English Abstracts

Semiotic Foundation for the Divergence of and the Mechanics for the Reconstruction & Convergence of Chinese & Western Literary Theory

Ma Dakang

Semiotic Foundation for the Divergence of and the Mechanics for the Reconstruction & Convergence of Chinese & Western Literary Theory

Ma Dakang

Culture is constructed on the synergy of behavioral language and verbal behavior which are the most primary and basic semiotic system, and literature is the outcome of the cooperation and integration of these two behaviors (languages). Moreover, the whole structure is based on the correlation of these two and its tendency de fi nes a nation’s cultural characteristics and thinking style, including the uniqueness of literature and literary theory. Only by a thorough grasp of the whole structure of these two behaviors (languages) can we not only discover the root cause of the divergence of Chinese & western literary theory, but also the mechanism for an integration of these two behavioral languages, thus opening a new road for the construction of contemporary literary theory.

The Connotation of Rhythm: An Art to Keep and Copy Time

Huang Huajun

Abstract: The rhythm in poems is generally regarded as a way to an easy reciting, which almost removes the real spirit implied in rhythm.In fact, the signi fi cant implication of rhythm is that rhythm and metre are a way for human to keep time, with loop back, echoing and repeats to copy lost time. Time is hard to fathom with no trace, and it only exists in human’s happiness and suffering. Rhythm and metre, functioning to keep and copy time, is an art to grasp and copy this happiness and suffering.

Classical Chinese and Li Yue Culture: The Formation and Evolution of Ancient Chinese

Zhang Guo’an

Abstract: Ancient Chinese language is classical Chinese, the most direct demonstration of which is its style. The style of classical Chinese is af fi liated to the rhythm of Li Yue system in the perspective of genology. Classical Chinese originates from wizard language in rituals, and evolves into an obviously independent and successive system with its own shape, character, sound and meaning. The divergence and interaction of spoken language and written language is the inner dynamics for the construction of its style with an tendency to develop spoken into written language,which implies that the application of classical language in speaking is always a problem of integration and transformation of the shape, character,meaning and sound of classic language. Xiao Xue is developed from Jing Xue, while Jing Xue is the application of Xiao Xue, both of which are interrelated to each other. The stylistics is a problem of both linguistics and cultural and political ideology.

Ernesto Laclau: An Appreciation

David Slater (Trans. by Yu Qi)

Abstract: Ernesto Laclau is a highly original thinker and a brilliant scholar. He has an exceptional ability to theorize across disciplinary boundaries, and his landmark intervention provides a source of inspiration across many domains of knowledge. This paper concentrates on four interlinked themes, hoping that they will provide some signposts in probing into some crucial aspects of Laclau’s work. Those four themes are:(a) a reframing of Marxist thought; (b) clari fi cation of political features; (c) the signi fi cance of the new social movements; and (d) connecting the popular with the democratic. Laclau’s remarkable theoretical studies and analytic practices make him one of the key fi gures in “the Essex School of discourse analysis”.

Defending for Shanghai University’s “Chi Hua” by Shao Lizi and Yu Youren

Liu Changlin, Liu Qiang

Abstract: During 1920s, Shanghai University was regarded by imperial nations like British and Japan as the propaganda center of communism for the Communist Party of China (CCP). In the December of 1924, Shanghai Municipal Council went to Shanghai University and found communism propaganda resources, and then arrested Shao Lizi, the acting president of the university. Shao Lizi defended in the court for Shanghai University, denying that Shanghai University had the Communist Party, and claiming for research freedom. After the armed occupation of Shanghai University with students arrested by Shanghai Municipal Council during the May 30th Movement of 1925, President Yu Youren verified the students’ patriotism for their anti-imperialism movement, emphasizing that the movement was a practice of Kuo-ming Dang’s advocation instead of an instigation by the CCP. That they did not openly admit activities of the Communist Party in the university is on the one hand to protect the school and the students, and more importantly is that it was in line with the idea of the Communists on the anti-imperialist and anti feudal issues.

The Research Life of Wu Lifu

Chen Yong

Abstract: Wu Lifu is very learned in Chinese and Western knowledge and is well known in the 20th century as an aesthetician, an art theorist, a translator and a traditional Chinese painter. He writes a lot of books and his academic thoughts are based on historical materialism with a preference for Chinese painting theories and Western literary theories. This paper is a research work about his academic thoughts.

