By Zong-qi Cai
The first components of the booklet concentrate on 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 investigate Liu's notion of mind's eye. The fourth half offers 3 distinctive experiences of Liu's perspectives on rhetoric: an in depth studying of his bankruptcy on rhetorical parallelism, a dialogue of his personal use of parallelism as a way of study and textual creation, and an research of his perspectives on adjustments and continuities in chinese language literary types. The ebook concludes with a severe survey of Asian-language scholarship on Wenxin diaolong during this century.
The members 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 resources for A Chinese Literary Mind: Culture, Creativity, and Rhetoric in Wenxin Diaolong
He assumes that wen comes from the original Tao, which only the mind (xiri) of the sage is able to comprehend and bring out its true quality. From the Tao to the sages and then to wen, there seems to be a compelling connection. Thus, Liu Xie seems to argue that wen is not just literary but also cultural. By extension, a poet or literary critic should be not only a promoter of pure literature but also a bearer of humanism if he is to follow the example of the sage. Liu Xie's interpretive approach elevates literature to an unprecedented position, a position as high as the authoritative Confucian classics.
By using the airs as means of moral instruction, the ruler can show his people examples of good and bad government, moral and immoral conduct. Through these four functions, the author believes, poetry can not only rectify ethico-socio-political processes, but it can also bring about harmony between man and the numinous spirits. 48 The author of the "Great Preface" also touches upon the origin of poetry. He believes that poetic verbalizations arise in response to social and political realities and embody the pattern of orderliness or chaos of the outer world.
There is no doubt that Liu Xie desired to have his Wenxin diaolong included in the canon. ' To join Confucius means joining the grandiose process of cultural transmission, of handing down the essentials of the great classical tradition. However, the question of Liu Xies attitude toward the Confucian classics has always generated a great deal of controversy. On the one hand, some scholars have assumed that Liu Xie devoted the first few chapters of his Wenxin dialongto the Confucian classics because he wished to use the moral teachings of the ancient sage as a corrective for the prevailing decadence that Liu Xie had witnessed among the literary circles of his time.
A Chinese Literary Mind: Culture, Creativity, and Rhetoric in Wenxin Diaolong by Zong-qi Cai