The relationship between four elements can form a triangle. (the work is the center, and the other three elements radiate outward. Almost all theories obviously tend to have only one element. According to one of the elements, the main categories of works of art are defined, divided and analyzed, and the main criteria for judging the value of works are generated. Therefore, these attempts can be roughly divided into four categories by using this triangle diagram: three categories mainly explain the work with the relationship between the work and another element (society, appreciator or artist), and the fourth category studies the work as a self-contained body in isolation.
In Mirror and Lamp, ehrlich put forward four literary elements: author, universe, readers and works;
"Every work of art always involves four points, and almost all theories that strive to be thorough generally distinguish these four elements, which makes people clear at a glance. The first element is the work, which is the art itself. Because works are man-made products, the second factor is the producer, that is, the artist. Third, it is generally believed that a work must have a theme directly or indirectly derived from real things-it always involves, expresses, reflects some objective state or something related to it. This third element can be considered to be composed of characters and actions, thoughts and emotions, matter and events or feelings. It is usually expressed by the general word' nature', but we might as well use a neutral word with a wider meaning-universe. The last element is the appreciator, that is, the audience, the audience and the reader. The work is written for them, or at least it will attract their attention. " This statement is still in use today.
Mirror and lamp has universal guiding significance and value to our literary theorists today, which goes far beyond his exposition of romantic literary theory itself. This significance is reflected in his four elements of literary criticism to a greater extent, namely, society, works, artists and appreciators. Together, these four elements can almost cover the critical characteristics of various theoretical schools in the history of western literary theory, so that people who have dabbled in the field of western literary theory will soon have a general outline of the historical evolution, school disputes and their current situation of western literary theory. Among these four elements, the work is undoubtedly the center, which also reflects that the author's critical position is always closely related to reading literary works, which is why he uses the meta-criticism method of deconstruction to demonstrate, and all kinds of formalism criticism theories focus on one aspect most closely related to the work.
The relationship between the work and the work itself may be the focus of lyric poetry works that get rid of the big social and cultural context and devote themselves to expressing pure personal feelings and aesthetic ideals. To the authors of those works, literary works are regarded as closed objects of complacency, which seems to have nothing to do with the outside world. Almost all writers' creations are based on the purpose of "art for art's sake", and these works are often regarded as "texts" that have been read repeatedly by critics and critics in Britain and the United States.
As for the relationship between works and appreciators, it was highly valued in early pragmatic criticism, but emphasizing the role of readers in the process of criticism and pushing it to the extreme was a great contribution of accepting aesthetics and reader's response criticism in the second half of the 20th century. In the postmodern literary theory, the reader himself has the right to actively and even creatively interpret the text, and a work that has not been read and appreciated by the reader-appreciator can only be regarded as a "text" woven by language symbols, and can only be completed after the reader reads and explains its meaning, so the participation of the reader-appreciator actually forms a "second creation" of the work.
As for your homework, you need to give a literary work as an example. In short, from the perspective of "society", you need to analyze the social background of this work, that is, the causes; From the author's point of view, we should analyze the author's psychology, his life experience, or his world outlook and values; From the perspective of "works", we need to analyze the shelf structure of the text, and from the perspective of "readers", we need to analyze the psychology of the recipients. This is a model essay for you:
On A Dream of Red Mansions from the Four Elements of Literary Criticism in Mirror and Lamp
The general theme or theme of A Dream of Red Mansions should reflect the psychological imbalance and inner anguish of male literati under the special social background at that time through the unique literary technique of "worshiping women and restraining men".
A Dream of Red Mansions is a fantastic book in the history of China literature and even culture. It is strange because there is no second work in the world literary world that is as mysterious as it is, so that although it will not be published for more than 300 years, even after more than a century of research by experts and scholars, it is still impossible to determine 100% who its author is. What is the real theme?
