What is Chinese language and literature?

China language and literature encyclopedia content from:

Chinese language and literature is to learn the characters and syntax of China language, appreciate various literary works such as ancient and modern poems, essays and novels, and get familiar with the basic knowledge about editing and publishing. Through the study of Chinese language and literature, we can have a solid Chinese language foundation and strong writing ability, until how to evaluate a literary work, editing and publishing work will be handy. Moreover, you will also have a fortune, that is, extensive knowledge and excellent humanistic quality.

Ethnicity

After more than 20 years' development, China's language and literature in the new period has experienced four stages: revival, prosperity, rationality and regression. Judging from the track of literary creation and development over the past 20 years, the development process of contemporary literature is actually a process in which literary creation and literary style gradually return to their original source, which has two signs: one is the return to realism in content, and the other is the return to realism tradition in style. This evolution of contemporary literature seems to be an indisputable fact today.

In the early days of reform and opening-up, China Thought had just been liberated, and the writer's pent-up hope for ten years was quickly spit out, represented by Lu Xinhua's short story Scar. Although scar literature is full of emotion, express one's opinions and feelings, it is relatively rough in art, which has laid the foundation for the emergence of later root-seeking literature, avant-garde and other literary schools. In fact, the stream of consciousness, root-seeking literature, avant-garde and new realism that followed can all be called avant-garde literature in a broad sense. The concentrated appearance of avant-garde literature has its profound social background and soil. The emergence of a large number of exploratory works in the middle and late 1980s is a kind of counter-attack and revolution to the problems left over by the Cultural Revolution by contemporary writers in China, especially young writers, and a kind of reaction to the "old three-piece" style of high, big and whole literature. In the spirit of the times, it also conforms to the social trend of thought of learning western civilization and advanced ideas in the reform and opening up. This progressive trend of thought is reflected in literature, that is, the literary revolution after the mid-1980 s, which first manifested itself as a formal revolution. Contemporary writers in China, especially the younger generation, are dissatisfied with the traditional model and stereotyped writing tradition in the past. They hope to learn from western literature, learn the skills of western writers, and combine with their own literary creation to explore a form of expression suitable for China's literature in the new period. This effort is manifested in a large number of new and old writers constantly exploring the form, mainly using the way of new bottles of old wine. For example, Wang Meng's early novels, as well as the new realism represented by Chi Li's troubled life and so on. Generally speaking, the novels of this era are innovative in content, more in form, drawing lessons from the forms of avant-garde novels and trendy novels that have appeared in the West, and most of them give readers a refreshing feeling with formal innovation. This innovation is not only reflected in the language and narrative style, but also in the story structure and style. This stage can be said to be a period when contemporary writers and contemporary literature in China concentrate on learning from their foreign counterparts. Writers try to seek a breakthrough in form, change the traditional single narrative method and rigid expression form, and change the literary concept of Tao He in previous literature. Various forms are constantly emerging, and there are many schools. Stream of consciousness, avant-garde, new realism, magic realism, etc. All of them have been included, and they have been copied and experimented in some form in China's contemporary literary world. Literary circles and readers showed considerable tolerance, support and welcome to this exploration, which made the literary experiment and literary creation in the 1980s reach the first peak after the Cultural Revolution, and literary creation gained unprecedented freedom in content and form, which can be described as a hundred flowers blossom and a hundred schools of thought contend. The literary revolution in this period coincided with the ideological emancipation movement of the whole society at that time. But looking back, this study of western literary techniques and literary forms is basically a hesitant style, which is what Mr. Lu Xun called "takenism" and has not been tested by practice. Essentially, it is an innovation in form and a change in style. But it has a great influence on contemporary literature and the thoughts of contemporary writers. For the first time, China writers began to learn to understand world literature with wide eyes and realize the gap between themselves and the world. At the same time, they also began to look at the contemporary literary world and contemporary literary creation from a world perspective, and literature began to have a sense of innovation, which is very commendable. It can be called the literary revolution. Although there is still a childish toddler component.

