By Zong-qi Cai
The first components of the ebook 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 money owed to the highbrow currents of his time. The 3rd half explores Liu's conception of literary construction through the use of modern serious views to research Liu's perception of mind's eye. The fourth half provides 3 special reviews of Liu's perspectives on rhetoric: an in depth analyzing of his bankruptcy on rhetorical parallelism, a dialogue of his personal use of parallelism as a way of study and textual construction, and an research of his perspectives on adjustments and continuities in chinese language literary kinds. The e-book concludes with a severe survey of Asian-language scholarship on Wenxin diaolong during this century.
The participants are Zong-qi Cai, Kang-i solar 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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Extra info for A Chinese Literary Mind: Culture, Creativity, and Rhetoric in Wenxin Diaolong
In this regard, three specific functions are discussed in these two texts. ), Ji Zha ^ ^L (fl. ) comments on the musical performance of all the major groups of poems in the Book of Poetry, correlating their aesthetic qualities with the conditions of governance and popular sentiment in the place and time of their origins. For him, the character of excess in music and poetry, as shown in the airs of Zheng, signifies moral decay and sociopolitical disorder. Conversely, the character of the mean betokens the moral virtues of the people and proper governance by the rulers.
Those who love to chant poetry sing its descriptions of mountains and streams; young poetic novices remember the names of fragrant grasses by reading it. ( 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.
Dance, the most dynamic physically, constitutes the climax of the entire performance. This emphasis on the velocity of physical movement is generally considered a salient feature of religious performances in most primitive traditions. 10 However, if we look through all the major texts about high antiquity, including the "Canon of Yao," we notice that accounts of ancient religious dance are outweighed, in sheer volume as well as in assigned importance, by accounts of music. Does this indicate that in high antiquity dance was not quite as important as is indicated by the "Shi yan zhi" statement?
A Chinese Literary Mind: Culture, Creativity, and Rhetoric in Wenxin Diaolong by Zong-qi Cai