Emotion-Intention Criticism and Chinese Literature
Study
Introduction
Hsing-Chien
Che (Professor, Department of Chinese Literature, National Chengchi University)
Invited Article
1. The
Sensuscommunis of Being and the Metaphorical Expression of Political-Bildung
Ideology: Exploring Emotion-Intention Criticism and the Effectiveness of
Reflexivity Interpretation of Chinese Classical Literature
Kun-Yang
Yen (Professor, Department of Chinese Literature, Tamkang University)
Special Issue Article
2. From
Emotion-Intention Criticism to Hermeneutics of Authorial Intention
Hsing-Chien
Che (Professor, Department of Chinese Literature, National Chengchi University)
3. A
Discussion about Emotion-Intention Criticism
Hsin-Yang
Lai (Adjunct Assistant Professor, Department of Chinese Literature, National
Taipei University)
4. A
Study on the Poetic Topic of the Dialectical Relationship between Wen and Qing
by the Revivalist in Ming Dynasty
Ying-Chieh
Chen (Assistant Professor, Department of Chinese Literature, National Chengchi
University)
5. An
Introductory Study of Yao Wenxie’s Emotion-Intention Criticism in Anthology of Changgu’s Poems
Pei-Chi
Chen (Adjunct Assistant Professor, Center for General Education, Providence
University)
Research Article
6. Anxiety
of Vocalization and Writing Strategies of China’s Contemporary Poetic History
Tah-Wei
Chan (Professor, Department of Chinese Literature, National Taipei University)
Invited Article
The Sensuscommunis of Being and the Metaphorical
Expression of Political-Bildung Ideology: Exploring Emotion-Intention Criticism
and the Effectiveness of Reflexivity Interpretation of Chinese Classical
Literature
Kun-Yang
Yen (Professor, Department of Chinese Literature, Tamkang University)
There are two fundamental critical styles in classical Chinese
literature field. One is Emotion-Intention Criticism, and the other is
Stylistic Criticism, Six Dynasties.
Significantly, Emotion-Intention Criticism has the ontological
characteristic. Its prior meaning does not lie in the constructing an objective
knowledge framework that can prove right from wrong, but the critics can obtain
a subjective viewpoint on “The Effectiveness of Reflexivity Interpretation”: through
Interpretation, the ancient literati obtain a sense of “Sensuscommunis” with
the author, and then address their “Political-Bildung Ideology” in a
metaphorical way. It shows the literati’s caring for the value of ‘Being’ and
their criticism toward the political and bildung at that time.
The Emotion-Intention Criticism indeed has the composition of
epistemology, but the significance of ontology outweighs epistemology in terms of
importance. Therefore, how we comprehend the meaning of ontology while
combining the knowledge construction of epistemology? This should be an
important issue we should pay more attention to in further research.
Keywords:
Emotion-Intention Criticism, Stylistic Criticism, The Sensuscommunis of Being,
Political-Bildung Ideology, the Effectiveness of Reflexivity Interpretation
Special Issue Article
From Emotion-Intention Criticism to Hermeneutics of
Authorial Intention
Hsing-Chien
Che (Professor, Department of Chinese Literature, National Chengchi University)
The Emotion-Intention Criticism has long been the main approach in Chinese
classical literature criticism, on which Professor Kun-Yang Yen has fruitful
discussion. Responding to Yen’s research, this article states not only his
discourse, but also applies the classical hermeneutics to enrich the criticism theory.
In order to clarify and intensify the academic context.
The article has two main parts. In the first part, we look into
Yen’s statements, including the two sub-types of Emotion-Intention Criticism,
and the method and practice of it. In the second part, we use the classical
hermeneutics as framework to look into Emotion-Intention Criticism. Besides
investigating the possibilities of Hermeneutics of Emotion-Intention, with
regards to its method and validity. In this study, we go through the process
from literature criticism to literature hermeneutics, from Emotion-Intention
Criticism to Hermeneutics of Emotion-Intention, and finally, from Hermeneutics
of Emotion-Intention to Hermeneutics of Authorial Intention.
The article intends to split Hermeneutics of Emotion-Intention from Emotion-Intention
Criticism as a separate entity and can be amplified to apply to all humanities
science works as a new aspect of Hermeneutics of Authorial Intention.
Keywords:
literature criticism, Emotion-Intention Criticism, Hermeneutics of Emotion-Intention,
classical hermeneutics, Hermeneutics of Authorial Intention
A Discussion about Emotion-Intention Criticism
Hsin-Yang
Lai (Adjunct Assistant Professor, Department of Chinese Literature, National
Taipei University)
Emotion-Intention Criticism has been used in the academic field as a
term in Chinese Literary Criticism for more than twenty-five years. The term
was first derived from Professor Kun-Yang Yen, and was then separately applied as
the fundamental method to approach Chinese Literary Studies, significantly influencing
the concept, cognition, and interpretation of Chinese literature.
