Ancient Literature History Essay Reference Sample

In the past nearly thirty years, the academic development of ancient Chinese literature, like other humanities disciplines, has been tremendous. The following is the content of reference essays on the history of ancient literature that I have collected for you. Welcome to read and refer to it!

Reference essays on the history of ancient literature Part 1

A brief analysis of ancient China Understanding Literary History

The complexity of the term literary history has been a frequently discussed issue in academic circles in recent years. The full meaning of this word refers to the purely objective history of the formation and development of literature itself. Some scholars call it the "ontology" of literary history, while others call it the "original ecology" of literary history. When we intuitively imagine literary history, we realize that the "ontology" or "original ecology" of literary history exists, and it has a purely objective nature. Scientific research on literary history takes approaching the true history of literature as the ultimate goal of research, and also uses this as a criterion to judge the value of a certain literary history research result. However, "original ecology" and "ontology" actually only exist in intuitive imagination and logical speculation. The literary history that actually exists in people's understanding and explanation is the most intuitive thing we see today. The works entitled "Literary History" are actually constructed through a cognitive system.

This nature of literary history has been reflected even when it is in the state of historical materials. These historical materials, that is, the literary works that have been preserved to this day and some documents of literary history, have been selected by nature and man. The results are all narrated. In addition, looking at the historical and cultural background that produced literature, we mostly rely on the achievements of historians. Therefore, the original ecology in the true sense has long become history and cannot be restored. In this sense, the literary history we grasp, whether it is sporadic or systematic, is something that has entered our own cognitive field, that is, something constructed. The more systematic and macroscopic a literary history is, the more prominent the nature of its construction.

The description of the theory of ancient Chinese literary history must first mention Confucius. Confucius's "Spring and Autumn" is the first privately written history book in ancient my country. Sima Qian believed that "Spring and Autumn" was compiled by Confucius based on the old texts of Lu history, simplifying the diction and removing unnecessary details. It mainly records political events and personal activities. . "Spring and Autumn" has at least two contributions to literary history. First, it records historical facts by year, time, month, and day. Later chronicles basically followed this method, which had a long-lasting influence on later generations in writing chronological literary history, author chronology, literary events, and other types of literary history. Second, "Spring and Autumn" uses objective records to express its subtle meanings, so there is a theory of "Spring and Autumn" brushwork, which has a great influence on the writing of literary history by future generations of scholars.

Some contemporary scholars believe: Since the history of new literature is history and is so closely related to modern politics, there must be taboos in research. Therefore, one must be mentally prepared when Shi De is tested. , able to gain a firm foothold. In ancient times, the "Spring and Autumn Writing Technique" was created because it was possible to tell the truth covertly when the truth was not allowed to be told. Sichuan. Confucius's "The Analects" puts forward the historical view that "ten generations can be known", that is, the past can be known and the future can be known, and the hidden can be known by seeing. Historical principles are important contents of the theory of ancient Chinese literary history. Mencius said: "If you praise his poems and read his books, you don't know how good he is! This is the way to talk about his world. Don't use his words to harm his words, and don't use his words to harm his ambition." To use one's will to counter one's will is to gain enlightenment. To know people and judge the world, to use one's will to go against one's will has become the principle and method of studying the literary history of past dynasties.

The Wei, Jin, Southern and Northern Dynasties were an era of literary self-consciousness. Literature became independent from other academics or knowledge, established its own value and scope, and formed a clear and independent literary concept for the first time. A relatively complete and self-contained system emerged. Literary ideas and concepts. The Wei, Jin, Southern and Northern Dynasties were also an era of self-consciousness in the study of literary history, with three main signs.

First, the "Biography of Literature (Wenyuan)" was established in the history book. Fan Hua's "Book of the Later Han" set up "Wenyuan Zhuan" separately from "The Scholars" to distinguish the difference between Confucianism and Wenzhi. Xiao Zixian published a "Biography of Literature" in "Book of Southern Qi" and wrote a long essay after the biography, describing the principles of writing and changes in the style of the article. Since then, the "Biography of Literature (Wenyuan)" has become the general rule used by most official histories.

The second is the emergence of monographs on the study of literary history. Zhi Yu's "Wen Liu Bie Lun" specifically examines the origins of literary genres, distinguishes their characteristics, and outlines the historical clues of the development of literary genres in a schematic, comprehensive and organized manner. It is a monograph on the history of literary genres. Zhong Rong's "Shi Pin" explores the origin and change of the five-character poetry style, combines poetry appreciation and stream identification, and puts each poet into the inheritance relationship of poetry style, theme and expression when criticizing writers. middle. "Preface to Poems" combines history and theory, which not only systematically explains his poetry theory, but also outlines the development history of five-character poetry. Although many social factors were involved in Zhong Rong's evaluation of the quality of writers' works, most of them were based on aesthetic factors. He proposed and promoted the "taste" of poetry creation, believing that "five characters are the most important of literary works and are the most important of all works." Those who have taste also show the aesthetic tendency of Zhong Rong's literary history.

