be seen that “Scene blending” talks about how “scene” expresses the functional way of “affection”, while the landscape under Xie Lingyun’s pen, although it also has symbolic meaning, points to the metaphysics rather than the “affection”.Thus, the inspiration of Jiang Yin’s careful analysis lies in the fact that both literary phenomena themselves and poetic concepts themselves contain different prescriptions, different levels and different fields. When describing them, they should not be generalized, or it will be difficult to explore the real academic issues clearly.Academic debates are like chicken and duck.Once Jiang Yin involves the grand narrative of the changes of ancient and modern poetics, no matter how much he limits his research threshold, his knowledge and problems will inevitably cross boundaries.At the moment, accompanied by the excitement of the adventure, only the embarrassment of having little money, so I had to experience zhuangzi’s sorrow that knowledge is limited and life is limited.Jiang Yin quotes Chen Yinke in the book “The Only Difficult Death through The Ages” : “The change of the situation since ancient times is often caused by the slight academic trends of our predecessors.Descend into a world of thunderbolt and fury.”Real literary studies are always like this. Only by studying detailed problems can we reveal and break through grand academic problems.The mentality and vision of scholars are the most important.”The transformation of style of study first means that intellectuals transform their ideological tools, and the direct result is to get out of the closed and self-sufficient phalanx of Han cultural centralism and to cope with historical challenges — only by constantly facing challenges and successfully coping with them can a culture maintain its vitality.”Jiang Yin has been numerous in ancient and modern times at home and abroad, maneuvering among various positions and expressing humility for many times.”There are great limitations both in terms of data and in terms of individual knowledge, which makes the job more difficult,” he said.Especially in the poetry of the Qing Dynasty, it often felt like a blind man touching an elephant hovering between conviction and doubt.The fourth part extracts of poetics in qing dynasty, some of them are my research field, such as voice to learn about the history of ancient Chinese poetry) or monarchs alone of the academic way (such as Feng Ban and the turning of the concept of qing dynasty), there is plowed, but at the beginning of primitive monarch, out of the slack in the hard to avoid, just income this episode also welcome KuangMiu JiaoZheng mean.””When it comes to the grand narrative of the changes of ancient and modern poetics, no matter how much you limit your research threshold, knowledge and problems will inevitably cross boundaries.At the moment, with the excitement of the adventure, there comes only the embarrassment of having little money, so I have to feel once again chuang Tzu’s sorrow that knowledge is limited but life is limited.”This is an admirable academic stance.Manuscript Editor, New Media Editor: Fu XiaopingChina Post Platform → This newspaper is a weekly newspaper, published on Thursday, sent through the post office, postal code 3-22, annual subscription price 61.8 yuan every day on time with us.