Akadēmiskais centrs27 November (English panel) / 28 November 中文组
Keynote speech "Chinese Literature Between Diffusion and Identity"
Mr. Kraushaar Frank (Prof. Dr., Leopold-Franzens-Universität Innsbruck, Austria)
The keynote will explore the major field of tension between the "traditional" and the "modern" in the perception of literature written in Chinese. However, the definition of these two terms, which frequently are held in opposition to each other, will not follow the almost standardised paradigm of 20th century literary history in Chinese context. The latter builds on the assumption that only through a radical break with tradition, enforced by political activists, who called themselves and were perceived as "revolutionaries", modern Chinese literature, society and state could be achieved. Since the political enthusiasm of the "New Culture Movement" (Xin wenhua yundong) of the 1920th until today's very much fragmented and often dispersed literary scenes in China and beyond, this claim never lived up to the ideological vision at its heart.
I argue that the medial turns in early premodern China (which begins with urbanisation and the invention of printing techniques) and at the beginning of this century (closely related to the expansion of internet literature) should be looked at from a comparative angle. While printing, mechanised book-making and the developping markets already under Song boosted individual styles and new subgenres in poetry and later lead to the formation of regional identities via literary societies under Ming and Qing, cyberpoetry (which I will use as an example) and fiction diminish the sense of both individual authorship and cultural identity. At the same time, we clearly see the re-emergence of multifold "classicisms" remaking "modern" what used to be discarded by former generations as "traditionalist".
Research On Ocean Imagery and Contemporary Web Celebrity Narrative in The Great Hao Daxiao
Ms. Wang Anqi (Master of Arts in Modern and Contemporary Chinese Literature, South of China Normal University)
The imagery associated with the ocean can be classified into three categories: natural elements that do not inherently "convey meaning", but are imbued with consciousness, such as oceans, beaches, and islands; man-made objects that do not inherently carry meaning, such as fashion and artificial beaches; and deliberate "pure symbols" crafted solely for the expression of meaning, like the "MOsea" brand. In "The Great Hao Daxiao," the ocean serves as more than just a natural entity; it's a canvas onto which human emotions and thoughts are projected. Be it the sea in Sanya or the island in Hao's memory, these marine landscapes provide more than just a backdrop to the narrative. They transform into profound symbols that encapsulate absent entities and intricate meanings.
The author, Zhou Wanjing, often intertwines descriptions of the ocean with themes of familial love and dreams. As the narrative unfolds, the symbolism of the ocean becomes intertwined with notions of freedom, adventure, and transformation. Zhou Wanjing once remarked, "My writing is always centered on people." For her, the ocean evolves into a metaphorical vessel in "The Great Hao Daxiao," allowing her to explore existential queries. As Zhao Yiheng elucidates in "Semiotics: Principles and Deduction," "To affirm one's existence, humans must seek out the meaning of life, making symbols an intrinsic aspect of human existence." This paper primarily employs semiotic theory to delve into the nature and significance of oceanic symbols within the narrative framework of contemporary internet celebrity literature.
Keywords: Web Celebrity, Symbol, Freedom, Ocean Image
"An Asian Type of Literature": An Examination of Translations of Classical Chinese Culture and Literature in Lin Yutang and Han Suyin’s English Novels
Ms. Emma Lu Ferguson (Beijing University, M.A. in China Studies)
"We must create an Asian type of literature [in English]; we need something other than nineteenth-century English writers", wrote Han Suyin. This presentation investigates two Anglophone authors of Chinese heritage, Lin Yutang and Han Suyin, and their creation of a new type of English novel by incorporating elements of classical Chinese culture in their English writing.
The presentation examines the two authors’ strategies of translation from Chinese in their novels, which have been the subject of academic scrutiny in China and elsewhere, but could nevertheless profit from more comprehensive and comparative analysis. Such strategies include foreignised translations of selections from Chinese literature, and domesticated descriptions of Chinese worldviews, both targeted towards monolingual English readers.
Besides this, the presentation introduces a new argument: both Lin and Han’s English writings aim not only to introduce Chinese culture to English readers, but also to benefit a small but growing audience of cross-cultural Chinese-English readers. The two authors achieve this through instances of cultural translation detectable only to readers familiar with both cultures. In this way, Lin and Han’s English writings are engineered to reward bilingualism.
In short, this presentation argues that Lin and Han pioneered a type of novel that presents elements of classical Chinese culture in an English medium to serve, in different ways, Anglophone and bilingual target audiences. Such "Chinese novels in English" both reflect and promote increased cultural interaction in an age of globalisation, when the boundaries between source and target cultures are so often blurred and transversed.