The third is the emergence of specialized literary history theory. "Tongbian" and "Chronology" in "Wen Xin Diao Long" are special chapters on literary history that discuss the development of literature.

"Tongbian" is attributed by the author to the creation theory of "analyzing situation, analysis and collection". It actually explores the law of literary development from the history of the evolution of literature itself. After the author outlines the decline of literary styles in the past dynasties, he looks for the reasons from the literary creation itself:? Competing with the modern and neglecting the ancient, the flavor will decline? Striving to imitate the modern while neglecting to learn from the ancient is the reason for the dimming of the literary style and the decline of the literary spirit. How to solve this worrying phenomenon in the development of literature, Liu Na believes: ?Considering between the essence and the text, and implicitly covering the elegance and vulgarity, it can be consistent with the words? The vitality of literature lies in innovation, and change will last for a long time. However, when innovating, we must pay attention to inheritance. On the one hand, we must change, and on the other hand, we must communicate. In this way, the development of literature can be full of vitality, and the old and the new can continue to develop. . "Chronology" discusses the relationship between literary development and the society of the times. It is a complete literary history theory in the strict sense. Liu narrated the history of literary development through the ten generations of Wei Ying and nine changes in diction, and examined the relationship between literary evolution and historical and social conditions. For example, literature is affected by political education: "Songs, literature, and science, as the world goes by, the wind moves above and the waves shake below." Another example is that literature is influenced by world conditions including academic atmosphere and cultural atmosphere. Qu Yuan, Song Yu and others' bizarre literary thoughts and gorgeous words are beyond the weirdness and vulgarity of Zongheng. Jian'an literature was due to the chaos and chaos in the world at that time, the decline of customs and resentment, and the deep ambition and long writing, so it was concise and full of spirit. In the Eastern Jin Dynasty, due to the influence of the trend of pure talk, although the times were extremely difficult, the writing was calm and tolerant. The poems must return to the purpose under the pillars, and the poems are the meanings of Qiyuan. Liu Cong also touched on other factors affecting the development of literature in "Time Order", and his insights should be said to be quite profound.

The discipline construction of ancient Chinese literary history must not only establish its own independent status, but also determine its own systematic content. As a subject, the history of ancient Chinese literature should have a deeper level. It should include the history of chronological literature, the history of various literary genres, the history of literary criticism and the history of literary and artistic trends. In addition, the history of ancient Chinese literature should also have its own auxiliary subjects. At first glance, there should be at least the following items:

(1) Literary history and philology. It provides information for the study of literary history and is the basis for the study of the entire literary history. It includes two aspects of work: first, collating and collating primary documents such as writings, biographical materials of writers and other background materials; second, reviewing relevant The research results of ancient literature and the existing research results of literary history are excerpted and classified for indexing and reference.

(2) Literary history methodology. It belongs to the basic theory of literary history research. It theoretically summarizes the experience and lessons of previous literary history research, pays attention to the methodological characteristics of the latest achievements in literary history research, reviews the research methods of different schools, and introduces the latest foreign literary history research. trend of thought, and constantly explore research methods that not only embody new achievements in human thinking and modern scientific theories, but are also suitable for China's national conditions and the actual history of ancient literature. The discussion of the characteristics of the literary history discipline also falls within the scope of methodology.

(3) Literary historiography. It specializes in the study of narrative methods and compilation styles of literary history works. All different styles such as biographical style, chronicle style or "combined style" style, "era as outline and writer as preface" style, etc. must analyze their advantages and disadvantages, compare them, and then summarize the existing research results. Find the narrative method that works best.

To sum up, literary history has its unreliability. As mentioned before, while many original records no longer exist, literary history is written by people, and was created by different authors at different times. No matter how fair people want their stance to be, as long as they are human, they will have their own subjective thoughts, and they will be affected by the social culture at that time. Therefore, no matter how good a historian is, the history he records will have his own subjective intention, and will be consistent with the truth. There are deviations in the history of the book, and in the study of copies passed down through the generations, due to the fact that the people who read it were different from the era when the book was written, the knowledge levels are different, and there are widespread misreadings, it can be said that "history of literature" is "history of humanities".

