Yuwen's: Activate the traditional Chinese "foreign people"

Yuwen Institute, who graduated from Yale, who graduated from the new criticism (later) camp in 1972, obtained a PhD in East Asian Language and Literature. Although the new criticism of the school at that time was small, its rushing charm still affected Yuwen, who was "quickly decided to love with him" after encountering a collection of Chinese poems "White Half". His perception of poetry's excellent insight into the internal structure of the historical appearance, equipped with the theoretical armed for new criticism of the text, so that he dares to accumulate the deeper Tang poetry field in the field of Tang poetry. Essence The doctoral dissertation "The Poems of Meng Jiao and Han Yu" (1975) and the history of "Early Tang Poems" (1977) and "Sheng Tang Poems" (1980), which had a new one at the time, won a remarkable in the Chinese sinology community in the United States. Location. He was only about thirty years old.

More than thirty years later, the academic star of that year had grown into a leader in the Chinese sinny community. So far, there are more than ten monographs and a few papers. He has translated "Wen Xin Daolong" and other important literary theories. The "Selection of Norton Chinese Literature Works", which has been compiled, is a textbook for many Chinese departments in the United States. The Du Fu Shi Translation Conference, which he completed alone, was published this year, which was a incident that could be included in the "historical book" of the Western Sinology community. He also launched the "Library of Chinese Humanities" (Chinese classic library) translation committee in the United States to refer to the famous Lobu series (Latin and Greek classic library). Translation and publishing. This is a long -range and systematic translation plan. At the top and bottom today, I realized how important the "soft power" is, but it is a "alien of the Tang poetry world" (Mr. Yu Wen claims to be self -proclaimed). The inner charm and vastness. At this point, any Chinese who are proud of their own traditions and history should be able to appreciate his deep love for Chinese culture, and to admire his achievements that transcend personal people or fame Culture is the perspective and ambition of "human common property".

Known as the "Masterpiece" "Early Tang Poems" and "Sheng Tang Poems": Try to write new literary history

Yu Wen's famous masterpiece is "Early Tang Poems" and its sequel "Sheng Tang Poems". Mr. Li Zhenhua believes that "Early Tang Poetry" is a "masterpiece" because it first systematically treats the poems of the early Tang Dynasty as a whole; Mr. Fu Xuanzheng is even more promising. The success of these two books is largely due to the author's challenge and abandonment of the concept of traditional literature. He believes that the most important role of literary history is not to arrange famous works by time sequences, but to understand literary practice in the change, and use the author's life scene and literary practice at that time as the context of the famous master. Therefore The history of literature should try to combine specific details with the overall understanding and grasp. Under the support of this conceptual concept of structuralism and historical context, Yuwen's internal research on the new criticism of the style, standards and practice of the times through the two poems of "court poetry" and "Beijing poetry" respectively The concept penetrates the overall structure of the early Tang poems and the Tang Dynasty poetry. In this way, the positions of the four Tang Dynasty, Chen Ziang, Li Bai, Du Fu, and Wang Wei in the history of literature, and their "original nature and degree" And activated the possibility of new interpretation. "Reading in isolation, many early Tang poetry seem to be boring and angry, but when we listen to them in the context of their own times, we will find that they present a unique vitality ... The early Tang poetry is no longer just the Tang Dynasty. In contrast to the foot of the foot, showing its own special beauty. "In contrast, the" Sheng Tang Myth "that Li Bai and Du Fu Shuangfeng are in the opposite are risk of disintegration: they are here: they have arrived The middle and late Tang Dynasty occupied the reader's imagination center. If it was restored to the historical context of the Tang Dynasty, Wang Wei was a real representative figure. He had a huge influence on the secondary poet at the time.

"Recalling" and "Lost Tower" on the side of the side: "Escape" literary history and style "experiments"