Keywords: Lin Yutang, Han Suyin, translingual literature, cultural translation, Chinese-to-English translation
Flower Burial in "The Dream of the Red Chamber": Exploring Intimacy of Fate Over Intimacy of Emotions
Mr. Pacôme Sebastien (enrolled in M.A. of China’s Studies, Yanjing Academy, Beijing University)
The evocative scene of flower burial in "The Dream of the Red Chamber" has intrigued scholars and anthologists alike due to its powerful imagery, naive elegance, and profound thematic resonance. Surprisingly, despite its significance, the burial of flowers remains understudied, particularly in English, French, and Italian literary scholarship.
This study addresses this gap by examining the flower burial scenes within the novel's narrative context. The initial question revolves around the function and impact of these scenes. While a romantic encounter between Bao-Yu and Dai-Yu is expected, their interactions bear complex layers of sentiment and intention, often veiled under sarcasm or ambiguity. Contrary to conventional romantic interpretations, it is argued that the flower grave and the act of gathering the fallen flowers in this final resting place serve as a literary, poetic, bucolic, and above all, spiritual connection-creation between Dai-Yu and Bao-Yu. These flower graves discreetly and ideally seal their fate at the dawn of their relationship, which ultimately also foreshadows their tragic sunset to come.
The analysis navigates the narrative settings of the flower burials, highlighting how the scenes evoke romantic expectations but then subvert them. It also explores the dense intertextuality framing the passages.
In conclusion, this study contributes to the exploration of overlooked flower burial scenes in literary scholarship and challenges the prevailing romantic interpretation. It argues that these scenes encapsulate a delicate and spiritual connection between Dai-Yu and Bao-Yu, laying the foundation for their ambivalent relationship and its impending tragic resolution.
The study of the image of "grass" in Nineteen Ancient Poems
Ms. Li Yuying 李雨赢 (Master of Teaching Chinese as a Foreign Language, South China Normal University)
Nineteen Ancient Poems is the general term of nineteen poems written by Xiao Tong in the Southern Dynasty.In the book Nineteen Ancient Poems, there are six poems with "grass" images and rich meaning, namely "Green River Grass", "Picking Lotus on the River", "Bright River", "Bright Night", "Ran Gu Bamboo", "Return" and "The East City High and Long", in the form of "grass", "fragrant grass", "wild grass", "autumn grass", "hundred grass", "bamboo", "rabbit silk "and "女萝 "and other kinds of "grass" objects to present. With the title of "grass", the Han people express their tender feelings for love, the sadness of the time sequence and the frustration of the fetters. The emotional implication of the image of "grass" is "see sincerity in the small". It permeates the rich life experience of the scholars in the late Eastern Han Dynasty, and reveals their clear and profound spiritual world.
Keywords: Nineteen Ancient Poems, grass, image
Nationalism as subtle presence in the socialist writings of Premchand and Lu Xun
Mr. Rajiv Ranjan (PhD Programme in Comparative Literature, K. R. Mangalam University)
Lu Xun and Premchand, the two contemporary and most important authors of the modern Chinese and Indian literature, have made significance impact on the society of the two countries. Their works have not only given direction to the people of their own countries, but it has been read and followed worldwide. Both the authors have been critical to the established practices of the society and challenged the social taboos through their characters. Due to colonial and semi colonial background, nationalism has been another prime theme in both the countries in the early 20th century period. We find a very subtle presence of nationalism in the writings of Lu Xun and Premchand both, along with all the serious social issues raised in their literature. They demonstrate the struggle, needs and dreams of the common people, with their effective and ineffective efforts of finding success in their own way. However, some of their characters change the traditional fixed thinking and show the strength to speak about the nation or contribute for the nation. In the contemporary world, nationalism is again emerging as an important phenomenon in the world including India and China both. In this background their writings are more important to revisit where they find thin balance writing about the social challenges and the national interests both.
Therefore, in this paper the researcher will be analysing the nationalism of Lu Xun and Premchand and try to explore the nationalism in their writings. The paper will mainly focus on the two authors of India and China to conduct detailed research and comparison, from various angles and aspects of their nationalists’ characters and their social status.
Keywords: India-China cultural exchanges, Language & literature, Nationalism
The Review of Zhu Yizun's Love Lyrics from Literary Orthodoxy Perspective
Ms. Anastasija Galkina (M.A. graduate of the University of Latvia)
Zhu Yizun 朱彝尊(1629–1709) was a famous Chinese scholar, poet and founder of Zhexi school of ci genre (song lyrics) during the Qing dynasty. Zhu Yizun’s way of expressing ci in his works was bold and straightforward. During his whole life, Zhu Yizun put a lot of great efforts to make ci poetry to be part of Chinese literary category of belles-letters in the "Complete books of the Four Storehouses", because since the Song dynasty, the ci poetry was neglected and considered as a minor art.
