What are the questions asked about the history of ancient Chinese literary criticism

Chapter 1 1. Briefly describe the national characteristics of ancient Chinese literary criticism. The national characteristics of ancient Chinese literary theories are related to the influence of the social form of ancient China, the cultural background and way of thinking of the Chinese nation, as well as the characteristics of Chinese literature and its evolution and development. (1) Ancient Chinese literary theory has a long history and a unique system, with its profoundness and correctness, but it is slow to change and has a conservative and backward side. (2) Due to the influence of the agricultural and patriarchal nature of ancient society, ancient Chinese literary theory pursued the harmony between man and nature, attached importance to the practice of morality, and emphasized the social content of literature and its edifying role. (3) The concepts and categories of ancient Chinese literary theories are often a unity of abstraction and concreteness, generalization and experience, and their connotations are both deterministic and polysemous. (4) Influenced by the ancient Chinese literary tradition, the ancient Chinese literary theory favors performance (lyricism) and develops into a literary theory system with the two pillars of contextualization and indoctrination, which is different from the Western literary theory system that favors reproduction (imitation) and develops into a literary theory system with the core of typicality. (5) Due to the unique structural and rhythmic characteristics of the Chinese language, ancient Chinese literary theory also summarized a set of structural forms and techniques. The aesthetic category of "ancient elegance" and the literary trend of "retro" are also an important feature of ancient Chinese literary theory. (6) Because ancient Chinese literary scholars and critics often had two jobs at once, their theoretical and critical texts were often strongly literary as well. 2. Briefly describe the manifestation of ancient Chinese literary theory. In ancient China, there were not many systematic monographs on literary theory, and the main forms of expression were: (1) some chapters and fragments of literary theory scattered in the books. (2) Poetry and diction in the form of notes. (3) Letters to and from the literati and the preface and postscripts of various collections. (4) Commentaries on novels and operas. (5) Literary remarks scattered in poems, notes, novels, operas, scriptures, exegeses, and proverbs of artists. (6) Ancient anthologies and general collections of some compilation also has a certain theoretical tendency. Chapter 2 1. Why is it said that the literary theory of the pre-Qin and Han dynasties has not yet become an independent and specialized discipline? (1) This period of literary theory and other academic is still in a state of chaos. (2) The literature of this period and other art theories are mixed with each other, and it is difficult to distinguish between them. (3) The failure of literary theories to be independent and the lack of purification of the concept of literature at this time are both causes and effects. 2. Briefly describe the characteristics of Xunzi's literary theories. (1) He emphasized that literature and art originated from emotion, and discussed the emotional characteristics of literature and art in various aspects, and advocated the beauty of "neutralization" on this basis. (2) It is believed that the Great Way is expressed by the sages in the classics, so the sages' classics are the highest model for literature and art, and all literature and art should be guided by the Confucian Way. This is the first of the later trinity of literary concepts: the Way, the Sage, and the Scriptures.