Profound reform

Han (HA)

The reform of language and literature in contemporary China is linked with the specific social changes in China. With the continuous development and change of China society, corresponding changes will inevitably take place. The times have marked literature with a distinct brand. This creative situation of letting a hundred flowers blossom and a hundred schools of thought contend quickly collapsed in the tide of national business in the 1990 s. The economic base once again shows great vitality, and literature gradually moves from excessive prosperity to decline. This is manifested in less and less exploration of literary forms and more and more divorced from reality. In the past, those complicated learning forms have been abandoned by readers more and more, and even there is little applause in the critics. Many magazines began to turn, and the enthusiasm of readers was declining. There are fewer and fewer writers who really stick to the literary world. Some people go into business, and readers' interest in reading has also changed greatly, and their reading orientation has become more rational and realistic. The pace of people's life has been accelerated, and the life of society and readers has also changed. Literature has begun to give way to economy and literature has returned to its original position. Specifically, the early experimental literary creations of various styles and schools gradually faded out of the literary world, some quickly disappeared, and some writers who were once very popular were also short-lived. This evolution of contemporary Zhangtan has profound social factors. First of all, in the late 1990s, China society began to gradually transform from a planned economy to a market economy, and economic construction became the overwhelming center. After completing the historical mission of the previous stage, contemporary literature began to return to its original source and become a real leisure after dinner, and its literary function was no longer blindly exaggerated. Secondly, with the three-dimensional opening up of China, foreign literature translation has entered an unprecedented historical period. The shortage of resources in the past has long been a thing of the past. Bookstores are flooded with foreign classical and contemporary works of various styles and schools, and all kinds of explorations of contemporary literature that once gave people a refreshing impression can be found here, which is familiar. With the opening up to the outside world, a large number of foreign literary works and even some novels that have been banned from publication appear in front of readers in China. So the things I brought in the early days are not fresh. Thirdly, after years of reform, readers' interest in reading has also changed because of the changes in reality. They demand more pragmatic and life-oriented works to meet their leisure and entertainment needs, instead of receiving literary education or getting lost in the maze of forms. This objective reality has brought profound influence to the creation of contemporary literature, objectively brought potential influence to contemporary literature, and aroused the writer's thinking. After a period of fanaticism, readers in China tend to be rational. What they want to read are works with real content that reflect life and can be accepted by them, rather than formal flowers and plants. These are reflected in the creation, which is the change of style. In short, this change has been very obvious since the 1990s. There are two changes. First, in terms of content, it began to pay attention to real life, which was closer to reality, reflecting the topics that China people, especially the current readers, are concerned about. In form, or in style, we began to pay attention to realism or realism. Transitional formalism was basically abandoned, and those early writers who were keen on form were given a cold shoulder, and finally they had to give up their original intention and move closer to readers. This is mainly reflected in a large number of young writers who changed their ways and returned to tradition in the early experimental exploration form. Gefei's Banner of Desire, Yu Hua's Xu Sanguan's Selling Blood and Su Tong's Rice all return to reality, which is far from the early style. Even the novels of Wang Meng, Mo Yan, Liu Heng, Han Shaogong, Lin Bai and Fang Fang reflect this change. Represented by Mo Yan's Red Sorghum series and the later novels of Liu Heng, Liu Zhenyun and Zhang Wei. Although writers and critics disdain to regain the label of realism, in fact, in their bones, contemporary writers have returned to realism as a whole, or to the tradition of realism. They began to realize that literary innovation can not be separated from life, from the core of the story, from telling stories and making readers like them. Of course, this return is not a simple step on the basis of the original history, nor a simple historical return, but a spiral rise. This return has a new brand. There are several reasons for this change. On the one hand, readers have lost interest in those luxurious and empty works in the past, and critics have criticized this imitation from the initial call for improvement. People need a truly innovative work that is more nationalized and integrated with world traditions on the basis of absorbing the creative achievements of advanced western creative skills, rather than simply copying them. On the other hand, the whole society has entered the era of market economy, and this change from planned economy to market economy has a great impact on the whole society, which can be said to be the most profound impact since the founding of the People's Republic of China, involving all aspects of society. Everything that does not conform to the laws of market and value has been challenged. Although literature is a spiritual product, its external form is becoming commercialized and restricted by economy. First of all, a large number of literary magazines have stopped publishing and changed careers because of the decline in subscriptions. Publishing houses regard books as commodities and strive to maximize their benefits. Novels with empty form and content without readers, even the works of famous writers are difficult to publish, and the economic and social status of writers began to step down from the altar. Taking literature as a stepping stone has become a myth of the past. As the creative subject, the writer himself began to reflect on the question of where to go in this tide. As social people, they also want to survive and develop, so they can only find a combination point in terms of creative independence and adaptation to social changes in order to achieve a kind of harmony. These are undoubtedly reflected in the writer's material selection and style. They are faced with two choices, one is to follow the trend, accept the reality and adapt to the readers, and the other is to bury the famous social mountains. Obviously, for most people, literature cannot be regarded as their own business, and compromise with reality is the wisest choice. The literature that walked off the altar began to gradually return to its original position. This transformation began in1990s and was completed at the beginning of the new millennium. In fact, this change also has profound external factors of memory. First of all, great changes have taken place in social reality, and literature has begun to return to its original source. Readers are becoming more and more rational. What they want to see is real literary creation, and what they want is spiritual enjoyment, not tutors. Secondly, from the perspective of the world literary world, literary creation has basically returned to the banner of realism. From the novels of famous western writers to Hollywood blockbusters, such as The English Patient, Cold Mountain and Brothers Company. Even the love novels of Nobel Prize in Literature winner Coetzee in recent years, such as The Bridges of Madison County, A Bend in the River and Shame, are basically a return to reality.