Because of Zhu Yizun’s ambition and boldness, the interest of ci poetry was not only rediscovered, but also rapidly gained more popularity, however some undercurrent of ambivalence towards ci genre still was remained, which made some poets of ci genre to walk away from ci. Despite some difficulties and criticism, Zhu Yizun wanted to show that the nature of ci genre is versatile. For example, in the “Amusements on the Lute of the Jingzhi Dwelling” 静志据琴曲 collection, poet assembled ci genre that mostly focused on love lyrics and erotic songs, in other words, thematic elements such as romantic love, desire, passion and sexuality were considered improper for exploration and exposition in Chinese orthodoxy literature.
By studying more Zhu Yizun’s production of ci genre and self-consciously designed poetry, modern scholars could clearly see the problematic space for the "private" and "feminine" in this genre.
Keywords: Zhu Yizun, love, lyrics, orthodoxy, literature, poetry
The Motif of Mulan's Homecoming in 2020 Film Adaptations
Ms. Markéta Koklarová (Ph.D. programme at Palacký University Olomouc)
The presentation will discuss film adaptations of the Ballad of Mulan. In nearly 100 years, more than 20 films have been made with Mulan as the main protagonist. The most recognised by Western viewers are "The Legend of Mulan" (1998) and "Mulan" (2020), produced by the global film industry hegemon – the Walt Disney Studio. These two American versions inspired several other filmmakers to make their own versions of this legend in a short time period. "The Legend of Mulan" (1998) was taken as an inspiration to create five Western-produced animated fairy tales, which were introduced at the turn of the new millennium. However, this trend was even more noticeable in 2020, when another five Chinese films were released in addition to Disney's live-action remake. These works could be considered as China's answer to Walt Disney's production. This presentation will primarily focus on the above-mentioned Chinese films. First, it will characterize the shifts in the story's narrative and the possible Western influence on them. Then, the focus will turn to the analysis of the motif of Mulan's homecoming. This motif was intentionally selected because 2020 could also be seen as a year of Mulan's symbolic return to China after the release of the American versions of the legend. Moreover, it is one of the most essential motifs that is recurring through various retellings.
Keywords: China, film, homecoming, legend, motif, Mulan, Walt Disney
The Versatility of Ghostly Cyborgs: Generic Hybridity in Xia Jia’s "A Hundred Ghosts Parade Tonight"
Mr. Eero Suoranta (Doctoral Researcher, Master of Arts, University of Helsinki)
According to Cara Healey, contemporary Chinese science fiction can in part be characterised by "generic hybridity" or "the combination and reinterpretation of both Western science fiction subgenres and local Chinese genres," with the critical realist mode pioneered by Lu Xun (魯迅, 1881–1936) and other modern writers playing an especially important constitutive role in this combination. In my presentation, I will seek to apply and expand Healey’s approach by examining how Xia Jia’s (夏笳, b. 1984) science fiction short story "A Hundred Ghosts Parade Tonight" (百鬼夜行街, 2010) combines critical realist and science-fictional conventions with direct allusions to older Chinese literature, such as Pu Songling’s (蒲松龄, 1640–1715) marvel tale collection Liaozhai zhiyi (聊斋志异, 1766) and Cao Xueqin’s (曹雪芹, 1710–1765) novel "Dream of the Red Chamber" (红楼梦, 1791), as well as to non-Chinese works of fantasy fiction.
I argue that by employing this kind of intertextuality in combination with science-fictional estrangement, Xia Jia’s story is able to reinterpret conventional elements of earlier literary traditions and use them to comment on pertinent questions of tradition and modernity, capitalist exploitation, and alienation and community in the context of contemporary Chinese society. Moreover, I argue that the story’s generic hybridity and its attendant cross-cultural borrowings also allow its examination of these issues to resonate with readers from different cultural backgrounds and with varying levels of familiarity with the literary traditions that Xia Jia draws from, which helps explain the international popularity of her work.
