By Zong-qi Cai
This finished comparative research of Western and chinese language poetics starts with wide examinations of the 2 traditions over greater than and a part millennia. From those parallel surveys, a chain of vital theoretical questions arises: How do Western and chinese language critics conceptualize the character, foundation, and serve as of literature? What are the basic variations, if any, of their methods of puzzling over literature? do we account for those transformations through analyzing Western truth-based and chinese language process-based cosmological paradigms? What are the key exact ideas of literature built inside Western and chinese language poetics? How have those recommendations impacted the improvement of the 2 traditions at a variety of occasions? After contemplating a variety of significant severe texts, Configurations of Comparative Poetics provides daring and cogent solutions to those questions whereas laying off gentle at the targeted orientations of Western and chinese language poetics.
the second one 1/2 the ebook positive aspects 4 comparative case experiences: Plato and Confucius on poetry; Wordsworth and Liu Xie at the inventive approach; the twentieth-century "Imagists" and their past chinese language opposite numbers at the dating of the chinese language written personality to poetics; and Derrida and the Madhyamika Buddhists on language and onto-theology. the writer not just identifies an array of severe matters shared through Western and chinese language critics, but in addition differentiates the conceptual types utilized by every one and lines them to cosmological paradigms.
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Extra resources for Configurations of comparative poetics: three perspectives on Western and Chinese literary criticism
Wellek and Austin Warren’s taxonomic description of form represents the most sophisticated analysis of the ontic truth of literature ever made by the New Critics. Their sweeping attack on all extrinsic studies of literature betokens a broad triumph of New Criticism over other existing theories of literature in the mid-twentieth century. However, Wellek and Austin Warren, in their zealous e¤orts to make New Criticism less polemic and more systematic and scientiﬁc, unwittingly venture beyond the boundaries of New Criticism and embrace two structuralist or quasi-structuralist concepts—the “generality” and the “intersubjectivity” of the ontic truth of literature.
They have gone too far in elaboration. ” They sang the airs of Qi for him. Zha said, “Beautiful! How broad and wide! They are great airs! It was their great ruler who was the exemplary ﬁgure of the Eastern Sea. ” They sang the airs of Bin for him. Zha said, “Beautiful! A grand sweep! They are joyful but not excessive. ” They sang the airs of Qin for him. Zha said, “These are called the sounds of the Xia. Being such, they are great, eminently great. ” They sang the airs of Wei for him. Zha said, “Beautiful!
Taking into consideration the textual and inscriptional evidence just mentioned and the immediate context in which the statement was made, it seems safe to say that the “Shi yan zhi” statement presents a distinctive religious concept of literature. It is marked by a subordination of poetry to music and dance, by a recognition of poetry’s auxiliary role in invoking the numinous spirits, and by an overriding concern with the harmony between the numinous spirits and man. 21 It was to wield an enduring inﬂuence on the development of traditional Chinese literary criticism for one simple reason.