Download A Chinese Literary Mind: Culture, Creativity, and Rhetoric by Zong-qi Cai PDF

By Zong-qi Cai

Wenxin diaolong through Liu Xie (ca. 465-ca. 521) is arguably the main advanced and entire paintings of literary feedback in old China. for hundreds of years it has intrigued and encouraged chinese language literati, and sleek English-speaking students have additionally discovered it an immense resource for inquiries into conventional chinese language poetics and aesthetics. the current quantity of ten essays is the 1st book-length research in English of this vintage work.

The first elements of the ebook specialize in cultural traditions, exhibiting how Liu canonized the chinese language literary culture, assessing the place Liu's paintings stands in that culture, and demonstrating his bills to the highbrow currents of his time. The 3rd half explores Liu's conception of literary production through the use of modern severe views to research Liu's notion of mind's eye. The fourth half provides 3 distinctive reports of Liu's perspectives on rhetoric: an in depth interpreting of his bankruptcy on rhetorical parallelism, a dialogue of his personal use of parallelism as a way of research and textual creation, and an research of his perspectives on adjustments and continuities in chinese language literary kinds. The booklet concludes with a serious survey of Asian-language scholarship on Wenxin diaolong during this century.

The individuals 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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Dance is mentioned only in the passage cited above. Nor is music discussed for its own sake. Indeed, even when the author cites another passage from the "Record of Music" about sheng^ (sounds) and yin % (tones), he seems to refer exclusively to the emotive tonality of poetic verbalization. "Emotions are discharged in sounds. ' The tones of a well-governed time are peaceful and joyful; the governance is marked by harmony. The tones of a time of chaos are woeful and filled with anger; the governance is deviant.

17 Although Liu Xie was not the first person to bring the Chu poet to the canonical position, he was nonetheless responsible for creating new literary LIU XIE'S IDEA OF CANONICITY 25 criteria in interpreting Chuci. For the first time, Chuci is viewed as a purely literary canon, which represents the true voice of a master poet with whom later writers can identify themselves. By focusing on Chuci, Liu Xie expanded the canon to include a much wider spectrum of styles and subjects. 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.

41 In all but two of these references, he discusses the Book of Poetry separately from music. Not only does he recognize the independence of poetry from music and examine it in its own right, but he also puts it on a par with music. "42 The shift of his overriding concern to human relationships is no less prominent. In discussing the Book of Poetry, he completely leaves out any consideration of its impact on natural forces, focusing exclusively on its ethical, social, and political functions. For example, in his summary statement, he explains how The Book of Poetry can help regulate human relationships in the spirit of the mean and provide the norm of human interaction among equals, between fathers and sons, and between the ruler and his subjects.

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