Qian has been engaged in the study of China's classical literature and related cultural fields, focusing on the history of poetry. In particular, he has made breakthrough research in important fields or topics such as medieval poetry, Northern Song poetry, Yuefu poetry, life problems in ancient China literature, landscape culture and literature. He has published six monographs, such as The Original Theory of Poetry Art in Wei and Jin Dynasties, Outlook on Life before Tang Dynasty and Theme of Literary Life, and Research on Huang Tingjian's Poetry System, and published more than 70 papers, such as Huang Tingjian and Zen, Preliminary Discussion on Huang Tingjian's Poetry Stages, Xie Lingyun's Argument on Sect and Landscape Poetry, and Flying Images in Wei and Jin Poetry. He was awarded the first prize for outstanding achievements in the third and fifth sessions of philosophy and social sciences in Beijing, the 1998 special prize for excellent teachers in Baosteel, and the special allowance from the State Council in 2000. Selected into the Beijing Hundred Talents Theory Construction Project and the Cross-century Talents Training Plan for Education, Humanities and Social Sciences.
Peking University China Language and Literature Department (Chinese Department for short) was formerly the China Literature Department of Shi Jing University College of Literature. 1898 at the beginning of the establishment of Shi Jing university hall, there were already "Chinese", "literature" and other disciplines in teachers' colleges. 1903 also opened a class of "China literature", but it has not yet formed an independent department. 1910 On March 3/0, Shi Jing University Branch was established, and "China Literature Gate" was officially adopted as a liberal arts teaching system. This is the earliest Chinese Department in China, and its establishment marks the beginning of the formation of a modern independent discipline of language and literature in China.
Over the past century, the Chinese Department of Peking University has trained a large number of undergraduates, master students, doctoral students, international students and advanced students. , and achieved fruitful scientific research results. The number of scientific research projects and the quality and quantity of award-winning achievements are in the forefront of similar disciplines in colleges and universities across the country. At present, the Chinese Department of Peking University has developed into the largest and most comprehensive Chinese department in China.
Just in this fascinating academic hall with outstanding people and experts, there is a Wenzhou native who, like a dazzling star, has become the academic "rumble" here.
This Wenzhou native is money.
Meet money at the gate of Peking University. Not long after, he came by bike, full of the temperament of an old scholar from appearance to heart, very elegant.
Just as the office of the Chinese Department of Shenxiang Courtyard is located in the northeast area of Peking University Campus, the red lacquer gatehouse is a northern architectural style, which looks dignified. Push the door and go in, it is a piece of green land, planted with trees, and the walls around it are covered with vines, lush and green, and I feel a little suddenly enlightened. A path leads to the teaching and research section of classical literature. This area is called Yuan Jing, and there are several quadrangles on both sides of Yuan Jing. It is said that this was the girl's dormitory in yenching university, where Mr. Bing Xin lived when he was studying at Yanda University. Although many years have passed, the humanistic atmosphere of Peking University campus is still so charming. I like it very much.
Bathed in the spirituality of hometown poetry
Jin: Before you came to Beijing, several predecessors in Wenzhou academic circles introduced your academic achievements to me. Teacher Huang Shizhong also praised your special contribution to China's classical literature. Not only that, I also listened to the recording of "Three Caos and His Son and Jian 'an Poetic Style" you taught in CCTV Lecture Room on the Internet. I wonder what you've been up to recently.
Qian: I'm a little embarrassed about going to Lecture Room. Around 2000, CCTV's Lecture Room was not as famous as it is now. They came to Peking University to discuss and cooperate with us to establish an academic forum, with the aim of improving the academic nature of the project. Therefore, the program at that time moved our class to TV, and some famous professors from Peking University and at home and abroad participated in the program, such as Yang Zhenning, Wu Jinglian and Li Yining. In fact, CCTV 4' s "Light of Chinese Civilization" is also an academic popularization program for the public in cooperation with Peking University Liberal Arts, teaching the history of Chinese civilization from pre-Qin to Qing Dynasty. I told the episode of Su Shi. At that time, the content we taught was elegant and academic, which was different from the current orientation of Lecture Room.