Best of all, the Dream of Red Mansions also gave birth to the Dream of Red Mansions, which supported a large number of experts and scholars who earned their living by it and were euphemistically called "Dream of Red Mansions". This is probably rare in the world literary world, and it is probably not an exaggeration to say that it is the ninth miracle that China contributed to the world after the Terracotta Warriors. In fact, A Dream of Red Mansions is indeed a wonderful work in China's modern and contemporary academic history, and it is even praised by scholars as being on a par with Oracle Bone Inscriptions or Dunhuang studies. (Note 1)
A Dream of Red Mansions, as a specialized subject, will naturally have academic disputes, so from the day it was born, there were opinions of different schools and factions. According to the general classification, "redology" can be divided into three schools: textual research school, textual research school and literary criticism school; According to the classification of Redology Zhou, Redology can be divided into four branches: edition, exploration and lipology. (Note 2) I believe there are other classifications, but the author has a little knowledge and has not seen relevant information for the time being. In any case, it is enough to show that A Dream of Red Mansions is composed of different schools.
It is a good thing that there are different schools in a subject, because only different viewpoints can lead to arguments, and arguments can further promote the development of the subject. It's a pity that the opinions of redologists are too profound. Sometimes, in order to defend the purity of "imitation of law", they do not hesitate to criticize the views of other scholars in the way of the Cultural Revolution. Ouyang Jian, a novelist in China during the Ming and Qing Dynasties, began to question the authenticity of Pangping from the perspective of typology, and was besieged and banned by mainstream red scholars.
Ouyang Jian aroused their extreme disgust, mainly because his research results fundamentally shook the theoretical basis of the research school A Dream of Red Mansions initiated by Hu Shi, and most of these mainstream dreamers were disciples of Hu Da. (Note 3)
If they accept Ouyang Jian's point of view, it doesn't mean that the research results they have worked hard for most of their lives are a pile of waste paper with no academic value! Since they can't show enough moral courage to deny themselves, they can only deny others. In this way, A Dream of Red Mansions becomes a Dream of Red Mansions, and Ouyang Jian, the enemy of a Dream of Red Mansions, naturally becomes the object of dictatorship of a Dream of Red Mansions and must be criticized. From 65438 to 0994, the Seventh National Symposium on A Dream of Red Mansions was held in Laiyang, Shandong Province, which became a unique "critical conference" carefully arranged by the people of A Dream of Red Mansions. (Note 4)
I don't mean to comment on right or wrong, but I just want to explain a problem, that is, this debate about A Dream of Red Mansions has gone beyond the academic scope and turned into a passionate debate, which is sad. The fundamental reason is that the mainstream Chinese mainland redologists are so superstitious about autobiography that they can't stand the subversive impact. In fact, as early as 1930s, Yu Pingbo, who founded the new Dream of Red Mansions with Hu Shi, felt that it was inappropriate to overemphasize "autobiography" and thought that Dream of Red Mansions was a novel after all. Unfortunately, the view that A Dream of Red Mansions is Cao Xueqin's family affair has been deeply rooted in people's hearts. Although Yu Pingbo himself has repeatedly called for getting out of Hu Shi, it can't change a Reddit habit.
Redology research is the right way only if it returns to the road of literary criticism or literary research. Only in this way can the study of a dream of red mansions have a healthy, comprehensive and brand-new development, and it is not necessary to start with the historical textual research of modern dream of red mansions, as Yu Yingshi said. (Note 5)
Abrams, a British scholar, in his masterpiece Mirror and Lamp —— Romantic Literary Theory and Criticism Tradition, frankly criticized the prevailing methods in the western literary criticism circle at that time: "Until a few decades ago, the discussion of aesthetic issues in modern aesthetics was based on the relationship between art and artists, regardless of the relationship between art and the outside world, the appreciator and the inherent requirements of works." I think this exposition of Ai is also quite appropriate to describe the present situation of redology research.
