You look at the anxious and eager teenager opposite, as if you saw your own mess. Intrinsic motivation, deliberate practice, little tricks, card myths, these concepts are still surging in your mind, as if tapeworms are eating the cerebral cortex.
Yes, six months ago, I felt the same way after listening to the opening ceremony of Kaizhi tribe for the first time. You want to write beautiful cards, more cards, and you pay attention to how to manage cards and how to splice articles from cards. You can't wait to sit down and finish reading a book and writing a set of cards now.
However, books should be read page by page, and cards should be written one by one. It's hard to start writing when you never write, because your brain is a cognitive miser by nature. It is also difficult to practice writing deliberately from the beginning, because deliberate practice is to force you to leave your comfort zone and enter the study area. It is also difficult to input and output articles from cards, because cards can not only encapsulate your minimum knowledge, but also reduce your cognitive load. It will build your cognitive model from the inside and generate your knowledge flow from the outside.
At this time, what you need most is to fill in what you find interesting in the blanks of the following cards, just like pupils do fill in the blanks. When you fill in more cards, the card problem will be solved. As Nabokov said:
Teenagers, through classic words, find the treasure of knowledge with cards.
I believe you will do better. Let's go hand in hand to the source of time and the stream of knowledge.
Attached are some cards I wrote for your reference, * * * with learning and * * * with output.
Comparative literature (comparative literature)
Comparative literature refers to the process of interaction between two or more national literature, and the comparative study of the relationship between literature and other art categories and other ideologies, including influence research, parallel research and interdisciplinary research. As a cross-cultural and interdisciplinary literary study, comparative literature first requires studying the history, present situation and possibility of communication between people of different cultures and disciplines through literature. It is committed to mutual understanding between different cultures and hopes to have sincere respect and tolerance for each other.
For a long time, comparative literature has not been a mature subject. The development of China has gone through three stages. The earliest representatives of the French School were Van Gogh, Carre and Kea. They use the principle of positivism to analyze the relationship between international literature and study the influence of one country's literature on another. Established a strict discipline theory of comparative literature. So that this subject has its own independent research methods and research objects. However, many of their studies have neglected "literariness", so the "American School" emphasizes the importance of the aesthetic characteristics of literature. They emphasize parallel research, such as how the theme of "killing father and marrying mother" is expressed in the literature of different countries. Wellek, remarque and others also tried interdisciplinary research, which broadened the research field of comparative literature and made literature find a home in psychology, religion, architecture, painting and musicology.
The discipline of comparative literature in China was first founded by Mr. Wu Mi. At that time, a group of scholars studying abroad founded new disciplines in colleges and universities after returning home. Mr. Qian Zhongshu's Guanzi Cone Compilation and Qin Yi Lu are classics of comparative literature. In fact, Mr. Wang Guowei's "Human Thorns" also belongs to the category of comparative literature. He interprets China's classical literature from the perspective of western literature. China's earliest masters of comparative literature, such as Liang Qichao, Chen Yinque, Ji Xianlin, Hu Shi, Xu Dishan, Zhou Zuoren, Contradictory Theory and Lu Xun, were all very successful.
Yuwen Suoan's The Lost House is a typical representative work of comparative literature. If subdivided, it should belong to the category of comparative poetics. On the surface, The Lost House is discussing an old topic-desire in Chinese and Western poetry. In fact, the author has keenly discovered new problems from those very ordinary or unusual poems, and found touching connections from those seemingly unrelated Chinese and Western poems belonging to different cultures and historical periods. He created a new reading experience and research structure by comparing and reading the texts that are not necessarily related to history, thus realizing the real dialogue between ancient and modern Chinese and Western poetics and culture. Temptation and rejection, hope and disappointment, exposure and cover-up, substitution and evasion, compromise and failure, all kinds of expressions of desire in poetry are like a maze, which makes people dazzled, confused, lost and lost. The author organizes the structure of this book by guiding readers to visit this mysterious building. He took us through the corridors of Chinese and foreign ancient and modern poetics, from Iliad and Shang Mo Sang to Bai Juyi, Su Dongpo, Rilke and Nie Luda, from Zhuangzi and The Book of Rites to Kant and Nietzsche, and walked for a change. The Lost House is not only a masterpiece of comparative poetics, but also a unique poetic theory.
comparative literature
Comparative Literature-Baidu Encyclopedia
What is Comparative Literature-Douban
What do you major in comparative literature? -Zhihu
The Lost House Yuwen Suoan-Sanlian Bookstore
Frankly speaking, comparative literature reminds me once again of Charles Munger's thinking mode of solving problems with multiple disciplines (it turns out that he has always been the one with the hammer). It turns out that the routines of this world are really getting more and more similar. This also shows the importance of metacognition (meta-discipline) and the necessity of using metacognition for learning.