3. Terminology: "The Three Tables Method". (1) The Three Tables Method was proposed in Mozi - Feiwei Shang. (2) The original meaning of the three table method is that "there are three tables of words", that is, "there is the original, the original, the useful one", "on the original in the ancient saint of the king's affairs", "the lower original investigation of the people's ears". "under the original observation of the people's ears and eyes of the real", "abolished as a criminal policy view of which the country people's people's interests". (3) The three tables of law means that the speech defense, there should be a certain objective basis and standards, namely, the past experience, the current reality and the practical value of applying it to practical matters. (4) This statement has some theoretical value, but it is also characterized by utilitarianism and historical limitations. 4. Noun: "To write a book in anger". (1) This saying was put forward by Sima Qian in "The Records of the Grand Historian" (史记-太史公自序). (2) The meaning of the phrase "to write a book in anger" is that many works in the history of literature that have vitality and aesthetic value are the products of the author's strong emotions and deep and wide-ranging thoughts. (3) This statement actually requires writers to face up to the bleak life, express their injustice and anger towards reality, and regard writing books and creating literature as an important way to realize the ideal of life and self-expression of emotions. It embodies a strong spirit of criticism of reality. (4) Based on historical experience, this statement, which was originally inspired by Qu Yuan and added to Sima Qian's own personal experience, reveals an important law of literary creation. And the later generations of literary theory has had a wide range of influence. 5. What do you mean by "the poet's endowment of beauty to then, the rhetorician's endowment of beauty to obscene"? (1) This is Yang Xiong in the "law of speech - my son" proposed. (2) "Li to then" is his principle of creation, "Li" is the form and style of the fugue requirements, "then" refers to the Confucian law and guidelines, in fact, is required to make the fugue in order to understand the way. In fact, it is required to make fu to make the way clear. It is opposed to specializing in formal extravagance and neglecting the relevance of the content and its practical significance. (3) The ideas of "Ming Dao", "Zheng Sheng" and "Zong Jing" are the theoretical basis of this statement. 6. Briefly describe the historical influence of the literary theories of the pre-Qin and Han dynasties. (1) The pre-Qin Confucianism and Taoism complement each other, established the basic system and framework of China's ancient literature, which has had a great and far-reaching impact on the development of literature. (2) The important literary insights of the pre-Qin thinkers were developed into the basic views of literary theories in later times, such as the view of literary quality, the view of literary virtue and the view of literary nature. (3) the pre-qin and han literary theory in the methodology of the many achievements, monzi's "to the will against the will", "know the people of the world" and the han dynasty on the "poetry", "chu rhetoric" comparative criticism, in the criticism of the method of the future generations to guide the first way. 7. terminological explanation: (1) This is a method of criticism put forward in "Mencius - Wan Zhang". (2) "Yi" refers to the surface meaning of the poem, and "Zhi" refers to the deeper feelings and aspirations. It is advocated that through the symbolic "meaning" on the surface of the text of a work, the deeper meaning of the work and the author's will should be deduced. (3) This is a method of criticism that corresponds to the technique of picaresque in literary creation, which has long been used by later critics and has expanded its theoretical connotation in connoisseurship. (4) It is also often misunderstood, leading to subjective and arbitrary criticism.

8. Terminology: "Knowledge of the world". (1) This saying was put forward in "Mengzi - Wanzhangxia", and it is also an important method of literary criticism. (2) Mencius's willingness to be friends with the ancients, you must read and understand his works, and to understand the works, you must understand their authors, and to understand their authors, you have to grasp the era in which they lived to the point of view of the argument. (3) The ideological and emotional connotation of literary works, the form of style, and the author's life experience, thought and feeling, artistic qualities, as well as the spirit of the times, the social atmosphere is closely related, which is the theoretical basis of literary criticism to know the people and the world. (4) This is an important supplement to his "to the will against the will", which has a significant impact on the literary criticism of later generations. 9. Briefly describe the influence of the Zhouyi on ancient literature. (1) The Way of Yin and Yang. The doctrine of yin and yang sees the world as a unity of contradictions and opposites, which inspired the later generations to analyze the changing and developing things in terms of opposites. Many contradictory categories in ancient Chinese literature, such as beauty and ugliness, reality and falsehood, movement and static, form and spirit, were originated from the Zhou Yi. And the blending of situations and the combination of form and spirit are projections of the dialectical concepts of the Zhouyi. The Zhouyi's understanding of the Tao, the origin of the world, also inspired later generations to explore the ontology of literature. (2) Observation of Objects and Images. This theory was originally a description of the origin of the Yi image, but the process of understanding it revealed actually inspired later generations to explore the laws and regulations of literary creation. The theory of "observing things" was the basis for the ancient literary theory of "sense of things". The theory of taking images involves certain characteristics of literary imagination and image thinking. (3) Passage and Change into the Spirit. Tong is the inheritance of laws, and change is the newness of ideas. The struggle between the ancient and the repeated ancient in the history of literature, and the prosperity of literary styles are the concrete realization of the theory of Tong and change. "God" originally refers to the objective law of subtle and inexplicable changes in the development of things, and the theories of Yan Yu, Sikong Tu, and Wang Yuyang have inherited it. (4) The Beauty of Neutrality and Harmony. The I Ching takes the harmony and unity of the world as its highest state, which gives rise to the aesthetic concept of "neutralization" in later times. Confucius's "Poetry Without Evil" and the "Gentle and Thick" of the Book of Rites are all influenced by this. (5) Observation of people's livelihood. The Yi expresses the idea of correcting the ruler's way of life by observing the people's customs, which inspired later literary scholars to put forward the artistic norms of "observing the winds" and "wind and culture," encouraging literary creation to satirize socio-political gains and losses, and thus promoting the formation of the fine tradition of Classical Critical Realism. (6) Emotions are expressed in words. Since the "Yi" put forward the idea that "emotions are found in words", it has inspired later generations to talk about how language art can be perfectly unified with inner emotions and reasoning. The standardization of emotion and the breakthrough of this standard constitute the important content of ancient literature. (7) The Defense of Words and Meaning. According to Yi Chuan, there is both contradiction and connection between words and meanings, and the fact that words do not have enough meanings does not negate the fact that words can reach the meanings, but the fact that words can reach the meanings does not exhaust the meanings. The limitation of words and meaning can be solved by "making an image". The theories of Zhuangzi, Lu Ji and Liu Foxing were y influenced by it. This aesthetic interest affects the creation, the formation of the pursuit of subtlety, meaning out of the words of the style of the long river. (8) The pivot of language. The Zhouyi emphasizes the use of language, focuses on rhetoric, and demands that it be relevant to the facts and opposes sentimentality, which has a direct impact on the language art of critics in later generations. (9) Name and Class. "Name" refers to the name of something, and "class" refers to the similarities and differences of things. The purpose of artistic creation is to cover unlimited life content with limited words and language. Literary creation, such as the technique of picaresque is affected by this. (10) Benjamin Shangsu. The original intention was to emphasize the true nature of the text, but not to exclude the decoration, but to deny the extreme decoration of the true, reflecting the dialectical unity of the text and the quality of the point of view. This statement laid the foundation for the aesthetic concept of blandness and the relationship between blandness and splendor in later generations.