In Mirror and Lamp, ehrlich put forward four literary elements: author, world, readers and works;
"Every work of art always involves four points, and almost all theories that strive to be thorough generally distinguish these four elements, which makes people clear at a glance. The first element is the work, which is the art itself. Because works are man-made products, the second factor is the producer, that is, the artist. Third, it is generally believed that a work must have a theme directly or indirectly derived from real things-it always involves, expresses, reflects some objective state or something related to it. This third element can be considered to be composed of characters and actions, thoughts and emotions, matter and events or feelings. It is usually expressed by the general word "nature", but we might as well use a neutral word with a wider meaning-the world. The last element is the appreciator, that is, the audience, the audience and the reader. The work is written for them, or at least it will attract their attention. " (Note 6)
As no scholar can surpass the fifth element put forward by Ai Shi, the author will examine A Dream of Red Mansions from these four aspects. I don't expect to put forward any earth-shattering views, but I just want to sort out the complicated study of a dream of red mansions.
The Works and Forms of A Dream of Red Mansions
The first thing to look at is the work itself. This belongs to the category of literary essence theory, which studies the problems of works and forms.
Western literary theories in the 20th century paid special attention to the study of the relationship between works and forms. One of the important schools put forward the viewpoint of literary ontology. Lanson, the representative of American New Criticism, argues that the noumenon of literary activities lies in literary works rather than the outside world or the author, and noumenon works only refer to the form of works, that is, language or rhetorical factors such as muscle, metaphor, ambiguity, context and irony. (Note 7)
Compared with other classical novels of China, A Dream of Red Mansions is unique in that it is full of riddles and metaphors. Therefore, it is right to study A Dream of Red Mansions with the method of literary ontology.
As far as I'm concerned, most of the literature on Dream of Red Mansions starts with textual research, that is, the so-called "Cao Xue", and also uses psychoanalysis to study characters, rarely using formal criticism. There are only two books on their desks-Dream Analysis of A Dream of Red Mansions by Taiwan Province scholar Wang and Philosophical Spirit of A Dream of Red Mansions by mainland scholar Mei Xinlin.
Both books are Li Wei's? Strauss's mythological structuralism tries to clarify the possible meanings behind various metaphors in A Dream of Red Mansions, and then reveals the essence of the work. The difference is that Wang adopted the method of combining structuralism with narratology, while Mei Xinlin adopted the method of transforming structuralism into deconstruction.
Both scholars believe that the mother embryo of A Dream of Red Mansions is the ancient myth of Nu Wa, and both advocate that the structure of the work consists of two realms: immortal and mortal, and both agree that there is a narrative process from immortal to mortal and then back to immortal. The difference is that although Wang mentioned that the vast number of Zen masters and ethereal real people are the key figures to bring stones down to the world and finally bring them back to the celestial world, and they are the patrons of psychic Baoyu on earth, they stayed in the classical myth structure of binary opposition and did not raise the existence of "one monk helping the other" to the theoretical level; Mei Xinlin, on the other hand, added an intermediary between the subject (the mortal world) and the mother (the celestial world) (with "a monk sharing" as the intermediary, and "one chastity and one armor" as the intermediary), and established a triple compound model of "thinking of the mundane", "realizing the Tao" and "wandering the immortals", thus demonstrating that A Dream of Red Mansions has the elegy of a noble family and the elegy of secular life. (Note 8)
The author thinks that the western formal criticism theory can open up a broad new world for the study of redology, and it should be one of the main directions of redology research in the 2 1 century. However, it should also be noted that China literature, especially classical literature, has its nationality and particularity, so it is not appropriate to mechanically copy the ready-made theories of western formal criticism.
Western literary theory in the 20th century is based on modern western linguistics and rhetoric. Although there are similarities between Chinese and western languages, they also have particularity. Therefore, I'm afraid we should take this into consideration when studying China's literary problems with western formal criticism.
Therefore, the author thinks that only when China literary theorists establish their own theories and methods of formal criticism on the basis of China's modern linguistics and rhetoric, can they study A Dream of Red Mansions with China's formal criticism method "in line with China's national conditions", thus achieving more convincing academic results.