Keywords: science fiction, fantasy fiction, critical realism, estrangement, generic hybridity
English Translation of Body-part Expressions in Chinese Xiqu
Ms. Zhu Xiaohan 朱小涵 (University of Debrecen)
This is a study on the solutions of translating body-part expressions in Chinese Xiqu. It also discusses the cultural differences in the functions and meanings of body-part expressions between Chinese and English. It is found that, the difference in the way of thinking between Chinese and English causes different understanding of the functions of body-part expressions, so that most body-part expressions need specific solutions for translation. Through the analysis of examples in Xiqu, there will be three types in translation, named 1-1 translation, 1-X translation, and 1-null translation. Pym’s terminology of translation solutions (Pym 2016a) will be used as the framework to deal with these types of situations. Pym compared the translation solutions of Vinay and Darbelnet with those of Loh Dian-yang, and proposed his own classification. He has used this table on another Chinese corpus, which are everyday phrases in Chinese, so it has been tested that it can be used for dealing with the problem of Chinese- English translation. After analysing several text-examples it will become evident that despite the existence of body-metaphors in both languages their meanings and functions remains different. The difficulty of finding a one-to-one solution for translating necessitates a deeper understanding of cultural implication in order to reformulate textual structures in English which would allow for reintegration of the meaning intended by the Chinese text into translation.
Keywords: Body-part expressions, translation solutions, Chinese Xiqu
中国古典诗歌的抒情传统
王葆华（先生）华南师范大学; 朱拉隆功大学（Chulalongkorn University）客座教授
叙事（narrative）和抒情（lyric）作为两种最基本的文学表现方式，在文学发展的长河中发挥着重要的作用。从文学表现方式来看，西方文学在传统的史诗（epic）和戏剧（drama）等体裁（genre）上，更多地运用叙事的表现方式，而中国古典诗歌更多采用抒情的表现方式，因而抒情成为中国古典诗歌的主要传统。本文结合中国不同历史时期古典诗歌体裁类型和若干作家作品探讨抒情这一中国文学的主流传统。
关键词: 古典诗歌, 抒情, 直接抒情, 间接抒情
Keywords：Chinese classical poetry, direct, indirect lyric
