In the summer of 2004, the Wuzhou Hotel in the Asian Games Village gathered scholars from more than 30 countries on five continents to have a dialogue and exchange on "the harmony and common prosperity of civilizations". Here, I happened to meet Tian Xiaofei who accompanied her husband Yuwen Suoan to the symposium and had a long talk with her.
Although I have heard about Tian Xiaofei's heroic posture in the forum the day before, I still can't erase my impression of her as a teenager: she should have the aura and intelligence of a wise man, and a little sensitivity and weakness of a poet. This impression was completely rewritten until we really met.
The doorbell of Tian Xiaofei's room rang, accompanied by a string of hearty laughter, red skirt, barefoot, and Tian Xiaofei's enthusiasm. What is even more surprising is that her two thick black eyebrows are bold and elastic. I can't help thinking: Is this Tian Xiaofei?
After taking a seat, the topic unfolded layer by layer.
Tian Xiaofei's experience looms in my mind: 1985 was interviewed by teachers of English Department, Psychology Department and Chinese Department of Peking University, and was specially recruited to enter the English Department of Peking University. At that time, she was only 13 years old, and with her innate talent and intelligence, she had published two poems. After graduating from Peking University, Tian Xiaofei went to study on the other side of the ocean. 1998 received a doctorate in comparative literature from Harvard University, and is currently teaching at Harvard University.
Immersed in the meaning of classical literature
The topic naturally goes straight to her current teaching and research. Tian Xiaofei is currently teaching in the East Asian Department of Harvard University, studying the literature of Wei, Jin, Southern and Northern Dynasties, focusing on the direction of poetry. Talking about the formation of this interest, Tian Xiaofei told the author that there are three stages in the history of China: Wei and Jin Dynasties, Late Ming Dynasty and Cultural Revolution, which are very meaningful from a cultural point of view, but according to the general thinking, these three stages are all troubled times and culturally ridiculous, but they are not. Wei, Jin and late Ming Dynasties were very creative in culture and made brilliant achievements in literature. Tian Xiaofei particularly emphasized the Liang Dynasty: "I think Liang is very different from Chen and Qi in the Southern Dynasties. Its history has spread for 50 years, and its time limit is equivalent to the sum of modern and contemporary literature in China. However, the traditional literary history has a very low evaluation of it, thinking that it is a poor and pale period, but it is not.
When talking about the first-hand information about the research, Tian Xiaofei said frankly: We have really lost a lot of things, and the rest is even less. "But compared with Chen Heqi, there are a lot of information about the Liang Dynasty. Moreover, for example, we have always admired Tao Yuanming, but he left only 150 and 60 poems, while Emperor Liang left at least 250 poems. Although many of them are fragments and fragments, the number is still sufficient. " Tian Xiaofei has produced many interesting insights during her research, which will be reflected in her forthcoming book "Palace Culture in the Liang Dynasty". "I hope to make some new explanations on the basis of predecessors' research and notice something that predecessors have not noticed. I especially like the poems of the Liang Dynasty and feel particularly beautiful. " Tian Xiaofei said.
Never stay away from poetry.
In people's memory, the name Tian Xiaofei will naturally be associated with poetry, but in fact, she has never been far away from poetry. Speaking of his initial interest in poetry, Tian Xiaofei admitted that it was the influence of his family and a little talent. As both parents are engaged in writing and literature, Tian Xiaofei loves reading since she was a child, and books at home have become a treasure house for her reading. In addition, the guidance of parents also plays an important role. She recalled with interest the poetry contest at home every weekend: at that time, the family was very bookish, and parents and children wrote poems together and then carefully selected them. "My parents are very democratic. They have no parental dignity for their children and never punish them." In such a family atmosphere, Tian Xiaofei seems to be a smart little girl who loves to learn. No wonder her mother often complains that Tian Xiaofei often stays in her room for hours to study and refuses to go out to play.
When talking about the recent situation, Tian Xiaofei admitted that he still wrote poems and published some sporadically, but he hasn't published them in recent years. When asked whether systematic literary training has any influence on poetry creation, Tian Xiaofei thinks that with the growth of age, the writing style will naturally change, but it is not necessarily related to literary training. "At different stages of life, a person's life experiences, experiences and feelings are different, which may be related to reading, and I didn't consciously pay attention."
Scholars have been debating whether the Chinese Department can train writers. In this regard, Tian Xiaofei has his own view: if a person has no inspiration and talent and doesn't like to write poetry, he can't be a poet, but it doesn't mean that a person who graduated from the Chinese Department can't be a poet and writer.
Research is also a poetic creation.