On the Author of A Dream of Red Mansions
Followed by the author. In the past hundred years, the greatest effort of the redologists is to verify who is the author of A Dream of Red Mansions. Because of the appearance of "Fat Comment", Hu Shi's hypothesis that Cao Xueqin is the author of A Dream of Red Mansions has "physical evidence", so the red circle tends to accept this statement and it has become a conclusion. However, Ouyang Jian strongly challenged the authenticity of Zhi Pi, which forced people to reconsider whether Cao Xueqin was the author of A Dream of Red Mansions.
Since there is great doubt about the authenticity of the "Fat Review", the comment on writing by Zhi Yanzhai is naturally not very reliable. In order to respect scholarship, the author thinks that without circumstantial evidence, we can only discuss who the author is from the clues provided by the text itself. After all, this is first-hand information, which is much more reliable than the second-hand information such as comments and records of previous notes.
According to several copies of A Dream of Red Mansions handed down from ancient times (including the fat-evaluated version whose authenticity has not been distinguished), Cao Xueqin's greatest contribution to this wonderful book is only "reading it carefully in Mourning the Red Chamber for ten years, adding and deleting it five times, cataloguing it and dividing it into chapters", without clearly stating that he is the author. In other words, if we don't take any presupposition, we can only admit that Cao Xueqin is the editor rather than the author of A Dream of Red Mansions. However, due to the metaphor of Zhen in A Dream of Red Mansions, many scholars believe that the above passage is a "false statement" made by the author out of some unspeakable difficulties, in fact, in order to let readers know that the editor is actually the author, that is, Cao Xueqin himself.
The question is, what does the author mean by "unspeakable secrets"? The textual research redologists who advocate "self-legend" think it is "the hate of property theft", and the research redologists who advocate "exhaustion theory" think it is "the hate of Ming Dynasty's death". As for why the author is unclear, all scholars think it is to avoid the websites of the Qing Dynasty. In my opinion, this is the conceit of today's literati who don't understand the situation of the literary inquisition in the Qing Dynasty. In the Qing Dynasty, the most famous literary inquisition was the "Ming History Case". In this case, even the lettering workers were dead, let alone editors. If the early Qing Dynasty was tyranny, the Qianlong Dynasty was not, and it was more relaxed. In that case, why should the author be mysterious? In addition, the policy of literary inquisition in Qianlong dynasty was not relaxed. Yu Yingshi put forward a rather unique view that this is because Cao Xueqin is a standard-bearer, not the object of investigation in the literary inquisition, and cited Cao Shiyou's Dunmin and Duncheng as examples. (Note 9) If this statement can be established, it is even more unnecessary for Cao Xueqin to create a fog to cover up his authorship.
Therefore, the author thinks that this passage in A Dream of Red Mansions is not a fog at all, but a fact. In other words, what Cao Xueqin did was really just the editing work of "adding and deleting five times, cataloguing and dividing chapters". Of course, he does not rule out the possibility of rewriting during editing. In other words, Cao Xueqin can also be regarded as the author of A Dream of Red Mansions, but he is not the original author, but the author who recreates it according to other novels, such as The Record of Love Monks, The Beautiful Moon Talk, etc. Regrettably, perhaps due to the loss of the manuscript or other reasons, Cao Xueqin's rewriting was completed, or he left a soul to hate the sky and could not be completed, and it was not completely preserved. Later, Gao Lanshu accepted the invitation of Cheng Weiyuan and re-created it on the basis of Cao Shi's legacy, so there were 120 copies of A Dream of Red Mansions that have been handed down to this day.
To sum up, the author thinks that the author of A Dream of Red Mansions is neither Wu Meicun nor the little-known "Stone Brothers", nor Cao Xueqin alone, but a group of unknown literati plus Cao Xueqin and Gao E. In other words, this novel is a collective creation of literati, at least by Cao Xueqin and Gao E, and the copyright cannot be completely owned by Cao Xueqin.