10. Terminology: "Si Wu Yi". (1) The three words "Si Wu Yi" originally came from "Shijing - Lu Song - 駉", referring to the concentration of a horse herder while grazing. (2) Confucius used it to evaluate the characteristics of the Book of Songs and gave it political and ethical meanings in his Analects of Confucius - For the Governance of the State. Wuxie means elegance and righteousness. However, Confucius' "Wu Yi" embraces the wide range of contents of the Book of Songs. Later generations, on the contrary, often restricted Confucius' original meaning in their understanding. (3) From the social function of literature and art, Confucius took "Si Wu Yi" as the criterion for evaluating literature and art in his discussion of poetry and music. 11. How did Confucius discuss the social function of literature and art? (1) First, he discusses poetry and music from the perspective of the human being's life in the world. He believed that poetry and music had an educational function and could improve people's character and moral cultivation. At the same time, it plays its social function in political and social activities. (2) Secondly, he discusses the relationship between literature and art and society. He puts forward the idea of "Xing Guan Qun Gao". The generalization that poetry expresses emotions and feelings and plays a social role also reflects his understanding of the characteristics of the art of poetry.12 Nouns: "Xing Guan Qun Grudges". (1) This saying was put forward in the Analects of Confucius - Yangguo (阳货). It is mainly said for the social function of literature. (2) This statement is a generalized account of the expression of sentiment through poetry in order to play its social role, which also reflects his understanding of the artistic characteristics of poetry. (3) From the author's point of view, "Xing" means to be touched by external objects and to be triggered by inner feelings and creative thoughts; from the reader's point of view, it means that poetry has an artistic contagious power. "From the author's point of view, it means to reflect the reality; from the reader's point of view, it means to recognize the real appearance of the society through the works. The term "group" refers to the role of poetry in uniting and educating the masses. "Complaints" refers to complaints about the government, but also includes general grievances and satirical complaints, as well as complaints about the love between men and women. (4) This statement of Confucius summarized the social functions of literature and art in a more comprehensive way, and played a cornerstone role for later critics in discussing the relationship between literature and society. 13. How did Confucius discuss the relationship between content and form in literature and art? (1) Confucius expressed the content of literature and art in terms of "goodness" and "quality", and the form of literature and art in terms of "beauty" and "literature". The form of literature and art is expressed in terms of "beauty" and "literature". The ideal relationship between form and content according to Confucius is "perfect" and "refined". It is very closely related to the beauty of "neutralization". (2) "Perfection and beauty" is put forward in the context of music, and "literary quality and refinement" is put forward in the context of human ethical virtues and qualities. However, both of them have been extended to discuss the relationship between literature and form. (3) Confucius not only requires that the content of literature is true and credible, but also requires that the form is beautiful and skillful, and in general, the quality of literature is also important.

