Rejection and denunciation of the poetics of ＂yanzhi＂ （literally ＂expressing one＇s thought or ideals＂） was once a marker of Chinese literature＇s modem transformation. However, right from the beginning of May F...Rejection and denunciation of the poetics of ＂yanzhi＂ （literally ＂expressing one＇s thought or ideals＂） was once a marker of Chinese literature＇s modem transformation. However, right from the beginning of May Fourth new literature, the poetics of ＂yanzhi＂ was not only not cast out of the aesthetic canon of modem Chinese literature but was, on the contrary, legitimately transmitted via Western discourse. Whether modem Chinese writers were expressing enlightenment ideas of saving the nation or voicing their personal feelings for their country and their people, they remained convinced that ＂zhi＂ was ＂feelings＂ writ large and ＂feelings＂ were a lesser form of ＂zhi.＂ Specifically, the school stressing the idea that ＂literature expresses thought＂ advocated utilitarian literary creation and returned to the traditional Chinese poetics of ＂yanzhi＂ by replacing ＂feelings＂ with ＂zhi.＂ Those stressing the idea that ＂literature expresses feelings＂ advocated writing with genuine emotion; they went on to express ＂zhi＂ via ＂feelings,＂ thus returning to the traditional Chinese way of thought. Both the theory and practice of modem Chinese literature have a strange ＂Western＂ tint. Nevertheless, this literature＇s essential character of ＂reinterpreting the ＇dao＇ （way）＂ and sophisticated ＂expression of thought＂ or ＂yanzhi＂ indicate its value identification withtraditional culture rather than the simple abandonment of ＂tradition＂ in pursuit of ＂the West.＂展开更多
文摘Rejection and denunciation of the poetics of ＂yanzhi＂ （literally ＂expressing one＇s thought or ideals＂） was once a marker of Chinese literature＇s modem transformation. However, right from the beginning of May Fourth new literature, the poetics of ＂yanzhi＂ was not only not cast out of the aesthetic canon of modem Chinese literature but was, on the contrary, legitimately transmitted via Western discourse. Whether modem Chinese writers were expressing enlightenment ideas of saving the nation or voicing their personal feelings for their country and their people, they remained convinced that ＂zhi＂ was ＂feelings＂ writ large and ＂feelings＂ were a lesser form of ＂zhi.＂ Specifically, the school stressing the idea that ＂literature expresses thought＂ advocated utilitarian literary creation and returned to the traditional Chinese poetics of ＂yanzhi＂ by replacing ＂feelings＂ with ＂zhi.＂ Those stressing the idea that ＂literature expresses feelings＂ advocated writing with genuine emotion; they went on to express ＂zhi＂ via ＂feelings,＂ thus returning to the traditional Chinese way of thought. Both the theory and practice of modem Chinese literature have a strange ＂Western＂ tint. Nevertheless, this literature＇s essential character of ＂reinterpreting the ＇dao＇ （way）＂ and sophisticated ＂expression of thought＂ or ＂yanzhi＂ indicate its value identification withtraditional culture rather than the simple abandonment of ＂tradition＂ in pursuit of ＂the West.＂