The Social Background of A Dream of Red Mansions
Secondly, the world, that is, the society in which the author lived at that time, or the so-called "second nature" in Marxist terminology. From the perspective of literary theory, to understand the relationship between the author and the world is mainly to explore the process and law of how the author carries out artistic creation according to his own life, which is the so-called literary creation theory. This is a very complicated subject, so this paper will not discuss it comprehensively, only pay attention to the author's creative motivation.
Coincidentally, this is also an old problem that all schools of redology have been chattering about. The research school thinks it is full, the textual research school thinks it is about housework, the Marxism-Leninism school thinks it is anti-feudal, and there are other theories such as love theory and liberation theory. The author thinks that the author's real creative motivation is due to the lack of literature and history. No matter how eloquent today's redologists are, they are all acting!
There are probably only two ways to solve this problem properly. One is to look back at the author's possible creative motives from the social situation at that time, and the other is to make a comparative study with other works of the same period to see what the general theme or theme these works reflect.
Since the late Ming Dynasty, there has been an era call for personality liberation in China society. Reflected in the creation of novels, a large number of pornographic novels appeared in the late Ming and early Qing dynasties and became popular. The large number of pornographic novels are published because of the profit-seeking factors of booksellers, but mainly because of its own existence value, that is, tearing open the so-called hypocritical moral veil and returning people to their true colors.
From the sociological point of view, personality liberation and even sexual liberation is actually an anti-social force that subverts social norms. This force can only appear in an era when social norms are not strong, and it is the right time in the late Ming and early Qing Dynasties. Unfortunately, this trend of personality liberation will not last long. After the Manchu regime gained a firm foothold, how to build a stable society was put on the agenda of the Qing court, and Emperor Kangxi's solution to this problem was to borrow soldiers from Zhu Cheng Neo-Confucianism.
Zhu Cheng's Neo-Confucianism came into being in the Song Dynasty, which was indeed a new ideological trend and a progressive force to promote social development under the social conditions at that time. However, when Zhu Cheng's Neo-Confucianism was later used by the rulers, it began to deteriorate. By the middle of Ming Dynasty, Zhu Cheng's Neo-Confucianism had reached the end of the road, otherwise it would not be easily replaced by Yangming's Neo-Confucianism. In other words, the official philosophy of the Qing court, based on Cheng Zhu's Neo-Confucianism, is not qualified to guide social development and is worthless except as an ornament for a powerful regime.
But it was this reactionary force that went against the trend of the times and became the official ideology at that time, and its main enemy was the ideological trend of personality liberation since the end of the Ming Dynasty. Under the attack of these two forces, it is conceivable how depressed the literati were at that time. On the one hand, they have a strong sense of identity with personality liberation; On the other hand, in order to survive, they have to study hard and practice stereotyped writing in order to be famous all over the world, and the main motivation for taking the imperial examination is to make a living. It can be said that this was the same mentality of all male scholars in society at that time. On the contrary, many women don't have the opportunity to take the exam and don't have to bear too much social responsibility. They don't have to read classics or practice stereotyped writing. They can read The West Chamber, Lao Zi and Zhuangzi, and they can also write poems according to their own interests. Everything can be learned according to your own preferences. That is to say, at that time, male scholars studied for life, while women could study for reading.
In this special social background, the author of A Dream of Red Mansions has created an ideal world "Grand View Garden" dominated by women, and said that "daughters are made of water and men are made of mud" through the mouth of the protagonist Jia Baoyu, deliberately shaping Jia Baoyu into a masculine man, which makes people feel that "women are admired and men are suppressed", which is naturally understandable.
On the other hand, we can also make a comparative study of A Dream of Red Mansions, Strange Tales from a Lonely Studio and The Scholars. From the images of many intelligent ghost women, fox women and prostitutes created by Pu to the image of Shen Qiongzhi created by Wu, we can see how distinct the tendency of "worshipping women over men" was in the spiritual world of literati at that time. Even in the exposed words of wild garlic, which is regarded as a whitewash for feudal defenders, except Master Wen, other people who have made achievements are also female images, such as good calculation, good medical knowledge, Xiangling's poems, and soldiers who are difficult to learn.
