Le A Concise Course of Comparative Literature, Beijing: Peking University Publishing House, 2003.
Sort out and change sentences according to your own needs, not much.
Look, that's all you've done ~
The first chapter is a new literary research method-comparative literature.
The first part: Three methods of literary research: literary theory-literary criticism-literary history.
Section 2 Another Way of Literary Research: Comparative Literature
General literature: tracing the occurrence and evolution of literature as a whole.
World literature: Goethe put forward in 1872, which can be interpreted as the sum of the best literary treasures of all ethnic groups in the world, with world significance and world level.
Section 3 Comparative literature originates from the understanding of other people's interests.
Earl Miner: "Need to know is the mother of comparative poetics."
One of the important functions of comparative literature: "mutual understanding". When literature is enclosed in a certain national cultural system, it is impossible to break through the original thinking mode and accept new things. Only by knowing others can we know ourselves better.
Section IV Comparative Literature Seeking Harmony in Other Cultures
Another function of comparative literature: "mutual confirmation" Taking different documents as examples, this paper seeks the same or different responses to some * * * same questions, finds the * * * same questions in cross-reference, proves that they are the same, and disproves their differences at the same time, so as to achieve further communication and understanding.
Section V Comparative literature seeks the growing point of literature in the relationship with different cultures and disciplines.
The "complementary" functions of comparative literature: first, in the comparison with "the other", we clearly understand and highlight our own characteristics; Secondly, "complementarity" refers to mutual absorption and learning from each other's strengths, but it is by no means to turn each other into the same as themselves, nor to turn themselves into the same as each other; Thirdly, "complementarity" is also manifested in reading (or misreading) the text of another culture in the way that one culture already has, so as to obtain the whole-hearted interpretation and understanding of the text ("two-way interpretation"); Finally, "complementarity" also includes the new growth and development of the text of one culture after it enters another culture.
Chapter two: Why should we study comparative literature?
(omitted)
Chapter III Comparative Literature History
(omitted)
The fourth chapter is the rise of comparative literature in China.
(omitted)
Chapter V Differences, Similarity and Change
The first section "Harmony without difference" is an important principle in the study of comparative literature.
Section 2 Materials-Theme-Topic-Theme
Raw material: the original material that causes the author to think.
Subject matter: the material is cut and written into the work. A theme usually contains a signal and an idea. In modern novels, themes are not only objective concrete events, but also subjective images, symbols, certain behaviors and psychology.
Motif (also known as motif): the signal and significance expressed by the subject matter.
Theme: Similar themes can be extracted with the same theme, which appears in different themes of different products many times. Theme depends more on objective materials, while theme is more related to the writer's subjective thoughts. The writer's choice of theme is itself an aesthetic decision. Different themes often reflect many unsolvable problems in life. (The vision and foundation of "harmony but difference")
(French) Saint-Beaufort: The theme has nothing to do with the form of her expression.
Goethe: On the one hand, "the world provides the theme without reservation", on the other hand, "the meaning (that is, the writer's view of the whole time) rises from his (the author's) ingratiating soul" and "the two meet unconsciously, so that it is impossible to tell which part produced the later result."
Ernest Robert Gettys: "Theme is the most important factor related to people's unique attitude towards the world ... it is inherent in poets."
Section III Comparative Study on Theme, Topic and Theme
case analysis
Section 4 Themes and Theme Changes
Inheritance, introduction and innovation of tradition.
Section V Comparative Study of Images, Symbols and Prototypes
Image: the combination of subjective "meaning" and objective "image" is an "object image" integrated into the poet's thoughts and feelings, and a concrete image endowed with special significance and literary thoughts.
The images formed by the same objective thing are very different in different literary systems.
Symbol: The difference between symbol and metaphor is that its carrier does not exist. Symbol emphasizes not the direct symbol, but the universal meaning it implies.
There is no absolute boundary between images and symbols and idioms or topology. There are many similarities between idioms and allusions in China literature.
Prototype: generally refers to some basic phenomena that appear repeatedly in world literature, including themes, themes, images and so on. Prototype criticism is a comprehensive macro-analysis of these repeated phenomena around the world.
Willian Blake: The task in The Canterbury Tales is the image of "all times and all nationalities".
Nietzsche: Some main characters in Greek tragedies are "just Dionysus, the mask of the earliest protagonist".
Vico: Deepening is a metaphor, an imaginary "class concept" and some fables corresponding to these imaginary class concepts.
Gral。 G. Jung: The ancient psychological experience "precipitated" in the depths of the subconscious, and unconsciously condensed into the original image that appeared repeatedly and caused strong human voices in the process of deepening.
(than) Levi Strangs' Collection of Myths: Myth is the original expression of the deepest spiritual structure and the initial form of the externalization of human "spiritual structure". Myth is a dream created collectively by human beings, and its value lies in its unconscious and absolutely free imagination.
Northrop Frye: Levi Strauss's deepening theory has been extended to general literary analysis. "Literature is usually a" replaced "myth." Some archetypal patterns in mythology can be found in general literature, which constitutes the basic pattern of literature.
Chapter VI Acceptance, Influence and Dissemination
The first part is the basic content of reception theory.