横笛吹彻总关情——浅论唐代笛诗
刘光南（先生）（华南师范大学文学院文学硕士）
笛是一种发源于中国本土的乐器，有着悠久的历史，与中国历代文学作品都有着密切的联系。笛诗，指的是与乐器笛有关的诗歌，即诗题或内容中包含笛的诗歌。这些作品当中的笛，不仅是乐器本身，而且蕴涵着丰富的文化意义与深刻的思想价值。早在先秦时代，中国就已经出现了关于笛的文学书写，如宋玉《笛赋》。进入汉代，涉及到笛的文学作品主要是赋，代表作品是马融《长笛赋》。魏晋南北朝时期，笛是宴游诗中的常客，主要作为贵族阶层宴饮场合的演奏乐器出现。
唐代笛诗继承前代文学传统，历经初唐、盛唐、中唐、晚唐四个发展阶段，作品数量呈现稳步增长的趋势。根据统计，《全唐诗》中内容与笛相关的诗歌共有430首。笛诗写作数量较多，并且质量上乘的诗人有李白、杜甫、高适、刘长卿、李益、许浑、杜牧等。
唐代笛诗多使用笛、楼、秋等意象以表意抒情。笛子吹奏的声音清脆婉转，悠扬空灵，声调高昂，笛在诗歌中的出现，能营造清丽淡雅的氛围，让世人过滤掉世俗红尘的纷扰与喧嚣，唤醒人心深处最天然的本真情怀。玉笛是唐代笛诗中为数不多的亮丽底色，而羌笛则通常被诗人们与胡人联系起来，频繁在边塞诗中出现，其声音凄婉，常被用以烘托怀人之痛和离散之悲。此外，唐代笛诗常见的楼、秋等意象，都易于使人联想到清冷的氛围，以及孤独落寞的情绪，共同营造出笛诗凄清悲凉的意境，渲染伤感孤寂的意绪。
唐代笛诗的常见感情类型包括送别的离思、羁旅的乡思、悼亡的哀思等。由于交通落后、通讯不便，分离对于古人有着异常沉重的意义。笛子作为传播声音的载体，传达出了送行者与远行人之间绵长复杂的情感，又将此情传递给所有闻笛者，这种音响媒介饱含着浓烈真挚的深情。身处古代文化语境的诗人，心中常装载着一抹深沉浓重、难以割舍的故园之情。身处异乡，举目无亲，凄清哀婉的笛声听来格外悲伤，助长了本就难以排解的乡思愁绪，也造就了许多包含笛声的思乡佳作。睹物思人是人类自然而然的情感反应，当中包含着深沉的追忆与沉重的悼念，也映射出古人对于生命归宿的担忧。许多唐代笛诗通过笛声传达对往事的留恋，对故人的追悼，诗歌基调显得深沉凄凉、哀怨悠长。诗人们还惯于在笛诗中吟咏著名笛曲，如易于勾起人们思乡之情的《梅花落》，与适于表达离愁别绪、抒发戍边思乡之苦的《折杨柳》，都让今天的读者得以领略唐诗丰富的精神世界。
关键词：笛；笛诗；笛诗意象；笛诗情感；笛曲
论清代经世文编的开山之作《切问斋文钞》
张凯（先生）（暨南大学中国古代文学博士）
清代乾嘉学坛弥漫着汉学考据之风和汉学宋学的纷争，但在乾嘉朴学和程朱理学的笼罩之下，还存在着一股经世思想，陆燿是其中的重要代表。陆燿一生致力于经世，不仅为官尽责，因公殉职，还在身后留下了清代经世文编的经典《切问斋文钞》。陆燿怀着深沉的忧患意识，强调文章的实际功用，所选的文章涉及经济、民政、教育、军事、法律等方面，均切于当时现实，是切切实实的学问。乾嘉时期以陆燿为代表的“经世思潮”是明清经世思潮的重要组成部分，代表着乾嘉学者对现实社会的深切关怀。《切问斋文钞》上承明末经世文编之余绪，下启晚清经世文编之风潮，是清代经世文编的开山之作，也是乾嘉古文选本中的重要体类。
关键词: 乾嘉时期；《切问斋文钞》 ；经世思潮；古文选本
[The Research on the First work of the Qing Dynasty's Jingshi Literature Compilation—Qie Wen Zhai Wen Chao Zhangkai]
In the Qianjia academic circle of the Qing Dynasty, there was the atmosphere of Chinese studies and the disputes between Han studies and Song studies, but under the shadow of Qianjia's pure studies and Chengzhu's Neo-Confucianism, there was still a kind of economic thought, of which Lu Yao was an important representative. Lu Yao devoted his life to the world. He not only served as an official and died on duty, but also left behind the classic " Qie Wen Zhai Wen Chao " compiled by Jingshi literature in the Qing Dynasty. With a deep sense of anxiety, Lu emphasized the