However, because the development of things is in an upward spiral, the literary history written by the predecessors is ultimately for those who come after us to see. The subjective consciousness of the predecessors can also be found in the latter. People who have done and experienced things may not necessarily not do and experience them. On the contrary, many things done by later generations can be found in the same or similar records in the predecessors. Just as no matter how the times develop and dynasties change, in the nearly three thousand years of history that can be traced in China, literary and artistic restoration movements will occur in almost every dynasty in the Chinese literary world. After each restoration movement, there will be an even more intense explosion of new ideas and new culture. Therefore, literary history has its own reliable side. After all, predecessors still left many written works, and the black and white words still have their roots.

If possible, when compiling ancient Chinese literature, one should also pay attention to the same literary movement or similar literary reforms in different dynasties (such as observing the "return" movement that happened in different dynasties but the same) as a basis. Comparing, checking with each other, and discovering its laws or fallacies will probably be more conducive to the construction of the history of ancient Chinese literature.

References:

"On the Discipline Construction of Ancient Chinese Literary History" Zhang Hong Social Sciences, Issue 1, 1986

" "Theoretical Commentary on Ancient Chinese Literary History" Journal of Yangzhou University - Humanities and Social Sciences Edition 1997 Issue 5

"The Construction and Characteristics of Ancient Chinese Literary History" Qian Zhixi Chinese Core Journal Summary Overview ASPT source journal CJFD included journal Literary Heritage - Issue 6, 2023

Ancient Literature History Paper Reference Sample 2

On the Teacher-Student Interaction in Ancient Literature History Class< /p>

Abstract: Ancient Chinese literature history courses should change the traditional teaching concepts and teaching models, and promote teacher-student interaction in the classroom. In terms of knowledge and ability, teaching complements each other, affects each other emotionally and collides with concepts, thereby improving the teaching effect and achieving the purpose of cultivating talents with solid theory and knowledge, high appreciation, analysis and creative abilities.

Keywords: Teacher-student interaction in ancient literature history courses

In recent years, teacher-student interaction in the classroom has received more and more attention in the teaching reform of colleges and universities, and has even become a teaching effect. an important indicator of evaluation. The history of ancient Chinese literature is the main course for Chinese language and literature majors in colleges and universities. The course content covers the five thousand years of outstanding literary heritage of the Chinese nation from the pre-Qin Dynasty to modern times. The traditional teaching method has always been adopted, that is, teachers teach and students listen. Proceed with the method of remembering. In terms of teaching content, a method is adopted that combines the knowledge of literary history with the introduction of writers’ works. However, in actual teaching, this "cramming" teaching method is increasingly unacceptable to students, and the teaching effect is greatly affected. In teaching, the author draws on the teaching experience of his peers and tries to introduce teacher-student interaction methods, which has achieved certain results. The author believes that the interaction between teachers and students in ancient literature history courses is mainly reflected in three aspects: mutual learning between teachers and students in terms of knowledge and abilities, mutual emotional infection, and mutual collision of concepts.

1. Teaching knowledge and ability complement each other: imparting correct knowledge is the basic requirement of ancient literature history courses. On this basis, students should be cultivated to have a broad cultural vision, especially to cultivate students’ aesthetic ability of classic works. , perception ability and enhancing humanistic quality are a higher goal of ancient literature history courses. To achieve the above goals, students must first have an interest in learning and change from passive learning to active learning, which requires breaking through the traditional teaching methods.

Change the classroom teaching model of "full class" and "cramming", and adopt a classroom structure that allows students to participate in the lecture, that is, extract several typical questions from the classroom content to be taught in advance and assign them to Students, students review information around relevant issues and write speech or lecture outlines. In classroom teaching, teachers adopt different classroom teaching forms according to the designed problems. Teaching is carried out in various ways, such as discussion (or debate) style, teacher (or student) defense style, case analysis style, and student-led teacher summary style. This not only mobilizes students' enthusiasm and initiative in learning, but also promotes students to further understand and analyze the content they have learned, and at the same time promotes teachers' own professional progress, because teachers have to spend more time and energy than traditional teaching methods. Prepare lessons to prepare the design of questions and answers to the various questions students are likely to ask in class.

For example, when talking about the selected works of "Historical Records", students made a lot of preparations for reviewing the literature of "The Chronicles of Xiang Yu" and "The Biography of General Li". They made slides in groups to understand the author, his thoughts and Artistic achievements, the biography's life story and historical evaluation, the author's artistic characteristics, etc. are all uniquely analyzed, explained and discussed. Students also asked the teacher to answer some unclear questions. It is an opportunity for teachers and students to promote and improve. Teaching is mutually beneficial and rewarding.

2. Mutual infection of emotions: The interaction between teachers and students in ancient literature history classes should be at the emotional level. Literature is human literature, and classic works of the past dynasties often contain profound life emotions and profound insights into life. A history of ancient literature is also a history of the formation and development of a nation's character and emotions. Through the study of literary history and the reading of literary works, one can understand the essence of personal and national beliefs and sentiments condensed in them. It has an irreplaceable role in cultivating the spiritual taste and humanistic qualities of the recipients.