The rigor of scholars and the spirituality of poets seem to be a natural contradiction, but in Tian Xiaofei, the two are perfectly unified. When it comes to the differences between scholars and poets, Tian Xiaofei thinks there is no need to completely oppose them. Although literary creation is different from academic research, the writing styles and methods of prose and academic papers are different. "But as far as classical poetry is concerned, I often think that research is also a kind of poetry creation, because poetry itself is a kind of beauty." Compared with rigorous and boring academic research, Tian Xiaofei prefers to reveal the beauty of classical poems and words on the basis of research materials. "If you can't do this, the study of classical poetry is of little significance to me. Whenever I analyze a poem in detail, I always want to convey its beauty. I think this kind of research is combined with my writing and love of poetry. "
Perhaps it is because of his love for the inner beauty of classical literature that Tian Xiaofei thinks that the current academic research, especially the study of classical literature, is "sometimes too rational". "People who study classical literature rarely tell why a poem is beautiful with excitement. I think it should be studied more as a kind of knowledge-this is also the significance of classical literature research for today's society. "
There is an old saying in the west: the past is a distant country. Classical literature is far away not only for foreigners, but also for contemporary China scholars, and there are undeniable writing obstacles between them. After experiencing great changes in cultural environment and appreciation interest, how can people return to distant ancient times and appreciate the present? Tian Xiaofei put forward his own view: classical literature scholars should not be completely opposed to modern literature and contemporary literature, and the barriers are strict. "This is a bit too conservative, and it is tantamount to drawing a prison for yourself. Classical literature can only belong to a few literati in the end, which is meaningless to contemporary literature and cultural life. I especially hope to look at the study of classical literature from a broader perspective. "
Information is worthless.
As a poet, talent plays an important role in Tian Xiaofei's life. But her own understanding of this is really unexpected: I think the most important thing for a scholar is diligence. For example, she said that she and her husband Yu Wensuo 'an are very devoted to their work. "We work 10- 12 hours every day. If not, we feel that a day is a waste. " At home on the west coast of the Pacific Ocean, Tian Xiaofei and Yu Wensuo 'an each have a study. "If we are in a study, we will talk to each other and can't work." Tian Xiaofei and her husband next to her smiled at each other.
"People often say to be content with loneliness, but I don't think real scholars will feel lonely, because learning itself is a very happy thing, and we like what we do very much." There is a strong feeling in Tian Xiaofei's words, and at the same time, she has a deep feeling about academic accumulation: "Suoan and I like to have a solid foundation, do a lot of textual research on materials, and then study with profound perspectives, methods and theories. Both are indispensable, especially the accumulation of knowledge. If you don't concentrate on your studies day after day and year after year, you can't succeed. "
"China is rich in classical literature resources, even in a historical period, the information is vast. Literary research depends not only on literary materials, but also on historical materials. It is said that literature, history and philosophy are not separated. " Tian Xiaofei attaches great importance to accumulating her rich cultural background. At the same time, she admits that she is sensitive to poetry and writing, and likes to read carefully word by word. "Of course, it is important to study classical literature, but without 10 hours of accumulation, talent is useless." Yu Wensuo 'an holds the same view. As a physicist, his father often warns his son that intelligence is worthless. "There are many smart people, but in the end few people can create achievements with intelligence." This view inspired Yu Wensuo 'an to work hard, and at the same time he got to know Tian Xiaofei.
China Literature Studies at Harvard University.
Tian Xiaofei and her husband * * * both teach in the East Asian Literature Department of Harvard University. She introduced the classical literature research of Harvard University to the author. In the Department of East Asian Literature, the proportion of Chinese and foreign scholars is roughly maintained at 1: 1. "China literature should be liked and studied by more people in the world, not just from China to China."
Talking about the biggest difference between China University and Harvard, what Tian Xiaofei felt most was: "Teaching China literature, especially classical literature, in the United States often has a sense of crisis." This sense of urgency comes from the differences between China and western universities. "The departments and majors of China students are allocated, ensuring that every teacher has some students. The number of students is not directly related to the teaching quality of teachers." In America, it's very different: if a teacher doesn't prepare lessons carefully and doesn't speak brilliantly enough to attract students, then his students will be less and less; Similarly, if a department does not concentrate on management, it is also in danger of extinction-because everything is based on students' free choice of courses.
In the United States, the study of China literature in different universities is different and develops with the change of time. For example, the Chinese Department of Harvard had only two teachers in the early 1980s, but now it has expanded to seven or eight teachers, which is very large in the United States and has many students. Tian Xiaofei introduced another important difference between Chinese and American universities to the author: in American universities, every professor has the right and obligation to participate in department affairs and enrollment, while the dean is only the representative of all professors. Tian Xiaofei thinks that the advantage of this system is that everyone in the department will put in a lot of energy, because if you don't work hard, the position of the whole department in the school will decline. On the other hand, teaching and scientific research have been closely integrated. Once there is a teaching crisis, not only the survival of teachers and the whole department will be closely related, but also it will affect the whole body. The system of domestic universities is different, and the number of students in each department is fixed. Although some schools have made active attempts to choose their majors and courses freely, there is still a serious imbalance of students. As a scholar who has long been concerned about china university teaching's reform, Tian Xiaofei is deeply concerned about it. At the same time, she believes that freedom is relative and the development of universities needs a gradual process.