In the late 1990s, with the transformation of China's society, economy and overall environment, contemporary literature responded accordingly. Writers began to get out of the early impetuous blindness, and the whole society's understanding and evaluation of literature itself became more and more rational. The author no longer only pursues formal renovation, but realizes that the quality of the work is truly recognized by readers and can stand the test. With the improvement of the appreciation level of the whole society, readers also put forward higher requirements for writers. It is difficult to win readers, let alone win the market, only by the so-called innovation in flashy form. The law of value is once again reflected in literary creation, so writers begin to take this change seriously and respond accordingly. An obvious fact is that literature is more socialized, more suitable for readers' tastes, and more shows humanistic care for readers. The return of contemporary China literature is also very obvious, such as Tie Ning's Woman in the Bath, Alai's The Dust Settles, Jia Pingwa's Missing the Wolf, Chen's White Deer Plain, Mo Yan's Sandalwood Punishment, Wang Meng's Blue Fox, Chi Li's Water and Fire, February River and Tang's historical novels.

Tend to be flat

China Language and Literature

The return of literary tradition and the increasingly plain style are an overall trend of contemporary literature since the late 1990s. In addition to the above social factors, the influence of the Internet is also an important aspect. The appearance of online literature in the late 1990s also produced a considerable shock wave to real literary creation. Since the advent of the Internet, publishing, which used to be sacred and unattainable, has become easy. Compared with traditional media, the Internet seems to have greater influence and faster popularization. The speed and breadth of circulation are unmatched by traditional literary circles. The Internet provides an easier platform for more authors to climb. They can easily realize their literary dreams, and are more unrestricted in the content and form of creation, basically "I write my mouth by hand". Compared with the traditional literary world, the online literary world provides writers with greater creative freedom and more creative space, and they can basically do whatever they want. The challenge of network to traditional literature is very powerful, forcing traditional literature to make certain changes. Traditional literature must adapt to the new reading environment. Generally speaking, China literature in the late 1990s embodies a return of literary value, which is consistent with the requirements of readers. Being closer to readers and paying more attention to stories reflects a kind of humanistic care and reading care for readers. On the one hand, the early avant-garde novels gradually faded out of the literary world or changed their course, and some simply gave up writing. On the other hand, they returned to the tradition and began to seriously consider the readers' acceptance, reflecting the content closer to the current real life. Writers who once went to sea also went ashore. At this time, they brought rich life experiences. Their novels began to focus on their own experiences in the sea, reflecting the influence of the tide of reform on people and their life experiences. Other writers look for new breakthroughs in history and look at history with a new view of history, represented by Tang's February River. Here, history has not only what it is, but also what it should be. Historical novels have made a greater breakthrough than before, and the characters began to have flesh and blood, both history and truth. Their success is also a proof. The author is not renovating in form, but looking for breakthroughs and innovations in content. After some experiments and market tests, contemporary writers finally understand a truth. For a novel, the internal quality of the work is the most important, and the form only serves the content and cannot override the content. A vivid story, solid content and vivid characters are the most important things in a novel. One thing is the same for all writers today, that is, the market can no longer be ignored. Although they don't admit it publicly, in fact, they dance with the beat of the market consciously or unconsciously. At the end of the twentieth century and the beginning of the twenty-first century, this market-oriented trend in contemporary literary circles has been very obvious, which has had a far-reaching impact on contemporary literature.