14. How did Confucius discuss the relationship between human aesthetic feelings and nature? (1) Confucius on the relationship between human aesthetic feelings and nature, mainly in the "Analects of Confucius - Yongya", the language cloud: "Knowing people enjoy the water, benevolent people enjoy the mountains. He who knows moves, and he who is kind is quiet. He who knows is happy, and he who is benevolent lives." (2) Confucius organically combines the natural nature of the dynamic nature of water and the static nature of mountains with the mind and character traits of the wise and benevolent, discussing the relationship between human spiritual qualities and natural beauty. (3) Confucius highlighted the different preferences of the wise and the benevolent for natural landscapes, pioneering the discussion of the relationship between natural beauty and human aesthetics, and laying the foundation for related theories for later generations.15. Nouns: "Mindfulness", "Sitting in oblivion". (1) The philosophical foundation of Zhuangzi's literature is "Tao". The so-called "Tao" refers to an absolute idea that exists beyond space and time, which dominates and governs the subject's spiritual will, containing strong personalized power and factors. The status of "Tao" is supreme, but it is also unknowable and uncertifiable. (2) "Mindfulness" and "sitting in oblivion" are the two ways in which the subject of literary creation realizes and accomplishes the Tao. In the process of perceiving things, the subject of literary and artistic creation is "mindfulness" through the experience of ear-mind-air-void. The subject of literary creation is free from physical and mental desires in the process of perceiving things is "sitting in oblivion". (3) Although the names "Xinzhai" and "坐忘" are two, they are actually one, and the fundamental thing is that the subject of literary creation is required to comprehend, experience, and grasp the essence of things through intuitive experience, so as to transcend reality and gain the spiritual freedom of the "Tao" realm. The essence of this is that the subject of literary creation is required to comprehend, experience and grasp the essence of things through intuitive experience, so as to transcend reality and obtain the "Tao" spiritual freedom. That is to say, the aesthetic attitude of the subject of literary creation must reach the spiritual realm of forgetfulness and emptiness. (4) From the point of view of literary creation, this statement has a high aesthetic value. 16. Nouns: "natural", "simple". (1) "Nature" and "simplicity" are two interrelated aesthetic styles proposed by Zhuang Zi regarding the object of literary creation. (2) The "Tao" of Zhuangzi's philosophy is nature, which is unchangeable, and the effect of beauty can be achieved by keeping the nature. The concept of "simplicity" is consistent with the concept of "nature", which mainly refers to a style that is clear, pure and based on nature. (3) Zhuang Zi mainly elaborated his concept of style from four aspects: A. Heaven and earth have great beauty without saying anything; B. Shun things naturally; C. Both carving and carving, and then return to simplicity; D. Simplicity, and no one in the world can compete with it for beauty. (4) According to Zhuang Zi, artistic and literary creation should conform to and abide by the nature of nature, and seek the highest level of natural beauty; the means of artistic and literary creation is to achieve the effect of simplicity, and the beauty of simplicity is more than any other type of beauty. Zhuangzi actually regarded "nature" and "simplicity" as the highest aesthetic style for the object of literary creation.