What am I busy with now? My research involves many fields, one of which is about Yuefu poetry. Yuefu poetry is one of the main genres of China's classical poetry. Its creation has experienced a long historical period from Han Dynasty to Ming and Qing Dynasties, and it is an important part of the history of classical poetry in China. Many achievements have been made in academic research in this field. For example, Xiao Difei's History of Yuefu Literature in the Han, Wei and Six Dynasties, Wang Yunxi's Yuefu Poetry and Yang Shengzhi's Yuefu Poetry all have their own achievements and characteristics. However, there are still many blank points in this subject that need to be studied, and the research methods and ideas need to be adjusted. My book "Music and Poetry of Yuefu in Han and Wei Dynasties" is a comprehensive art of music and entertainment, which is popular in court and street on the basis of predecessors' positioning of Yuefu in Han Dynasty. From this perspective, we can see the artistic characteristics of Yuefu poetry. My main job in these two years is to write a book, History of Poetry in Wei, Jin, Southern and Northern Dynasties, with about 500,000 words. At present, the first draft has been completed.
Jin: You said Xiao Difei and Yang are all famous contemporary artists. It can be seen that you have become one of the famous classical writers in China, which is not easy. Yueqing is the hometown of Weng Juan, one of the "Four Spirits of Yongjia". You were born in this land and bathed in the spirituality of your hometown poetry tradition. Are you attached to this land when you embark on the road of studying China's classical literature?
Money: I think so. Zhao Xu, Ji Xu, Weng Juan and Zhao Shixiu, four people from Wenzhou in the Southern Song Dynasty, have similar interests and similar poetic styles. Because their font names all contain the word "Ling" (Hui Ling in Zhao Xu, Lingyuan in Ji Xu, Lingshu in Weng Juan and Lingxiu in Zhao Shixiu), they are collectively called "Yongjia Siling". They had a great influence on Wenzhou poetry in the Southern Song Dynasty. In fact, Ye Shi, the master of Yongjia School, also taught in my hometown-Baishi Bookstore. Many literati and scholars in China have regional cultural background, and they are influenced by regional culture to some extent, which is sometimes far-reaching.
In fact, the reason why I became a classical literature researcher is that there is some inevitability by accident. I was admitted to the university that year, and later to graduate students and doctors. This particular way of every step of my life is very accidental. But I like literature since I was a child. After I entered school, I consciously cultivated my interest in learning and studying literature, which made it a little inevitable for me to go this way. Although my family is an authentic farmer, my mother can tell many folk stories and many children's songs, as well as the popular Wenzhou drum lyrics, which I especially liked to listen to when I was a child. In primary school, my father taught me to recite Chairman Mao's poems, which can be said to be the beginning of my formal contact with poems. Because my grandfather taught in private schools and village schools, there were some old books at home, and some of them were burned during the Cultural Revolution. By the time I was in middle school, there were only a few books, such as An Introduction to China's Ancient Literature, Romance of the Three Kingdoms, Yue Biography and Poems of a Thousand Families, which nourished my life. After he was admitted to the Chinese Department of Hangzhou University, he began to receive formal professional education.
Jin: The Chinese Department of Hangzhou University is also a famous department. There are many famous professors, such as Xia, a famous scholar of popular literature. They are well-educated and world-famous. You studied undergraduate and master's degrees here. What is the biggest gain?
Qian: When it comes to university study, it is of course important to listen to the teacher's lectures, but what really works is probably my own reading and writing, which lays the foundation for later professional research. When I was a freshman, I saw a collection of works by modern writers and a few foreign classics. After the second grade, I mainly turned to the reading of classical literature albums and anthologies, and basically browsed from The Book of Songs and Songs of Chu to Yuan and Ming zaju. In addition, when writing, I wrote novels, essays and new poems first. Last time I went back to my hometown, I found several graffiti works at that time in the old bookcase. Later, with my interest in classical literature, I began to learn to write more old-fashioned poems. I was reading an ancient book at that time. Take notes when you have ideas, and extract good works. Later, after reading ancient poetry books, I found that my original ideas and vision were quite close to those of the ancients, and my confidence suddenly increased a lot. In the third year of undergraduate course, I began to learn to write professional papers, but the real professional research began from the master's stage. When I was a master, I specialized in Tang and Song literature and studied under Mr. Wu and Mr. Wang. In the usual professional study, in addition to collecting materials and writing papers, the main time is spent reading classics of literature, history and philosophy. After reading several collections of Tang and Song Dynasties, I finally chose Huanggu as my master's thesis. Part of his master's thesis was published in Literary Heritage, and he was one of the youngest authors to publish a paper in this journal at that time. The people in the editorial department said, "In those years, if we heard someone say that Literary Heritage only published articles by senior scholars, we always used your example to refute it."