访谈按语:钱南秀①是美国名校莱斯大学(Rice University)中国文学教授,于南京大学获得文学硕士学位(1982),在耶鲁大学获得博士学位(1994)。钱教授的研究兴趣包括中国古典文学、中国思想史、比较文学及中国文化在东亚(汉文化圈)的接受。...访谈按语:钱南秀①是美国名校莱斯大学(Rice University)中国文学教授,于南京大学获得文学硕士学位(1982),在耶鲁大学获得博士学位(1994)。钱教授的研究兴趣包括中国古典文学、中国思想史、比较文学及中国文化在东亚(汉文化圈)的接受。她以中英文发表了数量众多的优秀著作与文章,代表作有《晚清中国的政治、诗学与性别:薛绍徽及其戊戌诗史》(Politics,Poetics,and Gender in Late Qing China:Xue Shaohui(1866‒1911)and the Era of Reform,2015)、《中古中国的精神与自我:〈世说新语〉及其仿作研究》(Spirit and Self in Medieval China:The Shih-shuo hsin-yüand Its Legacyb,2001)等。展开更多
For too long the specter of Darwinism has haunted the narrative of Chinese literary history. It is told as a story of ＂evolution,＂ a triumphant confluence of folk and vernacular literature, along a chain of genre de...For too long the specter of Darwinism has haunted the narrative of Chinese literary history. It is told as a story of ＂evolution,＂ a triumphant confluence of folk and vernacular literature, along a chain of genre development from dynasty to dynasty. The 1917 New Culture Movement is seen as the teleological end of this evolution. Accordingly, vernacular literature has been taken to represent literary modernity, hence enjoying a monopoly in academic research. Classical-style poetry that continued to be written in the twentieth-century has been almost entirely neglected. Generations of writers produced verse in various classical-styles and genres over the last century. Many poets, known for their vernacular verses, turned to traditional forms and expressions, especially in moments of hardship or distress, to reinvent a voice or to find an emotional outlet. Little of their endeavor, however, has been honored by literary historiography. It is true that the winner writes history. But it is a scholar＇s obligation to address selective cultural amnesia.展开更多
文摘访谈按语:钱南秀①是美国名校莱斯大学(Rice University)中国文学教授,于南京大学获得文学硕士学位(1982),在耶鲁大学获得博士学位(1994)。钱教授的研究兴趣包括中国古典文学、中国思想史、比较文学及中国文化在东亚(汉文化圈)的接受。她以中英文发表了数量众多的优秀著作与文章,代表作有《晚清中国的政治、诗学与性别:薛绍徽及其戊戌诗史》(Politics,Poetics,and Gender in Late Qing China:Xue Shaohui(1866‒1911)and the Era of Reform,2015)、《中古中国的精神与自我:〈世说新语〉及其仿作研究》(Spirit and Self in Medieval China:The Shih-shuo hsin-yüand Its Legacyb,2001)等。
文摘For too long the specter of Darwinism has haunted the narrative of Chinese literary history. It is told as a story of ＂evolution,＂ a triumphant confluence of folk and vernacular literature, along a chain of genre development from dynasty to dynasty. The 1917 New Culture Movement is seen as the teleological end of this evolution. Accordingly, vernacular literature has been taken to represent literary modernity, hence enjoying a monopoly in academic research. Classical-style poetry that continued to be written in the twentieth-century has been almost entirely neglected. Generations of writers produced verse in various classical-styles and genres over the last century. Many poets, known for their vernacular verses, turned to traditional forms and expressions, especially in moments of hardship or distress, to reinvent a voice or to find an emotional outlet. Little of their endeavor, however, has been honored by literary historiography. It is true that the winner writes history. But it is a scholar＇s obligation to address selective cultural amnesia.
