For a long time, the legitimacy of Chinese traditional poetry and lyrics has been suspected, denied or suspended. Therefore, it was deserted by literature studies and literature history writing. Accordingly, it caused a man-made barrier to this part of literature resources. Some researchers have doubted and denied the legitimacy of traditional poetry and lyrics and some paid no attention to the fate and form of the traditional literary style. Academic researchers should change their prejudice to the traditional poetry and lyrics. First of all, we should understand the rationality of the traditional poetry and lyrics. It is also necessary to redefine the category of modern literature and use modern Chinese poetry to cover all the poetry in the 20th century and put an end to the conflicts between new poetry and traditional poetry. The traditional poetry in the 20th century has demonstrated the pursuit of modernity and self-sufficiently become a new historical tradition. Besides, in the new era, we should also broke the binary opposition between new poetry and traditional poetry and take traditional poetry as the cultural achievements of Chinese people in the new historical period, which will greatly facilitate the development of traditional poetry and enhance our understanding of literature and culture.
The modern theory of the hermeneutics of poetry proposed by Zhu Ziqing is an important part of the modern Chinese poetics. This essay aims to examine the foreign and the Chinese theoretical resources of Mr. Zhu’s thoughts of the hermeneutics of poetry and show that he has applied the modern critical theories to the interpretation of the ancient Chinese poetry. Zhu Ziqing established his own theory of the hermeneutics of poetry after absorbing the ideas of modern western criticism and the traditional poetry interpretation. In addition, he reflected on the theories and the methods of the traditional poetry interpretation, which means a modern reconstruction of the traditional Chinese hermeneutics of poetry.
This essay aims to analyze the types of the historical plays during the War of Resistance Against Japan, reasons for the prosperity of this particular type of play and the historical background. The focus is put on the success of “the historical plays of uniting the chaotic country” by Guo Moruo, “the historical plays of the national crisis” by Aying and Yao Ke and “the historical plays of the peasant uprisings” by Yang Hansheng. The wartime left-wing writers showed great concern for the country and in their works, there are both the political implication of using the past to satirize the present and the complex humanistic feelings. More importantly, the double tragedies of the history and the humanity in these plays remarkably pushed the development of the art of tragedy in China.
Based on the brief account of the outline and the systematic research of China modern literary journals, including the past and the present, this paper emphasizes that the modern literature journal is one of the modern literature carriers and even one of the primary research topics on modern literature. Research of the modern journals can possibly renovate the modern literature research and provide a new perspective on it.
The author of this paper attempts to make a detailed analysis of the impact the notion of the cultural turn exerted upon the translation studies at home, and to explore the historical elements of the notion and its inevitability of the emergence. The author also intends, at the conclusion of the paper, to present his view on the broad vista that the notion of the cultural turn has opened up the new areas for the current translation studies.
Among 20th century German writers, Brecht was the most actively interested in the research and adaptation of Chinese culture. Via a series of comparisons, this article reveals that his play The Good Person of Sichuan (Der gute Mensch von Sezuan) was in fact based on the Yuan poetic drama A Sister Courtesan Comes to the Rescue (Zhao Pan’er fengyue jiu fengchen 赵盼儿风月救风尘) by Guan Hanqing 关汉卿; in terms of composition and characterization, the work is related to Mengzi’s 孟子 (Mencius) theory of “the tendency of human nature to do good” (xing shan shuo 性善说) as well. This article looks closely at the lessons Brecht drew from the Chinese dramatic arts, and how he applied that knowledge in the creation of epic theater and in the transformation of traditional Western aesthetics. The article explains how the infusion of classical Chinese wisdom, in combination with Brecht’s literary talent, gave added philosophic depth to The Good Person of Sichuan.