practical function of the article, and the articles he selected involved economy, civil affairs, education, military affairs, law and other aspects, which were all relevant to the reality at that time and were solid knowledge. During the period of Qianjia and Qing dynasties, the "economic thought" represented by Lu Yao was an important part of the economic thought of Ming and Qing Dynasties, which represented Qianjia scholars' deep concern for the real society. Qie Wen Zhai Wen Chao is the first work of the Qing Dynasty, and also an important type of Qianjia ancient prose anthology.
Keywords: Qianjia period; Qie Wen Zhai Wen Chao; Economic and social trends; The selection of ancient texts
论《我爱比尔》的东方文化立场
张新 （女士）（华南师范大学在读博士生）
小说《我爱比尔》是王安忆通过跨文化的视野对东方文化进行反思的一部重要作品。诸多学者以东西方文化二元对立的关系作为前提，肯定了王安忆的东方文化立场，却忽略了作家在多元文化视野下对于这一立场进行了新的阐释与表达。在小说中，作者试图抛开第三世界“他者”文化身份的禁锢，重新审视东西方文化双向互动的真实关系，重构东方文化勇于求新的主体性魅力，并在在开放包容与回望反思之间表达对于东方文化的新期许。
小说以80年代上海作为背景，讲述了在西方观念下成长起来的年轻画家阿三，怀抱着对西方文化的美好想象，不惜以自我牺牲为代价接触外国男性，也由此经历了一系列人生重创的故事，最后以阿三拾起一颗“处女蛋”作结，引人深思。众多学者针对作者在小说中所传达的文化立场问题进行研究，多将阿三和比尔的爱情故事视为东西方文化互动的隐喻，将其解读为西方文化对于东方文化的压制，或将东方文化视为无条件迎合西方文化标准的一方。也有学者从“多元文化并存”的现实出发，关注到作者在故事中所传达的“他者”文化身份的焦虑，将故事结尾处的“处女蛋”解读为“东西方文化交融的产物。”这些研究虽肯定了王安忆的东方文化立场，却忽略了作者在表达这一立场的同时所传达的对于东西方文化的鲜明态度，即强调东西方文化在相互崇拜的基础上进行平等互动，挖掘东方文化勇于求新的主体性魅力，呼吁东方文化主体性的回归与重生，以期在接受西方话语的同时重拾作为东方大国的文化自信。
关键词：跨文化视野 东方文化 主体性 文化传统 反思
《古文分编集评》初探
王小莹（女士）（华南师范大学博士生）
《古文分编集评》（以下简称《集评》）二十二卷，清于光华輯。《集评》有四集，分别为《初编》《二编》《三编》《四编》。于光华（1727—1796），字惺介，号晴川，室名心简斋，金坛（今属常州）人。于光华一生不仕，以课徒为业。
《集评》是于光华本着由浅入深的原则为初学者编撰的古文入门教材，从宏观上为初学者厘清古文的源流脉络，有利于学生从微观上掌握古文的文体、体裁、文法。《初编》五卷，选录唐宋十家；《二编》五卷，选录两汉、六朝、唐宋名文；三集八卷，选录《左传》《公羊传》《榖梁传》《国语》《战国策》《史记》；《四编》四卷，收录骚、赋、用韵杂文、唐宋四六、十七史论赞。从文法角度而言，形式自由、以散行单句为主的散文比骚、赋、用韵杂文、唐宋四六、十七史论赞更易于习得。从时代先后来说，距离清代越近，其时代的文章也相对易学，故将距离清代最近的唐宋十家文放在《初集》，将六朝、两汉、春秋、战国文放在后三编。从编选卷数来说，《四编》四卷，均少于其他三编的卷数，体现于光华对难学的骚、赋、用韵杂文、唐宋四六、十七史论赞的有意缩减。
《集评》不但是初学者的古文入门书，同时也是科举教辅书。清代科举除了考经义的八股文外，还考史、策、论、判、诏、诰、表等文体，于光华根据科举考试文体选录了不少古文供学子学习。所以《初编》《二编》选录大量具有排偶体格，或具有“小题折字诀”特点的古文以便学子学习写作八股文，《三编》纯选史类古文，《初编》选录不少策、论、表类古文，《二编》大量选录诏类文章。
