analyzes Mao Dun’s fiction in terms of its intellectual and artistic characteristics. The author divides Mao Dun’s fiction into three periods according to the majorevents and struggles of each period,thus revealing ...analyzes Mao Dun’s fiction in terms of its intellectual and artistic characteristics. The author divides Mao Dun’s fiction into three periods according to the majorevents and struggles of each period,thus revealing the historic and social significanceand influence of Mao Dun’s fiction.The author also compares Moo Dun withother writers of his time and demonstrates that Moo Dun’s fiction represented themature expression of revolutionary realism in contemporary Chinese literature.Theauthor also offers a concrete analysis of the structure and style of Moo Dun’s writ-ing within the context of the development of Chinese and foreign literature.Hepoints out that the highly theoretical,naturalistic and sweeping nature of Moo Dun’s fiction was at the same time its strength and its weakness.展开更多
To put the ongoing debate in the philosophy of emotions in a wider context, access to medieval philosophy could turn out to be useful. Huxley＇s ＂Brave New World＂ is a world without history and without strong emotio...To put the ongoing debate in the philosophy of emotions in a wider context, access to medieval philosophy could turn out to be useful. Huxley＇s ＂Brave New World＂ is a world without history and without strong emotions--so let＇s plea for both. The medieval complementarity of intellectus and affectus is an example of the central role of the emotive powers in medieval anthropology. It could be worth discussing even today, as well as the notion ofscientia affectiva. By the way, a Franciscan thinker of the 13th century, Olivi, seems to explain better than Descartes the depths of subjectivity： I think, therefore I am--but I feel, therefore I am I.展开更多
文摘analyzes Mao Dun’s fiction in terms of its intellectual and artistic characteristics. The author divides Mao Dun’s fiction into three periods according to the majorevents and struggles of each period,thus revealing the historic and social significanceand influence of Mao Dun’s fiction.The author also compares Moo Dun withother writers of his time and demonstrates that Moo Dun’s fiction represented themature expression of revolutionary realism in contemporary Chinese literature.Theauthor also offers a concrete analysis of the structure and style of Moo Dun’s writ-ing within the context of the development of Chinese and foreign literature.Hepoints out that the highly theoretical,naturalistic and sweeping nature of Moo Dun’s fiction was at the same time its strength and its weakness.
文摘To put the ongoing debate in the philosophy of emotions in a wider context, access to medieval philosophy could turn out to be useful. Huxley＇s ＂Brave New World＂ is a world without history and without strong emotions--so let＇s plea for both. The medieval complementarity of intellectus and affectus is an example of the central role of the emotive powers in medieval anthropology. It could be worth discussing even today, as well as the notion ofscientia affectiva. By the way, a Franciscan thinker of the 13th century, Olivi, seems to explain better than Descartes the depths of subjectivity： I think, therefore I am--but I feel, therefore I am I.