The Application of the Concept “Integration of China and the West” in Art Education:A Case Study of Hangzhou National College of Art

Lü Hongliang

Abstract: This article is devoted to the study of the application of Cai Yuanpei’s “aesthetic education” by Hangzhou National College of Art and its “inclusive” concept in art education in the period of the Republic of China. The college transplants Western arts into the knowledge system,skill system and creative system of art education, constructing a special tradition in integrating Chinese and Western arts and making new arts. The educational concept and practical experience should be continued and developed.

To Be Not Foreign But New: A Dialogue with Wang Jieyin

Wang Jieyin, Wang Chunjie, Xia Cun

Abstract: Every creation of a painter is an expression of the heart, and the painter always seeks for his own form of painting. Painting tools and materials serve the expression, while all tools can be used as long as it is helpful for a painter’s expression. How to make the work “not foreign” but “new” means that we should maintain the spirit and temperament of Chinese painting instead of super fi cies. Chinese cultural spirit and temperament are manifested as a kind of attitude, belief and a kind of will to nature and life, and it is closely related to generations of Chinese people’s living activities.

Difference between Outsiders and Insiders: Two Modes of Writing about “Cultural Revolution” (Ⅰ)

Tao Dongfeng

Abstract: This article identi fi es two modes of writing about the “Cultural Revolution”, represented by Wang Meng’sBolshevik SaluteandThe Butter fl y, Cong Weixi’sThe Blood-Stained Magnolia beneath the Wall, as well as Yang Jiang’sSix Chapters from My Lifeand Zheng Nian’sLife and Death in Shanghai. As revolutionary insiders, Wang Meng and Cong Weixi could not go beyond the revolutionary organization and ideology they have pledged their loyalty to when recounting their experiences of the “Cultural Revolution”. Neither could they keep distance from the subject matter of their writing with a narrative technique that bears the tendency for hyper-lyricism of revolutionary aesthetics. Yang Jiang and Zheng Nian, however, have managed to break away from the ideological constraints of the Communist Party of China in their personal memoirs because they are nonparty members and revolutionary outsiders. Both writers adopt the point of view of a bystander and pay heed to emotional restraint in their storytelling. The calmness and ease of their works stand in sharp contrast with the Scar Literature.

Absent Ego: Discourse Generation of Collective Statement in Tharlo

Wang Daqiao, Jiang Xue

Abstract:Tharlois the latest movie works of Pema Tseden, a Tibetan director. Although this movie is named after the hero and the story centers around him too, Tharlo is not a fi ctional story of the private memory but a collective narrative of cultural identity anxiety for Tibetan community. The creator deconstructs the private property of the hero by producing crisis situation and symbolic representation system. Therefore,Tharlo achieves the homogeneity of private affairs and public affairs and creates the collective narrative. This article expounds the discourse generation of collective statement by text-analysis on the movie.

Review on Journey of the Universe

Lu Shuyuan, Wang Zhaoyi

Abstract: The ecologic documentary fi lmJourney of the Universeweaves a tapestry that draws together the birth of the universe with emergence of mankind, cosmic order with the existence of humanity and the destiny of nature with the fate of mankind. It is a brand-new way of thinking, one that is driven by the ecological world outlook. Just as P. Teilhard de Chardin predicts in his late years that a high speed of socialization has already woven human on the earth into a network of organic connection, and that we should establish “a new theory of earth ethics”—this is the leading idea of the fi lm. The problem in “journey of the universe” is also about “the ultimate combination of heaven with man” in Chinese ancient philosophy which is manifested by ideas of “Tian Ren Yi Qi”, “Qian Fu Kun Mu” and “Min Bao Wu Yu” re fl ecting the comprehensive thinking of heaven, destiny, human life and the times. The fi lm author sincerely hopes to create a new ecological ethics with the spirit of oriental ancient eco-culture to save the crisis of modern civilization.

A Review of the Development of Cultural Creative Industry of the Museum

Chen Lingyun

Abstract: In mainland China, the number of research on the development of cultrual creative industry in the museum continues to grow,expanding the scope of attention, but compared with Europe and Taiwan of China, there is still a considerable gap in the depth of the research.This paper sorts out and summarizes the research of the development of cultural creative industry in the museum, in order to grasp the situation and theoretical research in this dynamic fi eld, providing ideas for the rapid development of cultural creative industry in the museum in China.