《集评》的评点包括圈点与批评，其中圈点主要有逗圈“○”，密点“、、、”，密圈“○○○”三种，批评有眉评、题评、旁评、夹评、夹注、文末总评六种。评点的内容丰富多样，在文章的布局、结构方面，分析脉络、条理、层次等；在文章的章法与句法方面，分析段落及句子的铺叙、呼应、起结、转折、承上、启下、抑扬、开合等作用；在文章的遣词用字方面，侧重训诂、注音、解义等。
关键词：于光华；《古文分编集评》；古文入门书；科举教辅书；评点
《政治场域视野下三家诗《关雎》之诗旨变迁》
王贞贞（女士）（中国古代史博士，西华大学副研究员）
《诗经》是中华民族元典之一，《关雎》为其篇首之诗，在《诗经》学中具有极其重要的地位。对《关雎》诗旨的不同阐释，体现出经学家在不同历史时期和政治环境中王道思想的发展变化。在西汉三家《诗》的阐释体系中，《关雎》的诗旨随“时”而变，呈现出多元甚至矛盾的不同状态。以法国社会学家布迪厄“政治场域”的理论来观照此过程，《关雎》之诗旨变迁过程，正体现了儒家士人内圣外王、通经致用之“惯习”与不断变化的政治场域之间的相互作用。纵观《关雎》诗旨变化的脉络，孔子提出之“以色喻于礼”是由性情入礼仪；到陆贾提出“以义鸣其雄”，是由礼仪入道德；再到刘向之“刺康王晏起”，则是由道德而入王教。在转入政治阐释的过程中，由于不同学派经学家个人身份、性格、际遇、学术传承，以及所处时代政治场域的不同，《关雎》诗旨向着“美”“刺”两个不同方向发展。
这个过程既是经学阐释从礼仪阐释到道德阐释，再到政治阐释的过程，也是《诗经》学者所具备的儒家共性与自身个性之“惯习”与不断变化的政治场域之间交互作用的过程。西汉鲁诗学者们对于《关雎》讽谏意义存在时间上的解读变化。在《新语》中，陆贾言“关雎以义鸣其雄”，讽谏对象是为淑女所迷之君子，关联个人之立身修德；《淮南子》指出关雎之习性，雌雄不乖居，为从以关雎起兴，关联到夫妇之伦提供了相似点和关联之依据；到武帝时期司马迁之《史记》，提出“周道衰而《关雎》作”，《关雎》变成了诗人讽刺时政的刺诗，与王道政治相关联；而扬雄将这个“周道衰”的时期进一步定位到周康王时期。至西汉中晚期刘向之《列女传》，《关雎》这个刺时之作，已经明确变成了对后妃的讽谏，其讽喻对象较之《新语》，已经有了根本的改变。《齐诗》学派对于《关雎》的诗旨理解，认为《关雎》包含着儒家的大义。这个大义始于“挚而有别”的夫妇之伦，而夫妇之伦正是天地万物蓬勃发展，王道政治有序运转的根源所在。《齐诗》以《关雎》为颂美后夫人之德，赞其“淑女德配天子”，无“刺时”之意。《韩诗》学派对《关雎》的诗旨阐释，随着政治场域的变化，分为了诗之创作与诗之功用两面。《韩诗内传》在宋代已经亡佚，其所流传下来的佚文中并无关于《关雎》的阐释。
但在《韩诗外传》中，借孔子之口称颂《关雎》，称了解《关雎》之道之人，为“德之所藏，道之所行”，盛赞《关雎》之道至大至高，为“天地之基”“王道之原”；而在东汉初期，韩诗传人薛汉所作的《韩诗章句》中，开始提到了贤人以《关雎》“刺时”。在《后汉书·明帝纪》李贤等注中，引用了《韩诗章句》中的说法，其中提到了两层意思：一是诗人言雎鸠贞洁慎匹，以声相求，隐蔽于无人之处。二是贤人见君王内倾于色，故咏《关雎》说淑女之行，正君王之心，以“刺时”。
《韩诗章句》区分了“诗人”与“贤人”对于《关雎》的不同作用，“诗人”之作体现了东汉之《韩诗》沿袭了《外传》对于《关雎》主旨的阐释；而“贤人”咏《关雎》以“刺时”说法的提出，体现了东汉时期《韩诗》对于政治的高度关注与顺应时事的积极调整。儒家学者赋予了《关雎》强烈的道德教化与政治意义，无论是基于“刺时”的讽喻之说，还是基于“美德”的颂美之说，将鸟禽之习性联系到夫妇之伦理，再推演到政教之大道，其后反映的都是其修齐治平的道德追求和经世济民、匡正时弊的责任担当。这种道德追求和责任担当随着历史环境的变化而不断调整适应，故而呈现出不同的阐释路径与精神风貌。
关键词：《诗经》；《关雎》；三家《诗》；政治场域；惯习
乡愁中的“希望哲学”——论鲁迅小说的“故乡书写”
罗杰（先生）（读硕士研究生，黄冈师范学院文学院）
对鲁迅小说的故乡书写研究，多是基于启开视角，强调写实意义，把关注的焦点置于文章本身的体裁或其政治功用，对故乡书写的源头——乡愁和乡愁中的“希望哲学”缺乏更深层次的探索。故乡书写的乡愁是中国现代文学的产物之一，而这也是中国现代文学困境的重要表征，无论是持有积极态度的乡愁论者抑或是在消极心态下绝望悲观的乡愁论者，都有可能走向故乡书写的极端，一旦被极端化，就会缺少一种宽容，缺乏一种约束自己行为的能力。因此，便会盲目地朝自己所预设为真理和正确的方向不断前进，但结果往往事与愿违。进一步说，在文学转型的文化语境中，人们解读鲁迅小说的“故乡书写”逐渐丧失了主体性的乡愁情感，失去了在社会斗争中寻求意义的企望，脱离了个人生存体验的真实维度，使得中国现代文学成为了人与人、人与客观世界的“厚障壁”。
