By Zong-qi Cai
The first elements of the booklet specialize in cultural traditions, displaying 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 construction through the use of modern severe views to research Liu's belief of mind's eye. The fourth half offers 3 specified reports 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 research and textual construction, and an research of his perspectives on adjustments and continuities in chinese language literary kinds. The ebook concludes with a severe 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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Additional info for A Chinese Literary Mind: Culture, Creativity, and Rhetoric in Wenxin Diaolong
Third, Qu Yuan's desire to drown himself by following the examples of Peng Xian ^ ^ and Wu Zixu i5. " Without a doubt, these "excessive" elements in Chuci violate the classical principle of moderation and restraint. There is no question that these violations would have been objectionable to the sensibilities of orthodox Confucians. But, instead of elaborating upon the moral implications of these differences, as most traditional scholars would have done, Liu Xie merely lists them in a rather matter-of-fact way, without comment.
35 The implication is that Liu Xie, who truly understands the rare qualities and aspirations of the Chu poet, is the zhiyin of Qu Yuan. Reading Wenxin diaolong, one gets the impression that Qu Yuan is Liu Xie's real model for emulation, because Liu's book is written in an ornamental style similar to that of Chuci. It seems as though Liu Xie and Qu Yuan are calling to each other by mutual rereadings through time. The hope that one's work will reach and address more than one's presentday audience is familiar to modern readers.
12 With this explanation, Ruan apparently intends to stress poetry's complete integration with, or rather subordination to, dance in those religious hymns of high antiquity. Over the centuries, many Chinese scholars have accepted and further developed Ruan Yuan's view on songs relationship to dance. 16 In short, the "Shi yan zhi" statement in "Canon of Yao" expresses a distinctively religious concept of literature. It is marked by a subordination of poetry to dance, by a recognition of poetry's auxiliary role in evoking the numinous spirits, and by an overriding concern with the harmony between the numinous spirits and man.
A Chinese Literary Mind: Culture, Creativity, and Rhetoric in Wenxin Diaolong by Zong-qi Cai