requestId:68499aae84fbf2.91619042.
Song Pope’s modern “abstract” – a discussion on “abstract thinking” and a discussion on Song Pope’s book
Author: Zhou Jingyao
Source: Author Authorized by Confucian Network Published
Original from “Chinese Modern Literature Research Journal” No. 3, 2014, published the topic “Song Pen Result of “Abstract Thoughts” and “Song Pen Result of Money Books”, which has been reduced
Time: The little girl from Confucius 2568 sat back on the service desk and started to use short videos. I don’t know what age he saw when he was Dingyou, June 1st, Xinhai
Jesus July 23, 2017
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The Song Pen Book “Song Pen Book” is a Song Pen Book that has the most influence since its founding. It is also a Song Pen Book with the rhythm and changes of the poetry of the money pen book.
When the “Song Poems” was printed again in 1978, the Money Book added a paragraph to the preface:
Mr. Mao Zedong’s “A Letter to Chen Yi” made a clear judgment in the art of modern literary theory: “People should be abstract thinking, and they cannot be said directly like prose, so the two methods of comparing are not enough to be eliminated. … Most people in the Song Dynasty did not understand poetry, but they should use abstract thinking. It is against the Tang Dynasty rules, so it tastes like chewing batter.”[1]
The letter from Mao Zedong to Chen Yi was first published on July 21, 1965 in the “National Daily” at the end of 1977. However, when it was reprinted, he did not explain it. This showed the data that only appeared in 1977 in the 1957 version. The temporal thought of quoting this paragraph is that it may still exist. Researchers have discussed this and [2] will no longer apply. We can’t help but ask, is there any other considerations in the money book besides invoking Mao Zedong for self-protection? In other words, does he really think these words are unreasonable? Do these words seem to be both casual and consistent with their opinion standards? Yu Yingqi’s notes in the article “The Master of Money Books I Know” provided us with a clue to solving this question. In the spring of 1979, the Chinese Academy of Social Sciences sent a representative group to the United States for a visit, and the money was one of the representatives. During this interview, Yu sought answers for questions about “Song Poetry”: “I asked him why “Song Poetry” was criticized. Didn’t it quote “Speak at the Yan’an Cultural Seminar Conference”? He did not directly answer my question. … He only said two points: First, his quote from “Speak” is actually just common sense; second, this is aboutThe brief introductions and introductions of various schools were written by him very carefully. [3] The so-called “common knowledge” roughly refers to the common knowledge that is well-known, and is knowledge that cannot be explained and argued. Since a passage in “Talk” is common, is it common to him also about “abstract thinking”? Yu Yingshi said: “1957 was a year of the “Anti-Rightist Movement”, and he could not quote a few sentences发发发发发‘用’ is a wrig; and his method of citing actually lightly describes the most restrictive, [4] The most important restriction is what money calls “common consciousness”. Then, the passage of abstract thinking should be “common consciousness” in his opinion, and he must have a theoretical understanding of abstract thinking. [5] Since abstract thinking is sure that abstract thinking is the “common consciousness” he can agree with. Then, use abstract thinking to discuss Breeding software In his opinion, the selection criteria of “Song Poetry” and the poems selected based on this standard have potential logic to abstract thinking. In other words, we also need to go further. I ask, how did the abstract thinking be realized in “Song Poetry Notes”? Since it is a “artist of modern literary theory” and that is, the source of purity is from, then when and in what meaning is it prevailing in China as a “artist of literary theory”? Does the money book accidentally participate in the shaping of “abstract”?
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Using “abstract” poems is not only about Song poems, but also one of the important criteria for his discussions on poetry. Facing Song poems, this modern literary theory theory is not only about Song poems, but also about them. The art of the Chinese classical poem was undoubtedly the main color in the process of judging Chinese classical poems. We will see that when judging the abstraction thinking was placed in its poetry field, the Chinese classical poem represented by Song poetry seemed to be “abstract” more than “abstract” in front of the “abstract”, and Song poetry was particularly “abstract”. As early as when he was young, Money Book had similar views on Song poetry. In 1934, he was in C.D.Le Gros In the preface written by Su Dongpo, Clark, he believed that “Song Po is lacking imagination and is memorable and interesting in general.”[6] He chose Song Po to do this with such an impression. He said, “He wrote it very carefully about the small stories and introductions of various schools.” So, his accurate explanation of Song Po is Should you hide here? Is it a response to his late judgment? Is “abstract” also hidden here as a slogan?
In the eyes of the bell, Song Penis’s inability to “abstract” is because of “love to talk about things and discuss things”, that is, Song Penis he once mentioned is successful in “thinking about reason”,[7] He believed that this was a “shortness” of Song Po. Because “the truth is often crude, and the arguments are often old, and they also cost money to write and express the ink”, [8] this conceals the abstractness and concreteness of the poem, and is no different from “the one who speaks in a vernacular way” rather than literary works. In this way, he believed that Taoist scholars in the Song Dynasty “liked to use the ‘words of ‘words’ as a poem”, [10] Most of these poems could not be included in the literature, because “the Taoist scholars should include all the phenomenon settings of the universe and life, and did not have the status of literature in his theoretical system”, so their literary works were just “talks of verbal records” and not real literary works. Real literary works must be based on literature, that is, in the poem, “the proportion of ‘talk records’ is not large, and it is willing to tolerate some silence and slander.” When “when talking about the morals, you can also use clear examples to make abstract things abstract.” [11] And not to mention how the logic of the theory is confused and does not consider the reality of Chinese classical poetry, there is one thing that is clear, so whether he has clear abstractions to discuss poetry. Therefore, the poem “taking poetry as Taoism” and “devoting poetry as Taoism” was the best, and then he replied that “wanting to be a poet and Taoist scholar, eating and staying in the east and retreating to the wolf’s bride”, which was difficult to laugh and be generous. [12] In his opinion, poetry and Taoism were a combination of two evils, and each one was independent of their own strengths. This was obviously a modern gaze guided by the Oriental. The result was that the so-called independent sciences had their own scope. Poems were poetry, and Taoism was Taoism. If you could not act beyond your means, otherwise He no longer has the characteristics that are appropriate in this science. The result is that the sacredness is not the sacredness, and Taoism is not the sacredness. In this way, the sacredness cannot be discussed or discussed. Even if the abstract sacredness is expressed with clear abstraction, it is not considered a “good sacredness” in his opinion.
Furthermore, the Song Dynasty book believes that one of the reasons that influences the “abstract” expression of Chinese classical poetry is the tendency of emotion, which is particularly obvious in Song poetry. What is Song Po’s “emotionalism”? In the eyes of the money book, circulating allusions, using information and copying in the poem is the sentiment of Song poetry, that is, “the book shelf and book books are built into a building, which is to collect the information and verses of the poems from various works of the predecessors, and the poems reproduced from the poems of the predecessors, and the book shelves and books are built into a building. The ivory tower occasionally goes to the ground and storm column in real life, and looks far away from it.”[13] In other words, when writing, poets have a dangerous tendency to believe that “flow” is “source”, and they do not “directly” from their careers, but “mistake copy books as poems.” The result is that “the content becomes thinner and the situation becomes more and more intense.” T
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