立足乡愁中的“希望哲学”，将鲁迅小说的“故乡书写”与中国现当代知识阶层的精神归属问题相联系，搭建一条与启蒙和革命的对话桥梁。经由回忆与现实、风俗与人事、破除与皈依，中国现代文学中的乡愁发展出一套丰富且复杂的审美机制。鲁迅小说《故乡》呈现出三个世界，在三个世界的存在和互相矛盾中，有着深层的精神和文化联系，即文化民族主义、启蒙主义，并由此外化投射于小说的乡村叙事，成为“故乡书写”三个异质世界的深因。
故乡现如今已超过传统意义上的时空范畴，加入了个体的时间体验、情感体验和精神体验，从而成为了一个繁复且具争辩的话语场域，于是本真性的乡愁经历了生理挂念到心理投射再到精神还乡的转变过程。故乡书写作为个体自我构建的行为，不管其是否自觉，都会将乡愁书写贯穿始终，而鲁迅表述的这种乡愁中“希望是本无所谓有，无所谓无的”，但他仍认为“走的人多了，也便成了路。”抒情的刹那亦是书写者现身的时刻，对乡愁的执着，对故乡的书写，既是个体情感的纾解，也是自我精神的认同。
总之，从回忆与现实、风俗与人事、破除与皈依，鲁迅小说的“故乡书写”已然形成了一套新的解读方式。它改写了乡愁的内涵，赋予乡愁个体的创造和企望意义，使得哲学与中国现代文学的体验与关怀联系起来，具有了超越意味。
关键词：中国现代文学；鲁迅小说；故乡书写；乡愁；希望哲学
乡土中国的家园诗——阎连科小说的欲望叙事及其精神追求
陈劲松（先生）（文学博士，南方科技大学人文科学中心）
回顾中国当代作家阎连科逾四十年的创作历程，从早期的《两程故里》《年月日》《瑶沟人的梦》《金莲你好》《中士还乡》，到中期的《受活》《生死晶黄》《风雅颂》《坚硬如水》，再到近年的《炸裂志》《四书》《速求共眠》《中原》等，不难发现他的小说故事与背景，始终围绕着故乡耙耧山下的那块土地展开。耙耧山区的传统风俗与人情世故，既是乡土中国历史与现实的缩影，也是贯通阎连科小说创作的血脉，以及奠定其小说成就的基础。与此同时，耙耧山区的饥饿、贫穷、疾病等天灾人祸，使得阎连科对故乡充满了矛盾与纠结，让自己和作品中的人物想方设法逃离那个炼狱般的世界。纵观阎连科小说，不难发现其中隐藏的那种宿命的悲剧感。他十分清楚桎梏耙耧山区乃至乡土中国农民的症结所在，却无力与现实世界抗衡。他自身对乡土文化认同的犹疑焦虑，以及对现代文明价值取向的虚无困惑，让他始终难以在两者之间找到平衡。于是，逃离耙耧山区多年后，他又不惜一切回归故土并将生命深深融入那个世界，藉此重建自己的“精神家园”，进而支撑他的小说创作。正是在那个让阎连科爱恨交加的世界里，他一方面呈现并剖析横亘于人类生存面前形形色色的诸多欲望，另一方面拷问且拯救人类和自己的灵魂。在此过程中，阎连科主要通过“逃离与回归”这一对立性欲望叙述母题，试图为自己、为故乡、为乡土中国乃至整个人类完成一首大写的“家园诗”。
关键词：阎连科；乡土中国；家园诗；逃离与回归；欲望叙事
袁哲生作品中的父亲形象分析
刘志恒（先生）（德国波恩大学硕士生）
台湾90年代的文坛如学者王德威所言“众声喧哗”，有作家如李渝、朱天文以文学回应台湾社会历史问题，也有作家如张大春以后现代主义解构社会现实，相较以上声名卓著的作家，有些写作者，共同隶属于某一独特文学支流，并未得到研究者充分的关注。这一文学支流即学者黄锦树所命名的“内向世代”，属于这个“世代”的作家，有邱妙津、袁哲生、黄国峻等人。内向世代作家不关注特定社会历史议题，而是关注人的内心世界。他们对爱、生命、存在的思考与追问不为时空所限，在当下依旧启发我们去反思个体在所谓后现代社会的生命状态。
此外，如学者王德威所言，对于父亲及父权的论述一直是中国文学十分重要的主题。自五四以来，打倒父权尤其是中国新文学经久不衰的创作主题。对于父亲及父权的论述在时代发展进程中如何变化值得我们持续的关注。
本论文以内向世代作家袁哲生笔下的父亲角色为研究对象，回答三个研究问题：袁哲生笔下的父亲形象具有何种特征？借助父亲角色，袁哲生展现了什么样的创作意图？袁哲生笔下的父亲形象与台湾现代主义文学中的父亲形象有何不同？
借助学者申丹提出的“整体扩展式细读”文本分析方法，通过分析袁哲生以父亲为主角的文学创作，本文认为，袁哲生笔下的父亲厌弃自己的日常生活，但无力改变，只能接受命运的安排。其人际关系（包括夫妻关系）淡薄，唯一拥有的亲密关系是亲子关系，但是孩子们因种种原因却无法理解父亲的内心世界。父亲的生命状态可以借助心理学学者Melvin Seeman笔下的“疏离”来理解：他们同个体、社会疏离、同自我疏离、面对生活无能为力。父亲这样虚妄的生存状态其实与台湾“解严”后急剧的社会变迁密切相关。
黄锦树断言，内向世代作家的创作是台湾现代主义文学的精神延续，所以本文进一步将袁哲生笔下的父亲与台湾文学经典《孽子》、《家变》中的父亲进行对比，以期从历时角度观察台湾文学中父亲论述的变化。经过比较，本文发现，区别于《孽子》与《家变》中充满冲突的父子关系，袁哲生笔下的父子关系温、亲密，但是保持着距离。父亲不再是过去那个一定要被孩子打倒的对象，转而成为了一个脆弱的人。这样的对比与转变反映的其实是台湾地区价值取向、社会矛盾的变化。