If the first century in the 1970s was the academic foundation of Yuwen, which was the first century, then he saw that he was not in the academic rules in the 1980s, and let his poets carry forward. Good scholars' literacy and theoretical critics of the theoretical critics. The two books that are almost unable to classify "Recalling" (1986) and "Langlou" (1989). "Charm" is full, which has greatly overflowed the professional category. The "popularity soaring" among Chinese literature in the 1990s was mostly from these two books, especially "Recalling". His ancient traditions used to be so distant and poetic. Although the theme of the book, the pursuit of immortality and obsession with the past in Chinese traditional culture, the author did not express appreciation. When writing "Recall", Yu Wen's Zhengzheng consciously tried a "anti -system treatment", that is, "putting the history of literature aside, trying to explore the aspects that cannot be explained by literary history in Chinese poetry", that is, it will be mutual. Unrelated works are put together to investigate together, trying to make a single poem and prose glowing vitality; not only that, he also ambitiously experimented with a new style -can "integrate literary, literary criticism, and literary research into "One", that is, incorporate "thinking into literature", because he believes that "literary creation, academic and thought should be combined." The trials of "Recall" have undoubtedly achieved huge success. In the "Three -Unified Edition Foreword" of his translation in this book, he has no dedication to this, and it is quite "self -confessively": "Recalling" is to try English ' The result of prose '(ESSAY) and Chinese -style feelings are caused by mixing. In my academic works, whether in China or in the United States, this book has the most extensive attraction. This' Successful' It is very interesting, because "Recalling" can be said to represent the re -creation of Chinese literary value in an English literature. "The success of" Memories "made him continue to work hard and write it. The fascinated "Lost Tower". In the 1980s, "comparative literature" in the Chinese and Western academic communities, Yu Wen'an has a unique advantage in this regard: he is not only an expert in Chinese classical literature, but also the cultivation of European literature and theory is also too much. Sinologists also have the blog elegance of both China and the West; the comparison of Chinese and Western poetics is also hidden in all his works like grass and snake gray lines, which is probably the subconscious of all the "other" vision. In the "Lost Building" published in 1989, he is like a magician who holds a poetic treasure chest. Through some unique clues, imagery and mother problems, he is full of imaginative and modern Chinese and Western poetry. Together, it is unexpected and seemingly pouring. But his writing goals are extremely simple: "I hope readers can appreciate them together, and at the same time look at every other poem from a new perspective." "Juggling Artists" -Themids are very happy: "Maggies need fun and surprise. We can read Chinese poems and English poems and other European poems with fun."

Gradually opened the "End of the Middle Ages" of the new bureau: "Literature and Culture" and "Tang and Song Change"

"The End of the Middle Ages" published in 1996, instead of continuing his Tang research, it is better to respond to the theory of Tang and Song transformation in the academic circles from the perspective of literature. Research on the transformation of road orientation with cultural history and ideological history. He believes that the middle Tang is a watershed in the history of Chinese history: "The middle Tang is a unique moment in Chinese literature, and it is another new beginning. Many phenomena breeded from the Song Dynasty have emerged in the middle and Tang Dynasty. In many aspects, in many aspects , Mid -Tang Dynasty writers in the Song Dynasty in the spirit of the spirit of the spirit of the spirit of the spirit, instead of the Sheng Tang poet only decades ago. "The staging node about the transition of the Tang and Song dynasties is a hot topic for decades of ideological academic circles. The importance of Tang has attracted more and more attention in the field of ancient literature. The appearance of some characteristics presented by Yu Wen'an on the Tang Dynasty, such as identity consciousness, private space, leisure culture, romanticism, and individual self -emergence, which also shows that his "early modernity" issue is great focus on. In recent years, he has begun to study Ouyang Xiu and other Song Dynasty literature, and has come to Peking University to give a special speech. He has published a paper. Everyone is naturally looking forward to his "Song Research", hoping that he can continue to open territory after "Tang Research". He once joked that he was unwilling to live in the Tang Dynasty, but hoped to live in the Southern Song Dynasty because the life of the Southern Song Dynasty enjoyed too much! It seems that his "from Tang to Song" is not only based on the inner context of academic orientation, but also may have his unique consequences of his scholars' exquisite culture.

The "Literature and Culture" in the deputy book name of this book is also worthy of attention. This concept shows that Yuwen's Zhengzheng tried to break through the classic definition of the "literary history" category and the professional barriers of the internal research of poetry. Large issues such as social history, "Literature History is a narrative of previous literature and culture." The concept of this book borrows the Western "Middle Ages" is to incorporate modernity in the study of traditional literary history from the perspective of comparison between China and the West. After a series of thoughts about the history of literature, and even the editor -in -chief of "History of Cambridge Chinese Literature", all of them were based on the concept of "literature and culture". In the 1990s, Yuwen Institute began to think about the possibility of rewriting the history of new literature. The famous text "The History of Literature of the Falling" was concentrated in this. He called on literary researchers to conduct three levels of self -examination: The first level is the most basic, that is, whether the research paradigm currently used to the current commonly used is invalid, such as whether there is a problem with the literary history divided by dynasties and styles; the second level, whether to examine whether it should have some historical sense and historical imagination, so that can be able Add the category of material, culture and society to the existing objects and areas, and revitalize them to let them present lively historical texture and context; the third level, review some texts (especially before Tang) and To what extent the existing literary history of the literary history is the construction of future generations, reflecting the standards and tastes of future literati scholars? For example, he has studied the rewriting of the history of literature in the early years of the Republic of China. He believes that the knowledge and concepts of "literature", "Chinese literature" and "history of narrative literature" we have now are the products and concepts of the May 4th era. The ideology of the national state ideology. These knowledge and concepts are a shielding of real history, the "end of the past", and the historical construction that needs to be examined carefully.

