The meeting discussed the spirit of the Chinese nation embodied in ancient prose, mainly including:
The first is the characteristics and development of ancient Chinese prose. Tan Jiajian (Institute of Literature, China Academy of Social Sciences) believes that the fundamental feature of prose is "prose", that is, it is free and lively, and there are no strict stylistic rules. Secondly, based on practicality, we should seek beauty in practicality and practicality in aesthetics. Thirdly, in the use of language, simplicity, trying to achieve the maximum artistic density with the least number of words. Fourth, value the past and strive to innovate on the basis of inheritance. On this basis, he summarized the classification of ancient prose. Deng (Institute of Literature, China Academy of Social Sciences) believes that we must attach importance to and inherit the characteristics of China's prose, which is conducive to expressing the national spirit and national characteristics. Wu Xiaolin (Chinese Department of China Renmin University) thinks that the characteristics of ancient Chinese are Ming Dow, lyricism, literary style, Shen Feng, layout and rhetoric. Ruan Zhong (China Prose Research Center of Hainan Normal University) believes that the multi-directional flow of ancient prose in development was laid in the special era of Warring States. During the Southern and Northern Dynasties, the prose style and style were basically stereotyped, that is, prose with single sentence pattern and parallel prose. This point was recognized when Han Yu advocated ancient prose in the middle Tang Dynasty, and the evolution period of ancient prose began, which was embodied in ancient prose advocated by Han Yu, spiritual prose advocated by Sanyuan and ancient prose of Tongcheng School. From Korean to Tongcheng School, the latter is not a simple return of the former. Korean is in a relatively free creative state because of its combination of simple sentences and literature and Taoism. Following the Three Principles of Public Security, which are self-centered and temperament-oriented, Tongcheng School pays attention to righteousness and law, and rhetoric does not exclude temperament, which is a new fusion of Korean and Sanyuan styles.
As for the pre-Qin and Han prose, the participants mainly discussed Mozi's prose, Zhuangzi's prose, Confucian classics and Han prose. Yi (China Prose Research Center of Hainan Normal University) believes that the arguments of China's ancient argumentative essays originated from the basic concept of "class", and his way of thinking was analogy. Mozi's prose is representative. Mohist school summed up the systematic argumentation methods, such as reasoning with words, taking advantage of classes, and applying the "three-table method" with classes. Sun (Chinese Department of Anhui University) thinks that Zhuangzi's prose is very inclusive and integrated, which can turn decay into magic. His article "Wang Yang" is bold and unrestrained, peaceful and light, with aggressive momentum in subtle elegance. Shang Xuefeng (Chinese Department of Beijing Normal University) believes that there are two basic characteristics of Confucian classic values. First, they respect the classics and regard them as the basis of all their words and deeds. The second is the pursuit of morality, taking the avenue as its own responsibility, judging the reality with morality, showing unique personality characteristics. The former led the writers of Han Dynasty to take the classics as the paradigm in their creation, relying on the classics to establish their meaning, rather than chasing the secular and obeying the will of authority. The latter, on the other hand, influences writers to pay attention to reality and forge ahead with a strong critical spirit and a cynical attitude. Zhang Xinke (College of Literature, Shaanxi Normal University) believes that Historical Records has permanent charm because it shows the greatness of Chinese national spirit. This includes maintaining unity, worrying about the country and patriotism; Proactive and contribute; Perseverance, overcoming setbacks; Be brave in innovation and revolution; Advocating morality and pursuing independent personality. This of course benefited from Sima Qian's comprehensive understanding of history and profound experience of life and society.
On the prose of Tang and Song Dynasties, the delegates discussed the ancient prose of Tang Dynasty and the prose of Su Shi of Song Dynasty. Sun Changwu (Chinese Department of Nankai University) believes that the ancient prose in the Tang Dynasty is a new manifestation of the ideological movement under the background of the influence of Confucianism, the rise of Buddhism and the collapse of Wang Gang's separatist regime. The ancient prose movement, which is associated with Confucian retro, often embodies the spirit of neo-Confucianism and contains Buddhist content to some extent. Even Han Yu's view of Confucianism and Taoism is different from the tradition of Confucianism and Taoism in Han and Wei Dynasties. He absorbed the Zen thought of Buddhism, enriched his own theory and gained a new ideological realm. The appearance of China's ancient prose meets the general requirements of rationally criticizing Confucianism, Buddhism and Taoism and establishing a new cultural tradition. Xiong (School of Literature, Wuhan University) believes that the ancient prose advocated by Han Yu is a sharp weapon and crystallization of cultural integration. In stylistic theory, the stylistic standard of Han Yu's ancient prose is characterized by functionality and the combination of Tao and rhetoric; In the aspect of personality spirit, Han Yu regards saints as the highest standard, and emphasizes the important role of ancient writers' moral cultivation and personality spirit in ancient Chinese literature. As far as the characteristics of ancient prose creation are concerned, Han Yu is civilized, but he only seeks righteousness and alcohol in his creation. His wild and uninhibited writing style is precisely his self-improvement, self-confidence, integrity, determination and courage. Ada (College of Literature, Hunan Normal University) believes that Su Shi's thought mode and philosophical characteristics are Confucianism-based, active accession to the WTO, harmony without difference, broad-minded and indifferent, and unswerving. It reveals the artistic law of creation by seeking the beauty of things, knowing each other's mouth and hands. In prose theory, Su Shi advocated individuality, originality and diversification, and guided the movement of new ancient prose at that time.