Me and Yu Wensuo An
During the interview in Tian Xiaofei, her husband Yu Wensuo 'an has been sitting beside her, and the smile on his face is full of sweetness and happiness. Because of language communication, most of my questions were answered by Tian Xiaofei, while Yu Wensuo listened to his wife's story with a smile and added from time to time.
Yu Wensuo 'an is currently teaching in the East Asian Department of Harvard University, and he is a colleague with Tian Xiaofei. Yuwen Suoan was her tutor when she was studying for her doctoral degree in the Department of Comparative Literature of Harvard University in Tian Xiaofei. Talking about their love story, Tian Xiaofei said seriously: "The first thing to clarify is that in my student days, we had a strict relationship between teachers and students. It was not until I left school after graduation that we began to communicate by email and talk about various topics, especially those related to literature. " After different life experiences, Tian Xiaofei and Yuwen Suoan finally got married for a hundred years. "We all feel that we have found a real bosom friend. We were born in the same month of the same year. I think this is really a kind of fate. We have the same interests. " Tian Xiaofei's happiness is beyond words. "The only difference is that I like the Tang Dynasty and she likes the Southern Dynasties," Yu Wensuo added humorously. "However, we all like poetry." .
People often question whether there is cultural exchange in cross-cultural marriage. As an insider, Tian Xiaofei said, "I think there are cultural differences, but I never feel that I am from China, and he is a foreigner. He just thinks that I am Tian Xiaofei, I think he is Yu Wensuo 'an, and one person does not represent a country. " She told the author such a short story: Harvard University blocked Germany, and his wife was a Japanese woman, and she also encountered similar questions from others. Shielding Germany was shocked at that time, as if this concept had never existed in my mind. Tian Xiaofei thinks that as long as two people adapt to each other, she takes their current lifestyle as an example and thinks it is difficult to generalize whether they are from China or from the West. "I think that a person's lifestyle is closely related to his personality and background, because even if he grew up in the same culture, his lifestyle is different." "We are transnational citizens." Yuwen Suoan laughed at himself, but he revealed a little secret: he likes Chinese food better and is proud of his specialty: chicken wings with garlic.
Absence of Female Voice in Classical Literature
From poets to scholars, from China's traditional culture to a foreign land on the other side of the ocean, Tian Xiaofei came along with a long laugh. As a woman, she is deeply touched by her gender identity.
Tian Xiaofei's words that "none of the masters of Chinese studies in the 20th century are women" are shocking. While seeing this social reality, she does not lose the calmness and wisdom of scholars. "I quite agree with Professor Gong Pengcheng of Taiwan Province Foguang University. We should criticize the simplistic feminism and think that men have been bullying women. In fact, class and identity play an important role in this. " She took the traditional society as an example. Women with higher social classes will also bully men, including the same sex. A hostess will never treat her maid like a sister. Tian Xiaofei believes that pure feminism will divide men and women into two camps and form a war about gender, which is not good at all and is also a great loss for men. But at the same time, she also realized that this division was necessary at a certain historical stage, such as fighting for women's independence-the women's liberation movement in the United States began in the 1960s.
"China has always had a tradition of praising women in ancient times, especially talented women, including men who also appreciate them. From Li Qingzhao to female poets in Ming and Qing Dynasties, they all sang and published poems. There are also many very accomplished female poets and writers in modern times. " But what makes Tian Xiaofei more concerned is that traditionally, no women have participated in the study of Confucian classics and history. Even if they have some comments, they are scattered and have no systematic works. "In the field of historical research in the United States, men are also dominant. This is a social ethos, not a problem for women themselves. " Tian Xiaofei also mentioned the unequal treatment of women in job hunting in recent years. She said: "In the past, under the protection of revolutionary discourse and national distribution, women and men had equal job opportunities. Now that it is free and open, not only in academia, but also in any field of work, women have been discriminated against in disguise. "
In the study of classical literature, Tian Xiaofei felt this very deeply. "There are some successful female scholars in the field of modern literature and comparative literature research, but in the field of classical literature, women are rarely seen." Tian Xiaofei's words are full of worries. Fortunately, more and more female scholars are aware of this problem. "This is a very noteworthy phenomenon, and we should better explore the profound historical and social reasons behind this cultural phenomenon."