Hans Robert Jauss and Ezelle put forward the basic principles of reception aesthetics. "Aesthetic object".
Compared with painting and sculpture, literature appreciation is a diachronic process. Seeing the non-actual object is not the merit of "perception", but the merit of "presentation", that is, giving the non-existence the existence; When reading, I live in the text: subjectivity, creativity and broad imagination in the process of literary appreciation are often very different in the acceptance and interpretation of a great work.
The realization and characteristics of acceptance: accept the screen and look forward to the field of vision.
Literature is a framework, which can stimulate readers' imagination to the greatest extent and make readers realize those aspects that can not be presented by direct perception of objects. The value of literary works is largely determined by the possibility that the author can provide readers with re-creation without writing on paper.
The creative process itself includes the acceptance process; The history of literature is not only the history of writers and works, but also the history of works being accepted to a great extent. Vertical acceptance (historical development) and horizontal acceptance (coexistence) determine the depth and breadth of works, and also determine the value of constantly changing literary works.
The second section studies the influence of tradition
Imitation, homology, borrowing and popularity are all related to influence, but they are not exactly the same.
The influence needs certain conditions, and the seeds of the influence will sprout and take root only when they fall on the prepared land, and will also be restricted and transformed by the soil and climate of the growing place.
The whole process of influence: "inspiration (a psychological or ideological inspiration, a foreign thing suddenly illuminates the problem that the author has been thinking for a long time, giving him new possibilities to solve the problem)-promotion-identification-digestion and deformation-artistic expression", sometimes manifested as the whole process, and sometimes as certain links.
Section III Reception Theory and Influence Research
Acceptance and influence are two sides of the same process.
The "reflection" phenomenon of acceptance.
Negative influence: (France) paul valery: "Influence is the mysterious contact between two spirits", which will make writers discover themselves and refuse to accept influence. "Therefore, the most influenced writer may become the greatest writer." harold bloom's influence anxiety: The author tries to get rid of the shadow of the former influence, and there are many ways to resist it.
Because of the different acceptance screens, the acceptance of a work at home and abroad is definitely different; The acceptance of foreign works can often be used as a mirror to reflect the different personalities of the recipients; Through the accepted research, we can examine the changes of the times; Reception theory provides the possibility for comparative literature researchers to write a new literary history completely different from the past system.
Section IV Various Models of Acceptance and Influence
Chapter VII Interpretation, Understanding and Translation
Section 1 Diversity of Interpretation
The composition of the meaning of the work: traditional way; The way of new criticism, "the author is dead"; Structural analysis; Narrative mode; According to psychological analysis, art is "a buffer zone between the reality of refusing desire and the fantasy of satisfying desire" (Freud).
Section 2 Interpretation Period and Over-interpretation
Section III Interactive Cognition and Two-way Interpretation
Signifier floating
Emphasize differences. The principle of the other, the principle of interaction, the space for long-term thinking, two-way interpretation.
Part four: The position of translation in comparative literature.
Ronald Knox's literary translation can be summarized as: What is priority? Whether the translator has the right to choose any style and words to express the meaning of the original text.
Dryden: "After I mastered all the materials of this pious author (referring to Virgil translated by him), I made him speak such English. If he was born in England and contemporary, he would use this English for himself. "
In a continuous spectrum, no matter where you start, you can produce wonderful translations.
(Germany) Rudolf Panawitz: "The mother tongue must be expanded and deepened through foreign languages" and "The basic mistake of translators is to try to keep the accidental state of the mother tongue, rather than let their own language be strongly influenced by foreign languages."
Walter Benjamin: "In creative works of all languages, there are things that cannot be communicated, and they coexist with things that can be expressed". The translator's task is to liberate this "incommunicable thing" from the curse of the original through his own re-creation. To do this, he must break through all kinds of obstacles in his own language and promote its development. Compare the original work to a circle, and translation is like the tangent of the circle, which is tangent to the circle at only one point, and then start your journey in the kingdom of language flow. After a period of time, the original works with vitality need new translation.
Chapter VIII Poetry, Novel, Drama and Genre from the Perspective of Comparative Literature
Section 1: Comparative Study of Chinese and Western Poetry
The comparative study of poetry needs concrete, meticulous and word-for-word exposition, and at the same time, it should take into account the vast cultural fields related to it.
Literariness, the central issue of aesthetics, must become the focus and focus of research.
First of all, from the historical tradition of poetry, the earliest poetry in the West is narrative poetry, while China's poetry tradition is mainly lyrical.
Secondly, from the social and cultural background, the three external factors that affect the development of western literature are Greek apotheosis, Christian doctrine and modern science, especially apotheosis and religion. Whether it is Greek polytheism or Christian monotheism, there is a god who lives on it or is included in it. China's culture is based on Confucianism and Taoism, which either values personnel or worships nothingness. Compared with the west, it is not really transcendental, and there is no opposite concept in western poetry. It is more about the contact between man and nature and the feeling of real life, and it presents the main form of the integration of things and me.