On the prose of Qing Dynasty, the delegates discussed the prose of Fang Bao and Wei Yuan. Xu Fuji (Nanyang Technological University, Singapore) believes that Fang Bao's prose philosophy is: literature can express feelings and aspirations, and it is also a weapon for the author to practice social responsibility; Li Yan and Li De, meritorious service, literary tradition, Taoist tradition; The author should adhere to his own character and literary style, and have both moral cultivation and functional ability. Regarding Wei Yuan's prose, Wu Xiaolin thinks that in his prose creation, Wei Yuan advocates putting practical things into practice, matching literariness and innovation. His insistence on Confucian classics and Taoist thought has profound practical content and new significance. Attaching importance to Shang Hua is to win over China and reality, but also to change, to change the law into the past and to move against the trend. His prose is concise and powerful, but it has amazing power. Tongcheng School's ancient prose prevailed, and Wei Yuan no longer relied on it, but still used and changed its prose features, which had a great influence on the prose in the late Qing Dynasty.
The relationship between China's modern and contemporary prose and the Chinese national spirit involves the following aspects:
Make an overall evaluation or suggestion from both sides first. Yuan Yonglin (College of Literature, Fujian Normal University) believes that China's prose works in today's world, whether in Chinese mainland (especially before the new period), Taiwan, Hong Kong, Macao or overseas, are deeply influenced by China's traditional culture for thousands of years. The history of China's prose in the past half century can be called "the evolutionary history of national cultural character, the evolutionary history and development history of national aesthetic character". Wang Jumin thinks that prose is not only the carrier of inheriting Chinese national spirit, but also an important part of China culture, so he calls for building a new "prose culture" in the 26th century. He concluded that China's prose was born under the agricultural economy and autocratic system, and matured in the hands of feudal bureaucrats and literati, which determined some cultural characteristics of ancient prose or prose culture, such as "anti-modernity" and "self-sufficiency". The so-called construction means making substantial changes in the spiritual structure, and creating the "advanced nature" of "prose culture" in the aspects of openness of implication, realism of conception style, diversity of value orientation, experience of emotional quality, communication of discourse posture and transitivity of language rhetoric.
Secondly, from the perspective of regional culture, this paper discusses the western prose, Beijing school prose and other prose schools. Fan Peisong (School of Literature, Suzhou University) pointed out with the courage of a theorist that "western prose" was the last prose school at the end of the century. This school is composed of Jia Pingwa, Zhang Chengzhi, Zhou Tao, Ma Lihua, Liu Liangcheng, Liu Chengzhang and Yang Wenyu. His prose spirit has three characteristics: first, it shows the superiority of his life spirit; Second, consciously defend the sanctity of marginal culture; The third is to show the unique attitude, values and aesthetics of westerners. Cai Li (School of Literature, Suzhou University) echoed Fan Peisong's theory of "Western Prose" from the perspective of regional comparison of prose. She believes that since the 1990s, the west and the south of the Yangtze River have obviously become "two peaks", the former is characterized by "bravery and generosity" and the latter by "brilliance". Zeng Lingcun (Jiaying University) thinks that "among the contemporary writers in China, Jia Pingwa can be said to be one of the few writers with' feelings at the end of the century'". This is reflected in the word "decadent" which has both modern spiritual and cultural character and modernist art "decadent aesthetic feeling" Wang Zhaosheng (China Social Sciences, China Prose Research Center of Hainan Normal University) made a systematic investigation on Beijing culture and China prose in the 20th century for the first time, saying that China essayists' admiration and attachment to Beijing in the 20th century were manifested in five aspects. Beijing's geographical and climatic beauty, long history and culture, broad and profound mind, free, happy and leisurely lifestyle, dreamy colors and so on. , gave birth to the prose style of calm narration, wonderful artistic conception, poetic language and sincere feelings.
