By Zong-qi Cai
The first components of the booklet concentrate on cultural traditions, displaying how Liu canonized the chinese language literary culture, assessing the place Liu's paintings stands in that culture, and demonstrating his accounts to the highbrow currents of his time. The 3rd half explores Liu's thought of literary construction through the use of modern serious views to research Liu's notion of mind's eye. The fourth half provides 3 distinct reports of Liu's perspectives on rhetoric: a detailed analyzing of his bankruptcy on rhetorical parallelism, a dialogue of his personal use of parallelism as a method of research and textual creation, and an research of his perspectives on adjustments and continuities in chinese language literary types. The e-book concludes with a serious survey of Asian-language scholarship on Wenxin diaolong during this century.
The participants are Zong-qi Cai, Kang-i sunlight Chang, Ronald Egan, Wai-yee Li, Shuen-fu Lin, Richard John Lynn, Victor H. Mair, Stephen Owen, Andrew H. Plaks, Maureen Robertson, and Zhang Shaokang.
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Additional resources for A Chinese Literary Mind: Culture, Creativity, and Rhetoric in Wenxin Diaolong
He also demonstrated how a tradition can exercise great force upon a poet, and how the poet in turn can change and influence that tradition. 18 He has shown why a poet might turn to the classics for literary models, and he has also explained why the poet needs to break away from tradition. Without the maintenance of classical values, poetry runs the risk of losing its direction and proper standards. But mere repetitions of the old could kill literary innovation and eventually cause the death of literature itself.
WXDL 5/130—33) The notion of literary influence through reading was by no means a new concept for Liu Xie's contemporaries. But few people in his time would have conceived of such a creative strategy of interpretation, a way of reading that powerfully links the notion of readers response to that of canonicity in literature. The idea is that a great literary work such as Chuci is primarily canonized by readers, whose power is so overwhelming that the work in question simply has to enter the canon.
S. "24 Much of what Liu Xie says about the problems of literature during the Six Dynasties might be taken as a reference to Qu Yuan's "bad influence"; for example, he laments in the chapter "Tongbian" i|| H: 28 LITERARY AND CRITICAL TRADITIONS The Chu and Han works were excessive and sensuous, the Wei and Jin were shallow and decorative. In the Liu-Song dynasty, things first became deceptive and a hunger for novelty appeared. From substantive plainness [zht] on to falseness— the nearer we come to our own times, the more insipid literature becomes.