Umberto eco (Italian: [Huh? b？ RTO ko]； 1 5th of the month1932–19th, 20 16)
Umberto eco (1932-20 16), 1932,65438+10 was born in Alexandria, Monti, Ipia province. He is a philosopher, symbolist, aesthete, historian, literary critic and novelist. His academic research is very extensive and his knowledge is extremely profound. Cambridge History of Italian Literature praised him as the most dazzling Italian writer in the second half of the 20th century, and praised him for his "mediator and synthesizer consciousness in his whole career". Eco's world is vast and diverse. In addition to essays, essays and novels, there are a large number of papers, monographs and compilations. Researchers can roughly divide them into 8 categories and 52 species, including medieval theology, aesthetics, literature, popular culture, semiotics and hermeneutics. The most striking thing about Apotheker is that he can easily travel between many worlds, and his spirit of being neither conservative nor radical. It is this ability and spirit that attracts Thomas Aquinas, who is the most scholarly, and James Joyce, who is the most modern. Emphasize the power of interpretation and worry about the harm of over-interpretation; It can not only make the work a bestseller with global sales and tens of millions of copies, but also attract researchers to write thousands of papers and monographs for it.
1964, Apotheker published his paper Apocalypse and Integrated Intellectuals (1964), and consciously tried to use semiotics to study media culture, which shows that he has stood at the forefront of Italian academic circles. Previously, he taught aesthetics at universities in Turin, Milan and Florence.
By 1968, Eco published "Absence Structure", which is the result of his years of research on architectural semiotics and his first purely academic semiotic work, and established his important position in the field of semiotics. In the 1970s, the achievements of the Economic Cooperation Organization were further affirmed by international academic circles. 197 1 year, he founded the world's first semiotics lecture at Bologna University, the oldest university in the world. From 65438 to 0974, he organized the first international semiotics congress and served as the secretary general of the society. 1975 published Semiotics Theory (1975, English version published in 1976), and became a tenured professor of semiotics at the University of Bologna. 1979, The Reader's Role: An Exploration of Text Semiotics (1979) was published in English in the United States. In addition, Eco has also taught in famous universities such as Northwestern University (1972), Yale University (1977) and Columbia University (1978), and is a well-known symbolist.
Up to now, it has been translated into 35 languages and sold160,000 copies of The Name of the Rose, making Eco world-famous and among the first-class postmodern novelists. At the same time, it triggered an "interpretation war" at the end of the 20th century. Because Eco has paid attention to "open works" and "the role of readers" before, he has a good understanding of hermeneutics, and he has been paying attention to the analysis of his own works by researchers, so he constantly stood up to clarify, challenge or respond, so he came up with it; Memorandum (Reflections on the Name of Rose, 1984) and the limit of interpretation (1990). The most famous event was 1990, when the Tanner Lecture at Cambridge University invited Eco to debate hermeneutics with famous scholars Richard Rory, jonathan kalle and Christine Brook-Ross. The final collection is Interpretation and Overinterpretation, published in 1992. Paper was expensive in Luoyang at that time.
Umberto eco-Wikipedia
Umberto Ecological Baidu Encyclopedia
I guess the two divergent paths that Calvino has to face in writing here are the paths and choices that every writer needs to face. As a beginner in writing, the more you read these classics, the more you can feel that writing is actually an unfathomable "pit", and the more you read at the same time-the deeper you are poisoned-the more you can't stop the rhythm. Personally, I understand that the first road mentioned by Calvino is similar to the Tao in Tao Te Ching, including secular cosmic wisdom, abstract scientific laws, natural laws, even mysterious metaphysics, and of course all the "unknowns" unknown to mankind at present. The second way corresponds to all the existing, known and describable concrete things in our world, that is, all things that exist in physical form. Both roads are full of uncertainty and infinity, which seems to respond to Calvino's aesthetic enjoyment of infinity and fuzziness.
In addition, the author mentions himself in the following, just like a pupil who starts his homework-describing a giraffe or a starry sky-and tries to fill in these exercises to sort out Paloma. Perhaps this is the most practical action worthy of my imitation. Just like keeping a diary, we can start by dealing with some small problems in knowledge and establishing a relationship with the world. Even carefully understand and ponder the joy and frustration when using silence and words. I think every writer must have had such exercise, and it must have started from such exercise. Down-to-earth is more conducive to our growth than looking up at the stars, especially for us little whites.
Memorandum of Literature in the New Millennium [Italian] by italo calvino.
Translated from Yilin Publishing House Huang Canran.
Flashback and flashback will be used in film creation. We can also use flashback and flashback in novel creation, which can not only explain more information, but also increase the sense of temporal and spatial confusion of the story, thus bringing a magical unreality. It is more conducive to using card writing to describe the plot of story design.
In life, as in literature, our navigation depends on the details of the stars. We pay attention to details, repair impressions and recall the past. We're stuck in the details.
The movie City of Wan Le, a box of expired pure milk, father's eyes: In life, just as in writing, our navigation depends on detailed stars. We pay attention to details, repair impressions and recall the past. We're stuck in the details.
A term card, an anti-common sense card, a business card: whether writing or reading, our navigation depends on the stars on the card. We use cards to focus and cards to fix images and memories. We ran aground in Carcassa.
After reading the encyclopedia introduction of Echo, I still remembered Charles Munger and Lao Yang wrote in his book Conversation:
* * * Today, have we found the story we have been looking for on the page, on the movie screen, or on the marathon track? I'm looking forward to finding my own story, maybe in a book, maybe in an old movie I haven't seen for a long time, maybe at some point in the future. At that moment, I became the writer and experiencer of my own life story. However, life is cruel, so are you and me. Fortunately, we still have books, movies and marathons.