This paper inspects the validity of the name “Qing Zhi”, while
discussing its definition and categorization in Chinese Literary. The practice
of Emotion-Intention Criticism is to “understanding authors’ aspirations
through universal idea” and “understanding the authors by investigating the
period in which they lived”. This article analyzes the meaning and form
demonstrated in Mencius. Moreover, the content and analysis proves that the
methods and the concepts used by interpreters in the Han Dynasty. Lastly, with
regards to Yen’s statement about Mencius’s interpreting methods on poetry, the
article clarifies the misunderstanding and misuse of Emotion-Intention Criticism.
Through additional research and analysis, it becomes apparent that
the interpreters in the Ming and Qing Dynasties had not paid due attention to “human
feelings are similar”. Mencius’s methods on interpreting poetry had been transformed
into a historical research method after several dynasties. Therefor, limitations
on its application have become apparent. Interpreters should be aware of these
limitations in order to interpret works more precisely. Yen has criticized and
revised Mencius’s methods in his work; he also proposes restrictions to Emotion-Intention
Criticism to be applied as a set of rules.
Keywords:
Emotion-Intention Criticism, Intention, Move Toward, Knowing the Authors,
Investigating Authors’ Era
A Study on the Poetic Topic of the Dialectical
Relationship between Wen and Qing by the Revivalist in Ming Dynasty
Ying-Chieh
Chen (Assistant Professor, Department of Chinese Literature, National Chengchi
University)
Wang Shi-zhen highlights the statement of “Qing as the source of
Wen” and “Wen as the source of Qing” in his book Yi Yuan Zhi Yan. The dialectical relationship of Wen and Qing in
his view, in fact, involves the revivalists in the Ming Dynasty; and how the
revivalists approach the topic of aesthetic experience from the readers’ perspective.
This article will present a systematic study for the above topic.
Through the results of further research, we begin to understand that
“Qing as the source of Wen” is related to the origin, nature, and aesthetic
effects of poetry. “Wen as the source of Qing” involves the reading and
appreciation of poetry. After the revivalists viewed poems through the lens of
the readers and having obtained aesthetic experience, they were then inspired
to write poetry of their own. This phenomenon explains the importance of two
issues: “Poetry Interpretation” and “the Mimicking of Ancient Poets”. The
revivalists apply the interpretation of aesthetics in the understanding of
poetry. They had also mimicked and learned poetry from the perspective of Qing.
Through this article, we will be able to comprehend the revivalists’ poetic
concept.
Keywords:
the Revivalists in Ming Dynasty, the Dialectical Relationship of Wen and Qing,
Aesthetic Experience, the Read Orientation of Aesthetic, Mimicked and Learned
Poetry from the Perspective of Qing
An Introductory Study of Yao Wenxie’s Emotion-Intention
Criticism in Anthology of Changgu’s Poems
Pei-Chi
Chen (Adjunct Assistant Professor, Center for General Education, Providence
University)
Yao Wenxie (1628-1692), in his Anthology
of Changgu’s Poems, proposed two ways of analyze the poems of Li He
(790-816). One way is to read Li’s poems as “shishi” (poetic history), and the
other is to propose that to explain Li’s poems one must impersonate Li, be him,
body and mind. Yao regards Li as a historic poet, whose poems contains hidden
message like loyalty, love, and irony. That viewpoint dominates his annotations
of Li’s poems, with abundant historical references in his notes. In Anthology of Changgu’s Poems, Li is
constructed with Yao’s extremely stereotypical imagination due to his theory of
physical and intellectual impersonation. Yao’s method of annotation and
viewpoint to Li produces so-called “synoptic annotation” in this paper. This
kind of annotative language generally regards Li’s poems as works alluding to
realistic or parodic background events. In spite of the obvious absurdity in
the approach, this paper intends not to criticize the validity of Yao’s
criticism but to, from the perspective of Emotion-Intentional Criticism, investigate
Yao’s understanding of Li’s emotion-intention (qingzhi) and how he manipulated
and applied his viewpoint as an author.
Keywords:
Li He, Yao Wenxie, Anthology of Changgu’s
Poems, Emotion-Intention Criticism
Research Article
Anxiety of Vocalization and Writing Strategies of China’s
Contemporary Poetic History
Tah-Wei
Chan (Professor, Department of Chinese Literature, National Taipei University)
By exploring anxiety of vocalization in poetic history among China’s
contemporary poets, this article intends to inspect the ambition embraced by
poets towards the canon and also the formal poetic history (as source of anxiety),
based on the discussion of “Rewriting Literary History” column published
separately on magazines namely the Shanghai’s Literary Theory and Today in
succession, along with subsequent books of unofficial nature compiled by the
young poets. Hereby, writing strategies of several academic monographs of
poetic history shall be discussed, at the same time the preferred panoramic
style of writing and another landscape style of writing fulled of storytelling
are also been analyzed.
Keywords:
Contemporary Poetry, Anxiety, Landscape, Writing Strategies
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