training program

China Language and Literature

This major trains senior Chinese language and literature professionals who have a certain literary theory accomplishment and systematic knowledge of Chinese language and literature, and can engage in practical work such as literary criticism, Chinese language and literature teaching and research, and cultural propaganda in news, literature and publishing departments, universities, scientific research institutions, institutions and enterprises.

Business training requirements:

Students in this major mainly study the basic knowledge of Chinese and China literature, and systematically educate and train related theories, development history and research status.

Graduates should have the following knowledge and abilities:

1. Master the basic principles of Marxism and the basic theories of language and literature;

2. Master the basic knowledge of this major and related knowledge of news, history, philosophy, art and other disciplines;

3. Have literary literacy and appreciation ability and strong written expression ability;

4. Understand the principles, policies and regulations of Chinese language, literature and art;

5. Understand the frontier achievements and development prospects of this discipline;

6. Be able to read classic literature, master the basic methods of literature retrieval and data query, and have certain scientific research and practical work ability.

Main disciplines:

China language and literature.

Main course:

An introduction to linguistics, ancient Chinese, modern Chinese, literature, the history of ancient Chinese literature, the history of modern and contemporary literature in China, and Marxist literary theory, such as Comparative Literature, China Classical Philology, Foreign Literature History, Folk Literature, China History, Linguistics History, etc.

Main practical teaching links:

Including teaching practice, thesis writing, etc. Generally, it takes about 8 weeks.

Length of study: four years.

Degree awarded: Bachelor of Arts.

Similar majors: radio and television journalism, editing and publishing.

Teacher class training plan

China Language and Literature

China Language and Literature (Normal Class)

Business development goals:

This major trains teachers, teaching researchers and other educators who have the basic theory, knowledge and skills of Chinese language and literature and can carry out Chinese language and literature teaching and teaching research in colleges and secondary schools.

Business training requirements:

Students in this major mainly study the basic theory and knowledge of Chinese language and literature, and carry out training in education and teaching research. They have good humanistic quality and teachers' professional quality, and initially have the teaching ability and scientific research ability to engage in this major.

Graduates should have the following knowledge and abilities:

1. Have correct literary and artistic viewpoints, language viewpoints and solid basic knowledge of Chinese language and literature, and have the ability to process ancient and modern language and literature materials, interpret and analyze ancient and modern literature works, cooperate with each other, and design and implement Chinese teaching;

2. Understand the new development of language and literature, and according to the needs of social and educational development, constantly absorb the new research results of this major and related majors through learning, broaden the professional knowledge, improve the teaching level, and be pioneering in the practice of introducing new knowledge into Chinese teaching;

3. Understand the academic development history of this major and related disciplines, and attach importance to the inheritance and development of traditional culture. At the same time, he has a certain philosophy and natural science literacy. Master the basic methods of scientific research such as data collection, literature investigation, social investigation and paper writing, and gradually learn to open up new fields under the premise of infiltration of arts and sciences and interdisciplinary;

4. Be familiar with educational laws and regulations, have the basic theories of applied pedagogy and psychology and Chinese language and literature teaching, and have the basic ability to engage in teaching work by using modern educational technology;

5. Good oral and written communication skills.

Main disciplines:

China language and literature.

Main course:

Introduction to Linguistics, Modern Chinese, Ancient Chinese, Chinese Characters Studies in China, History of China (or words, sounds, training and comments), Chinese and foreign linguistic history, language information processing, Introduction to China culture, China ancient philology, literature introduction, Marxist literary theory, China modern literary history, China modern and contemporary literary works selection, Chinese ancient literary history, China ancient literary works selection, folk literature, comparative literature, writing.

Main practical teaching links:

Including educational practice, probation, educational investigation, social investigation or graduation thesis, etc. , the overall arrangement is 15 ~ 20 weeks.

Length of study: four years.

Degree awarded: Bachelor of Arts.

Similar major: Chinese language.

I hope it is useful to you, and I hope to adopt it ~