Therefore, the author thinks that the creative motivation of the author of A Dream of Red Mansions should be to reflect the spiritual distress of male literati at that time through the special artistic means of "worshiping women and restraining men". This may be the general theme or theme of A Dream of Red Mansions.
The author expects that some scholars who "treat the belly of the ancients with the heart of the present" will certainly question my observation and think that A Dream of Red Mansions is a great realistic literary work, and its author has a distinct anti-feudal and anti-ethical spirit, and the theme of the work is to ring the death knell for feudalism. In this regard, the author's answer is that realism is a literary tradition in China since the Book of Songs, and A Dream of Red Mansions has indeed inherited this fine tradition. The question is whether the author has the "high political consciousness" of modern people's subjective speculation at that time, and whether he can consciously use the novel as a literary form to oppose feudalism and ethics.
The author of A Dream of Red Mansions is not Balzac. Balzac not only wrote human comedies, but also put forward a set of realistic literary theories. We can say that Balzac consciously opposed feudalism, and fully applied his theory to novel creation, because it was supported by literature. However, we can't say that the author of A Dream of Red Mansions has such high consciousness, because there is no literature to prove that he or they (even though we think Cao Xueqin and Gao E are the authors) have put forward similar theories. At best, it can only be said that the author of A Dream of Red Mansions unconsciously created a great realistic literary work with anti-feudal and anti-ethical characteristics objectively.
The original readers of A Dream of Red Mansions
Finally, the reader, that is, the question of who the work is written for. It can be seen from the clues that A Dream of Red Mansions is elegant in language and not widely circulated in the early stage of its publication that it is not a "novel of talented people and beautiful women" created to meet the market demand. In other words, when the author wrote A Dream of Red Mansions, he never considered selling it, but only circulated it among friends. If Cheng Weiyuan hadn't tried his best to collect it in the last years of Qianlong, and "carefully studied it with friends, learned from each other's strong points, copied it as a whole, and made it into a block copy to serve the common interests" (note 10), I'm afraid this literary masterpiece would have been "so clean" long ago.
Although we don't know who the original reader was when the author wrote A Dream of Red Mansions, we can infer that the original reader should be the original reader in the earlier records only from the notes of the standard-bearer aristocrats such as Yu Duan's A Dream of Red Mansions and Julian's A Dream of Red Mansions Review. If this statement can be established, then the original reader of A Dream of Red Mansions should be a bannerman aristocrat, which can also disprove that its author seems to come from the same circle. As for whether it can be concluded that its earliest readers were the Bannerman nobles, I dare not jump to conclusions. But the author can be sure that its original readers are by no means ordinary people, nor will they be middle-and lower-class literati, otherwise it will never spread widely.
In the Qing Dynasty, the Qing court attached great importance to the education of the children of the Eight Banners, so the education level of the Banners' nobles was very high, especially in the Kang and Gan dynasties, and almost all of them were proficient in poetry, piano, chess, calligraphy and painting. If the readers of the author of A Dream of Red Mansions are noble banners, then his creation must not be sloppy, otherwise it will not enter their "eyes". I think only in this way can we explain why A Dream of Red Mansions, with its elegant diction, superb artistic skills and rich artistic atmosphere, far exceeds other classical novels handed down from generation to generation and becomes the pinnacle of China's classical novels.
As for the class of the Banners' aristocrats, the author thinks that they should not be the upper-class aristocrats who are "sacred as soon as possible", but the declining aristocrats who lost all kinds of privileges after "sorting out the flag affairs" during Yongzheng period and had to rely on personal efforts to pass the scientific examination like the Han literati. Only they can understand the true spirit behind "worshiping women and restraining men" in A Dream of Red Mansions. Only they, after seeing the ups and downs of the Jia family, had to hide their faces and sigh.