The social and cultural backgrounds and atmospheres of ancient and modern times are different. The thoughts and feelings, psychological structures, ways of perceiving the world, ways of thinking and emotions of today's people are quite different from those of the ancients. Students will inevitably feel alienated from ancient literature. , they often cannot well understand what the ancients felt and thought, and generally lack interest in the lives of ancient people and ancient literature. As teachers, we have the responsibility and obligation to mobilize students' interest in learning, and to cultivate noble personalities while imparting knowledge.

Whether it is a writer’s life creation, the emergence of a literary phenomenon, the emergence and update of a creative method, etc., they are all inseparable from the people of a specific era. This requires teachers to master a large amount of historical materials and be very familiar with them, so that they are familiar with them. Before explaining to students, they must transform them into their own perceptual experiences, and use emotional language to describe and explain them, so that students can have personal experiences. An immersive sense of place.

When explaining a writer's works, adopt a comprehension-based experiential reading and understanding method, and try to avoid rational dismantling and analysis or direct conclusion promotion, which may bring negative effects and avoid damaging the harmony and perfection of the work's situation or A one-sided understanding of the work and the author's true feelings and themes. The focus is on practicing a process of reaching conclusions, so that students can be inspired by an emotional environment and inspire their own recognition of the emotional experience of the work.

For example, when talking about the historical background of the emergence of the celebrity style of literati in the Wei, Jin, Southern and Northern Dynasties, students find the words and deeds of celebrities such as Ruan Ji and Ji Kang ridiculous and incomprehensible. In the lectures, a large amount of data and case analysis are cited, and the life experiences and examples of teachers and students are used to make analogies. This period is discussed in emotional language. It was the most chaotic era politically and the most painful era in society in China, but it was also the most spiritual era. It is an era in history that is extremely free, extremely liberated, rich in wisdom, and most passionate. Therefore, it is also an era with the most artistic spirit? Enable students to rationally and emotionally identify with the rationality of the idiosyncratic words and deeds of the literati at that time.

Another example is that there are many famous works about homesickness and family members in ancient literature. When teaching, students’ life experiences are mobilized and connected with the specific background of the works, so that students can feel deeply about the works. .

Emotional interaction should run through the teaching of ancient literary history. It can be a deep affection for the splendid culture of the motherland, a generous description of a certain literary phenomenon, or a description of the situation of a certain writer. A deep sympathy or an affectionate interpretation of a certain work, and so on. Teachers' emotions in teaching will subtly affect students, stimulate students' interest in learning and research, and double the teaching effect.

3. Collision of concepts: The significance of ancient literary history teaching for the exploration of the humanistic spirit lies in the enlightenment of traditional life spirit on modern survival. The teaching of ancient literary history should not only lead students into the past and re-experience the humanistic realm reached by the literary works themselves, but also step out and base themselves on the present, so that students' own humanistic spiritual feelings can be integrated into the realm of humanistic significance conveyed by the text. In the teaching process, when the new value connotation and spiritual significance of classic texts are interpreted with current consciousness, it is not only a reshaping of ancient literary works, but also a vital inheritance.

Due to the implicit and implicit nature of ancient literature, the complexity of literary theories in the past dynasties, and the distance between the times. There are differences, fractures and even deviations between today’s values ????and those of the ancients, which makes the current teaching environment of ancient literary works The understanding of meaning and spirit tends to be complicated. Conflicts in concepts between teachers and students may arise during teaching. As a teacher, you should not be afraid of and avoid such conflicts. In a relaxed atmosphere, you should have patient and equal dialogues with students. In this collision of concepts, you can correct students' opinions. Some extreme, superficial, one-sided or even wrong concepts can also bring teachers closer to the ideological and spiritual world of contemporary students. To some extent, they also provide opportunities for teachers to revise some concepts that are lagging behind the times.

Such conceptual collisions are very common in the teaching of ancient literature history courses, such as the evaluation of Qu Yuan’s death, the views on Du Fu’s loyalty, the analysis of ancient literati’s officialdom and concealment, and the Teachers can provide appropriate guidance, including comments on the arguments in the text, etc., but there is no need to rush to find answers to all questions in class. Some are still controversial issues in the current theoretical circles, or problems that cannot be solved in class. Doubts can be left for students to further study and research with questions.

References:

[1]Yuan Xingpei. History of Chinese Literature[M]. Beijing: Higher Education Press, 1999.

[2]Wu Xiaoru. Questions about how to learn and teach Chinese literary history [J]. Literary Heritage, 1991, (3).

[3] Zong Baihua. Aesthetic Walk [M]. Shanghai: Shanghai People's Publishing House, 1981.