Zhu Guangqian: "Western poetry wins with frankness, while China poetry wins with euphemism;" Western poetry wins by profundity, while China's poetry wins by implication; Western poetry is better than bedding, while China's poetry is better than simplicity. "
Linguistically, a Chinese character is a syllable, and the unity of sound and form is the basic unit of Chinese poetry; Western poetry, such as English poetry, can only be unified by syllables, which become the basic unit of English poetry.
The tones of Chinese characters form the unique features of China's metrical poems, such as the coordination of flat and flat tones and the relative syntactic rhythm. The rhythm of English poetry is determined by the severity of syllables.
Kotaro oshio rhyme in Chinese poetry, alliteration and middle rhyme in English poetry.
In English, monosyllabic words with strong pronunciation and simple meaning often come from old English, while polysyllabic words with soft pronunciation and elegant meaning often come from Latin. This contrast produces the rhetorical skill of using these two words to form a dramatic contrast in poetry. The monosyllabic features of Chinese characters make "double tones" and "overlapping rhyme" an important skill in China's poetic method.
Chinese has no inflections of tense, voice and gender, and there is no need for subjects, predicates, articles and conjunctions. In the oath, just like in English poetry. Moreover, the words in the poem can be reversed in parts of speech, which makes the words concise and rich, increases the reader's sense of being there, and has a stronger eternal and broad realm.
Section II Comparative Study of Chinese and Western Novels
From the development origin, the novel is the last narrative style that absorbs the characteristics of the former narrative style.
The formation of novel structure contains almost all of the novel. The purpose of the structural layout of China's classical novels is to sort out the complicated events in life into clear clues, so as to express the theme clearly and fully. The structural layout of western novels focuses on combining ordinary things in life, highlighting clean attraction, satisfying readers' curiosity and attracting readers' thinking and imagination on the theme. The author likes to stagger all kinds of clues, flickering. The means of structure is not to show the contradiction, but to hide it. Readers must know each other in order to understand the full connotation of the theme.
Narrative angle is an inevitable problem when talking about structure. Influenced by historical biography, China's classical novels mostly adopt the omniscient view. Most western novels follow the eyes of characters, and the author, characters and readers are on the same horizon, which has become a three-dimensional trend. Some novels don't necessarily use the first person, but often tell from the specific angle of the characters.
In terms of scenes, western novels mostly describe different scenes with dialogue, atmosphere and details, in which the task characters, psychology and actions are shaped. Wonderful fragment novels are almost all completed in one scene, so that "intercepting life fragments" becomes the definition of short stories. China's classical novels focus on action, and the process of action can be described according to time without defining space.
In characterization, China emphasized order and defined individuals by norms, while China novelists seldom wrote their own hearts directly. Their greatest achievement was to write their hidden hearts through appearances and actions. Western novels attach importance to the exploration and excavation of the heart, and often directly express the thoughts and feelings of the characters. /kloc-the realistic novels of the 0/9th century show a complex mixture of character temperament, talent, mind, feelings and their processes. Russia is the most thoughtful country. As soon as Russian novels appeared, western literature went beyond the stage of naive understanding of the world and self-expression, and entered deep thinking, making the inner world of characters more profound and extensive.
Section III Comparative Study of Chinese and Western Dramas
Drama is a combination of novel and lyric literature, which appears in the way of eliminating the author's insertion and is performed by the characters themselves.
1. Stylistic origin, epic and lyric poetry.
The principle of "event center" and close to lyrical style (emotions in the specific encounters of characters), sacrifice and entertainment.
Action is the center of gravity. Aristotle: Imitation of action. Shakespeare: Character and action are inseparable. Stanislavski: The subtext.
2. Contradiction, conflict and climax.
West: "Conflict of Will" (Lawson), conflicts are interrelated and conflict resolution is centralized.
English: Lyrics are often monologues.
3. The ups and downs of the climax
The audience of European traditional drama expects because they don't know, and the audience of China expects because they know. Unknown expectation requires drama to be unexpected, and unknown expectation requires drama to be reasonable.
Spain: Step up the last retreat to resolve the conflict. China people: There are many climaxes.
4. Drama structure
China's absorption structure advocates simplicity, and the clues are simple and clear. Contradictions followed, no branches and vines, no dark lines.
Due to the limitation of time, most western operas only start dramatic actions when conflicts have already formed, while the past events and the causes of conflicts are manifested in various ways, and various contradictions are like countless canals and rivers, forming a climax.
Lessing: "Everything in nature is interrelated, and everything is intertwined, transformed and transformed. However, this infinite diversity and complexity is only the expression of infinite spirit. In order to enjoy the expression of this infinite spirit, the limited spirit must acquire the ability to draw boundaries to the original nature without boundaries; You must gain the ability to choose a distraction at will. "
English: linear structure, freedom of time and space, passbook play. Lucy: It's done.
5. Virtual and Reality
Lucy: Really show the law of life and cleverly avoid events or actions that cannot be shown. China people: Implicit nothingness is the characteristic of China's aesthetics, and its sense of reality is weak. Time and space change with the narration of lines, and other characters are blurred when the characters monologue.
The fourth part is a comparative study of Chinese and Western genres.
Section 5 genre classification