From the perspective of historical concept or historical writing (the "true face of the past" cannot be objectively reproduced, historical writing is the result of post -human flavor intermediary) challenge to traditional literature history in "Late Tang" (2006), "China)," China), "China) The Genesis of Early Classical Poems (2006) and the History of Cambridge Chinese Literature (Editor, 2010) were present. Of course, challenges will always be resisted and questioned. For example, some people think that it is broken and does not stand, and the history of history, strong postmodern history, deconstruction, and even nihilism, especially from the perspective of material culture and social conditions (the perspective of material culture and social conditions ( Such as the copy of the manuscript, the compilation of the collection and the collection of texts, the spread of text, and the rewriting of the text, etc.) to examine the historical generation of text and the "internal construction mechanism", although the history and traditional multi -faceted and versatile Re -explaining the unlimited space, but the text and origin of Chinese classical poetry before Tang became very suspicious and lacking stability.

The book "The Genesis of Chinese Classical Poems" is "showing the less cute side of literary research: studying the inherent operating mechanism of poetry", that is, he uses the history of our traditional literature through the age, author, theme and style of our traditional literature. Some classic poems with fixed positions have performed "holographic scanning" to find that the existing narrative of the origin of classical poetry (the Han and Wei poetry of the 1-3th century) is the court literati of Qi Liang in the 56th century. Standards screen, make positive and even change products copied by several centuries; and before their work, the text of the manuscript era is also quite unsuccessful, because they are in the case that can be "copied" at will. state! The title of the first chapter of the book "'Han Poetry' and the Six Dynasties" reveals that he has a "destructive power" research essential: the existence of Chinese poems requires quotation marks. We can only know that the "Han Han constructed by the Six Dynasties poetry".

"Late Tang" is the result of his return to literature after many abandonment of literature history, but this time returning is obviously not the simple return of the research paradigm of "Early Tang Poems" and "Sheng Tang Poems" many years ago. Self -criticism of "Early Tang Poetry", he once laughed at "The Early Tang Poems", "Introduce everything in the Tang Dynasty as the pioneer of the Tang Dynasty", and "always try to find a unified phenomenon that can unify all the phenomenon of literary history. Development clues in His Majesty.

Yuwen An Inoue's "Four Tangs" stages, but he divided the Four Tangs into two: Chu Shengtang and the middle and late Tang Dynasty. Therefore, although "Late Tang" has returned to the writing of literary history, it can also be said that in the scope of literary and cultural history, it is also the renewal of the "End of the Middle Ages" in China, and shared the era of "early modernity" in China. The inspection of characteristics and atmosphere, such as poetic creation becoming more and more independent activity fields; the poet fully aware of his professional identity, often addicted to the perfect and pleasant pleasure of poetry, and is committed to collecting and compiling his own collection of poetry. Essence The role of manuscript culture played the role of the circulation and preservation of poetry text, the relationship between the poems between the late Tang Dynasty and the Tang Tang poetry, etc., all received great attention from the author. Nianzi is inseparable from Zi.

Someone has criticized the "Late Tang" "addicted to details", "in the macro field of vision and global grasp seems to be far inferior to the earlier" Early Tang Poems "and" Sheng Tang Poems "." (Zhang Hui) I think "Late Tang is a mixed product of the author's literary history. On the one hand, he has to try new literary and cultural history practice; but on the other hand, he still shares and continues the early "based on the values ​​of the poets, generations, and changes in the early days. The literary history of the literary history of the trend, such as the overall temperament of the "look back" and "nostalgia" of the late Tang Dynasty, and the cover of Li He, Du Mu, and Li Shang into the poetry and the times of the time and the times. The characteristics present in the historical background challenged a lot of traditional concepts, and there are many wonderful conclusions. For example, he said Du Mu: "Li Bai, who is late in many aspects, a poet who shows off and is full of magical, but but But he turned to his heart and sadness. "Li Shangyin" represents a new poem, a poem that can explain but can never fully understand. " The ideal of the history of literature in Yuwen An was finally realized in the "History of Cambridge Chinese Literature" (2010), edited by Mr. Sun Kangyi, but because of the different academic style, this literature cannot be said to History completely reflects his thoughts. The gains and losses of this big book have been published shortly after publishing, and colleagues in related fields in China have commented on this, and they do not repeat them. In my opinion, "History of Cambridge Chinese Literature" is obviously not a perfect, model literary history, but it is indeed the most cutting -edge and most breakthrough exploration of the history of Chinese literature in the Western Sinology community so far. It has the "ambition" and ambitions at the theoretical level of literary history. Essence

It has been nearly half a century in the Chinese classical tradition world of Chinese classical traditions. He talked to people about his life -long career, as if he was still the public library in the small city of Bar, a small city in the United States. He is generally laughing and criticizing his questions and criticism of him (such as text and cultural misunderstandings, European centralism, grafting of Western theories, excessive search for change, etc.), and he is generally laughing and not arguing. We hope that he can dig a new field, stimulate our nerves, and continue to be surprised and curious about our tradition and history. He put forward the following requirements for his academic work in 1988: "You must present some different views from our Chinese peers." This is a very high professional realm. We should pay tribute to the "foreign people" who always look at the past with a new perspective.

Source: Sanlian Academic Communication

Author: Feng Jinhong

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