Thirdly, we have a clear understanding of the national spirit in the theoretical criticism of prose. Cai (China Prose Research Center, Minjiang College, Hainan Normal University) specializes in the modernity paradigm of the new prose theory, and thinks that the fundamental drawback of the old prose paradigm lies in the "non-human" literary concept, that is, the concept of "writing carries the Tao" that ignores the subjective value of human beings; The proposal of "human literature" fully affirmed the self-discipline of prose literature and established the theory of prose personality. She especially likes the two characteristics of "beyond reading with a book", which can maintain the free spirit and independent character of prose. Huang Kean (Quanzhou Normal University) criticized Zhu Ziqing, Lu Xun and others for "underestimating the literary value of prose" and found that Xu Zhimo was the first theorist and writer who really "made prose an independent art". He Qifang's proposition that "prose should be an independent creation" and the unique artistic value of "painting dreams" are fully affirmed. Zeng (College of Literature, Sichuan University)' s On the Study of China's Literati Prose points out that Yu Guangzhong put forward the concept of "Literati Prose" for the first time and summarized the essential characteristics of Literati Prose. The second is to affirm Yu Daxiang's achievements in the study of scholar prose in the form of monographs, and he has three theoretical contributions; Third, it is required to conduct scientific research on Yu et al.' s scholars' prose, so as to prevent being impulsive. Bi Guangming (Chinese Department of Hainan Normal University) made a comprehensive and profound rational criticism of Yang Shuo's "peasant care consciousness" and his so-called "poetry" theory from the perspectives of stylistics, aesthetics, literature, politics, peasant care culture and psychology.
Fourthly, pay attention to the unique relationship between Chinese prose in Taiwan Province, Hongkong and overseas and the Chinese national spirit. Li (Hunan Writers Association) believes that the spirit of the Chinese nation expressed in prose is embodied in four aspects: love for hometown, yearning for home, root of culture and knot of words. He emphasized that writing is the carrier of national spirit, and Yu Guangzhong's treasure of Chinese and his attainments and achievements in literary language, including prose creation, are a very important aspect of his promotion of national spirit. Huang Weiliang (Foguang University, Taiwan Province) said that Yu Guangzhong was a writer with strong national feelings. He wrote poems and became a "homesick poet" or a "national poet". Writing prose must be a masterpiece, which is "the first-class prose of China in the 20th century". Yu's recent essay "A Journey to Shandong, Gansu" has reached a new height in the writing of national spirit. Chen Jie is the first person who specializes in Yu Guangzhong's painting or painter's prose. She thinks that Yu Guangzhong's prose writes more images of the sun than the moon, and she is a real male essayist. Huang Guobin (Lingnan University) talks about the excellence of Yu Guangzhong's prose from a unique angle-observation. He said that Yu is very observant, and he can notice things that most people don't pay attention to or pay attention to and their relationships; As a result, there is often a flash of light in my heart, which is declared in my mouth or written in words, becoming humorous and surprising to listeners or readers. Lv Ruohan (College of Literature, Fujian Normal University) discussed the historical contribution of Yu Guangzhong's prose to the modernity of China's prose from many aspects. First, the May 4th prose was criticized earlier, and the plan of eliminating the May 4th classics was implemented. The second is to create a prose full of "magnificent wind" that adapts to the life experience and feelings of modern industrial civilized people; Third, it has its own systematic theoretical proposition on the theme, subject matter, structure, rhythm, grammar and language of prose. The limitation lies in the biased criticism of classics. Henry Hui Wang (China Prose Research Center of Hainan Normal University) thinks that Yu Guangzhong is a generalist who knows both creation and theory, and a true master of prose. Yu has made a unique contribution to the theoretical criticism of prose, and the key words of his prose view are "intellectuality and sensibility". Yu Guangzhong's prose research occupies two commanding heights: first, his cultural and educational background and literary accomplishment in China and the West; Second, his excellent ability of holding poems, writing essays, commenting, translating and editing colored pencils gave him insight into a series of theoretical problems of prose. Yu Daxiang (China Prose Research Center of Hainan Normal University and Chinese Department of Tongji University) put forward the theory of "Han Dynasty Su Feng Haiyu" for Yu Guangzhong's prose achievements for the first time. The so-called "peak" is not only the peak or wave peak related to the sea and tide, but also the peak in the mountain like a wave. There are at least two meanings: one is the description or generalization of Yu prose's tall and straight weather, surging momentum, broad realm and masculinity. Especially, his reckless experimental prose in the early and middle period is full of bold beauty, which is a classic text of China's prose for a century. Second, his inheritance of classical prose, especially Han Dynasty and Su Hai, reached a certain height in a certain period. From Yuan, Ming and Qing dynasties to modern times, there are more romantic lyricism and less arrogance and domineering. This statement caused opposition and debate at the meeting.