Father is a banker, good at literature and history, proficient in Chinese and western. My mother also knows poetry and books. When I was four years old, my mother taught me several volumes of short and shallow ancient poems, which initially cultivated my ability and interest in reading novels such as Romance of the Three Kingdoms, Bulletin of the Nations, Yue Biography and Water Margin.
At the age of ten, Mr. Zhang Chuangui, a Zhejiang scholar who is good at philology and calligraphy, was hired to teach Zuo Zhuan and Zi Tongzhi Jian, and his father sometimes instructed him to write old-fashioned poems. Later, Mr. Zhang Gunian, a marine painter from China, was invited to teach landscapes, and a British teacher was invited to tutor British and American literature. Painting and poetry have the same principle; Eastern and western literature, "although their words are different", "also live together".
My father has a good friendship with the famous Peking Opera actor Cheng and his screenwriter Mr. Jin. Tears of the Barren Mountain and Dream of a Spring Girl, edited by Cheng and Jin, have profound meanings and beautiful vocals. Through their resentment and admiration, they sing a special appeal. I was lucky enough to catch up with Yang Xiaolou's "Changbanpo" and other performances. After a while, I had to watch Li Wanchun play Lin Chong and Ye Shenglan play Zhou Yu.
At the age of twelve, he wrote two short articles about Shang Xiaoyun's plays and published them in the newspaper, which was the beginning of his publication. It was his attempt after watching Peking Opera and some drama reviews.
Later, I continued to teach myself historical records, as well as some crazy essays and poems by some famous artists in the past. I always satirize Lu Zhi's performance, Su Shi's strategy and Liang Qichao's new style to get pleasure, or recite the poems of Du Fu, Bai Juyi, Xin Qiji and Nalan Chengde, which makes me passionate, impassioned and stirring.
2, interdisciplinary, not wasted.
I spent my college time in Soochow University Law School. From Ni Zheng? Professor E Sen studied international law, Anglo-American law and western political and social theories, and wrote papers on public international law and economic law.
In the early 1950s, he was transferred to the head office of the People's Bank of China to engage in theoretical and business study guidance and publication editing, which enabled him to systematically study Marxist philosophy, political economy, monetary and financial theory, learn Russian, write banking articles and translate relevant materials of the Soviet Union.
Until 1956, 10 was admitted to Fudan University as a graduate student majoring in classical literature, and he became a member of the research team of ancient literature. The experience of studying and working in law school and banking department has broadened our horizons and knowledge, strengthened our thinking methods and research work, enhanced our theoretical writing and foreign language translation ability, and provided certain conditions for the comparative exchange of Chinese and foreign academic cultures and the investigation of literary phenomena from the perspectives of philosophy, politics, economy and sociology.
Learn while doing and do something for you.
From 65438 to the beginning of 0959, he taught in the Chinese Department of Fudan University, and participated in a series of teaching materials construction and national research. He wrote most of the contents of the Song and Yuan Dynasties and some chapters of the pre-Qin, Tang and Five Dynasties, Ming and Qing Dynasties in the three-volume History of China Literature of the Chinese Department, and made notes on the essays of the pre-Qin philosophers and Qu in the multi-volume Selected Works of China Literature, as well as some poems and essays in the Three Han Dynasties, Jin Dynasty and Southern Dynasties. In the four-volume Selected Literary Theories of China edited by Mr. Guo Shaoyu, he was responsible for compiling the Song, Jin and Yuan Dynasties of Sui, Tang and Five Dynasties (the second volume), annotating some modern literary theories, and participating in the proofreading of the whole book; In the three-volume History of China Literary Criticism, edited by Mr. Liu Dajie and later edited by Wang Yunxi and Gu Yisheng, he wrote the poetry criticism and ci theory of Song, Jin, Yuan, Ming and Qing Dynasties and modern times, and read the drama and novel criticism. In the seven-volume General History of China Literary Criticism edited by Wang Yunxi and Gu Yisheng, he wrote Literary Criticism in Pre-Qin Dynasty and Literary Criticism in Song Dynasty, and participated in the revision of other volumes. He has written more than1500,000 words in the above books. In addition, I also participated in the collation of Old Tang Shu and Old History of the Five Dynasties, and wrote several entries in Cihai and China Literature Volume, the encyclopedia of China.
The needs of his work prompted him to conduct a comprehensive and systematic study of literary works and theoretical criticism works from pre-Qin to modern times, and extensively refer to the historical materials and works of literature, history and philosophers at home and abroad. This aroused our interest in the infinite scenery of ancient civilization, and re-explored, excavated, tried or overturned some controversial issues in the history of literary criticism.
4, macro and micro, must be combined
The experience of long-term study and research work practice is that if you want to make inventions, creations and progress academically, you must make a systematic and comprehensive investigation and accurate and profound analysis of the research object from multiple angles and levels, in other words, you must combine the macro with the micro. Although it can be emphasized in specific research work that the micro must be guided by the macro, and the macro should be based on the micro. You can't see the forest for the trees, and you can't know the rich and objective world. If you don't recognize the trees clearly, they will be fleeting, or like Shakespeare's Macbeth, when you see the enemy carrying branches, you feel that Bonan Forest is moving, and it is thousands of miles away. Those who engage in literary research sometimes lack understanding of the materials, cite them obliquely without verification, and write in a perfunctory manner, regardless of self-criticism. This is not a cautious scientific attitude, and both micro and macro are almost lost.