17. What does it mean to be "pleased" and "forgetful of words"? (1) Zhuang Zi's "Tao" has the ambiguity of non-verbal cognition, but "Tao" as a spiritual entity must be recognized and mastered. Therefore, Zhuang Zi advocates "no words" to realize "Tao". Specifically in literary creation, it is directly manifested in the relationship between "words" and "meaning". (2) According to Zhuang Zi, there is a difference between words and ideas, each with its own content and level of understanding, and those who can speak are "coarse" and those who can think are "fine", while the Tao "does not anticipate the fine and coarse", and it is both words and ideas that are "coarse" and "fine". "It is difficult to recognize both speech and intention, so it is necessary to understand the image of the Tao from outside the "speech" and "intention". Since "words" can't fulfill the "Tao" in the "meaning", it is actually difficult for "words" to fulfill the "meaning". "meaning". (3) On the basis of "words cannot fulfill the meaning", Zhuang Zi puts forward the idea of "forgetting the words when you are satisfied with the meaning". According to Zhuang Zi, "words" are the basis of "meaning" and "meaning" is the direction of "words". "Yi" is the direction of "words", and to realize "Yi" is to transcend "words". (4) The question of meaning can be derived from the question of form and spirit of literary creation. "Getting the meaning" and "forgetting the words" are the two qualitative provisions of the aesthetic characteristics of the artistic image, which requires that the artistic image must be the unity of the figurative and the abstract, the certainty and the ambiguity. (5) Zhuang Zi advocates the aesthetic creation of "getting the idea" and "forgetting the words" in order to achieve the artistic realm where the "absurd words" and the invisible way fit together without any traces and naturally merge. 18. Noun explanation: "Mao Poetry Preface" (1) "Mao Poetry Preface" is the first monograph of China's ancient poetic theory, which is rumored to be a preface to the poem "Poetry Mao's Biography" compiled by Han's Mao Jan, which is entitled "Guan Ju" in the first national wind, which not only describes the main idea of the creation of "Guan Ju", but also discusses the theory of poetry in general and puts forward a lot of fundamental questions on literature, and so it is also known as the "Poetry Preface". (2) It is a synthesis of Han scholars' theories on pre-Qin Confucianism and on poetry and music, and puts forward a number of theoretical principles of Confucian literature in a more systematic way, such as the nature of poetry, the social role of poetry, and the genre of poetry as well as the methods of expression. (3) The Preface to the Poems of Mao had a wide and far-reaching influence on the literary thought and creation of the Han Dynasty and the entire feudal society. 19. How does the Preface to the Poems of Mao discuss the nature of poetry (i.e., the relationship between "emotion" and "aspiration")? (1) The Preface to the Poems of Mao inherited the ideas of Shangshu, Xunzi, and Zhuangzi about "poetry speaks of the will" and the trinity of poetry, music, and dance, and made some use of them. (2) The Preface to the Poetry of Mao, for the first time linking "love" and "will", reflects the author's emphasis on the emotional character of literature and art, and lays an important foundation for the understanding of the essential characteristics of poetry by later generations.

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Chinese Literary Criticism History Short Answer Discussion

Chapter 1

1. Briefly describe the national characteristics of ancient Chinese literary theory.

The national characteristics of ancient Chinese literary theories are related to the influence of the social form of ancient China, the cultural background and way of thinking of the Chinese nation, as well as the characteristics of Chinese literature and its evolution and development. (1) Ancient Chinese literary theory has a long history and a unique system, with its profoundness and correctness, but the change is slow and there is a conservative and backward side. (2) Due to the influence of the agricultural and patriarchal nature of ancient society, ancient Chinese literary theory pursued the harmony between man and nature, attached importance to the practice of morality, and emphasized the social content of literature and its edifying role. (3) The concepts and categories of ancient Chinese literary theories are often a unity of abstraction and concreteness, generalization and experience, and their connotations are both deterministic and polysemous. (4) Influenced by the ancient Chinese literary tradition, the ancient Chinese literary theory favors performance (lyricism) and develops into a literary theory system with the two pillars of contextualization and indoctrination, which is different from the Western literary theory system that favors reproduction (imitation) and develops into a literary theory system with the core of typicality. (5) Due to the unique structural and rhythmic characteristics of the Chinese language, ancient Chinese literary theory also summarized a set of structural forms and techniques. The aesthetic category of "ancient elegance" and the literary trend of "retro" are also an important feature of ancient Chinese literary theory. (6) Because ancient Chinese literary scholars and critics were often in two jobs, their theoretical and critical texts often also have a strong literary character.