[Conclusion]:
Thousands of miles, here is the node. After examining A Dream of Red Mansions through four elements of Ai literature, the author draws the following conclusions:
First of all, in order to make further progress in the study of A Dream of Red Mansions, we must return to the road of literary research and literary criticism. It is a good way to introduce western criticism in the 20th century, but we should pay attention to the particularity and nationality of China literature. Secondly, A Dream of Red Mansions is not an independent creation. Cao Xueqin may be one of the more important authors, but Gao E also contributed a lot. We should respect the facts and admit that A Dream of Red Mansions is the same work of Cao Xueqin and Gao E when we are not sure who the other authors are.
Thirdly, the general theme or theme of A Dream of Red Mansions should reflect the psychological imbalance and inner anguish of male literati under the special social background at that time through the unique literary technique of "worshiping women and restraining men";
Fourth, the original reader of A Dream of Red Mansions should be a declining aristocrat.
Precautions:
(1) Yu Yingshi thinks that since Hu Shi initiated the study of A Dream of Red Mansions with textual research, this kind of textual research has been integrated with the mainstream of academic research in modern China, that is, the collation and integration of national heritage after the May 4th Movement. Therefore, from the perspective of academic history, Dream of Red Mansions can undoubtedly keep pace with contemporary famous schools such as "Oracle Bone Inscriptions" or "Dunhuang Studies" and be worthy of the name. This view was put forward by Yu Yingshi in the article The Development of Modern Dream of Red Mansions and Dream of Red Mansions Revolution-An Analysis of Academic History. See Yu Yingshi's Two Worlds in a Dream of Red Mansions, page 2, Taipei Lianjing Publishing House, first edition in February, 1996.
(2) Zhou Zhu What is a Dream of Red Mansions, Journal of Hebei Normal University, No.3, 1982.
(3) 192 1 year, when Hu Shi put forward "autobiography" in Textual Research of a Dream of Red Mansions, he only stayed at the stage of "bold hypothesis" and did not produce any convincing evidence to prove his argument. 1927, the JOE edition of Re-evaluating the Stone Story in Hongyan Zhai suddenly appeared on Hu Shi's desk, which reversed his passive situation in the study of Redology, because many comments in JOE edition just confirmed his "hypothesis" six years ago. This also established Hu Shi's position as the founder of the textual research school Redology.
(4) In the article "The Embarrassment of a Dream of Red Mansions at the End of the Century", Ke Fei criticized the China Red Chamber Society, which hosted this seminar, for not inviting people from different schools to attend the meeting, and also criticized the meeting host Feng Qiyong for taking the lead in trying Ouyang Jian in absentia. This article was published in Guangdong Sea BreezeNo. 1997,No. 10.
(5) Yu Yingshi, The Development of Modern Dream of Red Mansions and Dream of Red Mansions Revolution, The Two Worlds of a Dream of Red Mansions, Page 29, (Taipei) Lianjing Publishing Company, 5th edition, 65438+1February, 996.
(6)[ America] M.H. abrams's "Mirrors and Lights-the Literary Theory and Criticism Tradition of Mannism", Page 5, Peking University Publishing House 1 98965438+February1Edition.
(7) A Course of Literary Theory, edited by Tong Qingbing, p. 43, Higher Education Press, 2nd edition, April 1998.
(8) See Wang's Dream World of a Dream of Red Mansions, (Taipei) Press, 1 in March, 997, and Mei Xinlin's Philosophical Spirit of a Dream of Red Mansions, Press, 1 in May, 995.
(9) See Yu Yingshi's Supplementary Theory on Cao Xueqin's Han Identity, Two Worlds in a Dream of Red Mansions, pp. 199 to 2 10, Taipei Lianjing Publishing House, first edition in February, 1996.
(10) [Qing] Cheng Weiyuan's Preface to A Dream of Red Mansions and Selected Comments on A Dream of Red Mansions (I) Page 5, China Social Sciences Press, 1998, first edition.
I hope my answer can help you ~