What is ＂Chinese Modem Calligraphy＂？ An Exploration of the Critical Debate on Modem Calligraphy in Contemporary China

Since the mid-1980s Chinese calligraphy art has undergone a radical change and has opened itself to experimentation. Nowadays in China this artistic revolution has sparked a vivid debate among the art critics on three main topics： （1） definition of the phenomenon; （2） analysis of its nature; and （3） classification of the artistic production. In this article, all these aspects are analysed in order to give a comprehensive view of the present theoretical discussion and of its future development.

The modem community endowment service policy support system

Population aging is a worldwide problem, with the development of economy, the aging of the population problem of old-age security puts forward a new challenge. This paper on China＇s current pension service policy on the content classification, and summarizes its transformation, finally puts forward several opinions to pension policy reform.

The Profound Influence of Linguistic Change on the Development of Modern Chinese Literary Forms

Literature is the art of language, so in the light of the profound influence of linguistic transformation on the development of modem Chinese literary forms it is appropriate to present the history of the development of modern Chinese literature as the art of language. Modern Chinese literature starts with the linguistic transformation of the May Fourth Movement＇s rejection of classical Chinese and promotion of the vernacular. This language revolution and the transformation of literary language during each subsequent historical period have exerted a profound influence on the overall development of modern Chinese literature, including literary forms, and hence have become an inner source of the development and evolution of modern Chinese literary forms and of the shaping of their main characteristics. An in-depth discussion of the interaction between linguistic transformation and the development of modem Chinese literary forms as well as the roles governing this process will not only disclose the universal linguistic context of literary creation created by the transformation of language but will also enable us to find the historical sources of the phenomena of literary genres and forms, writers＇ choice of literary styles, the formal characteristics of literary works, etc., and will offer a correct explanation and evaluation of the May Fourth vernacular movement and the subsequent series of new literary forms andstyles. This is instrumental to achieving a better summation of the experience and lessons of the development of modem Chinese literary forms and to finding historical clues to the development of our present-day literary forms.

Calligraphy and Modern Chinese Writers

Research on modern Chinese literature has achieved results that have attracted wide attention. However, its state of near ＂saturation＂ has placed it in a dilemma with no clear way forward. Finding new academic growth points has become exceptionally important and urgent. The relationship between the ＂culture of calligraphy＂ and ＂modem Chinese writers＂ is virtually a research blank and has so Ihr attracted regrettably little attention. In fact, many modem Chinese writers have had close ties with calligraphy, making important contributions to its collection, creation and scholarly exploration. Conversely, the culture of calligraphy has exerted a profound influence on such things as the mode of existence, textual forms, emotional expression, ways of thought and aesthetic tastes of modem literature. Moreover, an examination of this relationship may stimulate us to reflect more deeply on literature, calligraphy, culture, education and related issues, which may help us gain a larger space for the development of Chinese culture and literature in the new century.

Philology in Six Categories:A Chinese Perspective

This article serves to analyze the role and history of philology within modern Chinese humanities-based scholarship,using the work of Fu Sinian and the establishment of the Institute of History and Philology as a framework with which to observe the changing status of philology as a practice within contemporary Chinese humanities.Despite its critical function within the Western scholarship and cultural development that inspired modem Chinese scholars as well as its centrality to Fu Sinian’s groundbreaking efforts,philology has been all but ignored in recent years,and its purpose has been rendered niche and peripheral.Additionally,the ambiguity that has surrounded the term“philology”itself since its earliest days within the Chinese academic world has only intensified over time,thereby exacerbating the field's marginalized status.The author's goal is to call attention to the complexity and importance of philology that has been so critically overlooked in recent times by outlining six distinct yet interrelated categories of philology/philological study,ranging from a basic academic“love of words,text,and learning”to a broad life view.By providing a detailed,segmented glimpse into the otherwise vaguely-defined phenomenon of philology,its vital function as mankind’s sole means of comprehending the past is made clear,and a“return to philology”is advocated in order to preserve those specific academic fields that draw their origins from philology and avoid a collapse of scholarly humanities study as a whole.

On the Fate of Traditional Culture in Modern China

Traditional Chinese culture covers a variety of ethical principles and behavioral norms that have arisen from thousands of years of Chinese social life to handle interpersonal relationships in an appropriate way. Such principles and norms are a typical expression of Chinese people＇s wisdom in the analysis of their surroundings. However, traditional Chinese culture also contains some poisonous thinking that has been carefully nurtured by feudal rulers to maintain their power. In the practice of the great social changes of pre-1949 China, after repeated experience, people gained a relatively clear and comprehensive understanding of traditional Chinese culture： it should neither be totally affirmed nor totally rejected. Rather, we should analyze it concretely, endeavoring to separate the dross from the essence. In late Qing and Republican China, traditional culture was continuously handed on and renewed, and this process will be carried on and on.

Zoology, Celibacy, and the Heterosexual Imperative： Notes on Teaching Lu Xun＇s ＂Loner＂ as a Queer Text

This essay reflects on the reception of Lu Xun＇s short story ＂The Loner＂ （Gudu zhe, alternately translated as ＂The Lone Wolf, The Misanthrope,＂ and ＂The Isolate＂） in American classrooms, where students have sometimes wondered whether that character might be read as ＂queer.＂ It suggests that the title character＇s unusual and self-imposed celibacy is probably best explained by his belief, in a very general sense, in the foundational values of zoology as practiced in Japan and China in the late nineteenth and early twentieth centuries, and thus that the story may be a better gateway to understanding the ways in which Lu Xun envisioned the mixed impact of new political economies on private life than a source text for queer studies. At the same time, however, this essay emphasizes that in ＂The Loner,＂ as elsewhere, accounting for the ＂heterosexual imperative＂ of early zoology （e.g., with its emphases on animal husbandry, propagation, reproduction） can have meaningful consequences for ＂queering＂ interpretations of received texts from literature, history of science, and beyond.

Compulsive Repetition of Rupture： Strategies of Representing Trauma

This article focuses on the strategies that literature and cultural criticism adopt to represent trauma in comparison to a current medical definition. The contemporary medical definition, trauma as post-traumatic stress disorder （PTSD）, is the most narrow and specific definition to discuss trauma. The discourse of medicine does not necessarily match those of literature and cultural criticism, nor need they conform to each other. PTSD includes a collection of symptoms, any one of which might not have anything to do with traumatic experience, but which together point with increasing intensity to a psychological syndrome caused by traumatic shock. Although this is historically a recently defined syndrome （1980）, its features had long before attracted attention and been recorded under other terms and diagnoses. Although Chinese literature is only occasionally given to psychological realism, we do find occasional descriptions that strongly suggest aspects of the syndrome. Also, the aims and the needs of medicine and literature or cultural criticism are not necessarily the same, but it is important to explore in greater detail the aims and the needs of literature and cultural criticism.