Sample proposal report on Chinese language and literature
The proposal report is mainly to describe the overall content and framework of the paper to facilitate writing. Below is a sample report on Chinese language and literature that I compiled for you. I hope it will be helpful to you.
Article 1: Sample proposal essay on Chinese language and literature
Title: "A Brief Discussion on the Tragedy of Jia Baoyu and Ximen Qing"
1 Project Demonstration
(1) Current research status at home and abroad
China’s two major novels about worldly affairs, "A Dream of Red Mansions" and "Jin Ping Mei". The study of them is the two major academic hot spots in the field of ancient Chinese novel research. After the "Jin Ping Mei", known as China's No. 1 Wonderful Book, came out at the end of the 106th century, there were not many researchers at first. However, with the transformation of Chinese academics from classical to modern, the value of the novel changed and updated. The study of "Jin Ping Mei" gradually progressed from subtle to profound, and it was called "Jin Study" by the academic circles. And it is highly valued by foreign scholars. Today's foreign language translations are available in more than 10 languages, including English, French, German, Italian, Latin, Finnish, Russian, Japanese, Korean, Vietnamese, and Mongolian.
Major research has been done on it in various aspects, and it is called a great innovation in the history of the development of Chinese popular novels. Many commentators at home and abroad have commented on the era of creation, the author, the social contradictions it exposes, and the distorted human nature, tragedy, sexual description, character portrayal, use of language, and the novel's analysis of the twisted human nature and tragedy. The network structure formed by it has made a lot of induction and exploration. There is a very obvious relationship of inheritance and development between "Dream of Red Mansions" and "Jin Ping Mei". "Dream of Red Mansions" is a major breakthrough in "Jin Ping Mei". It aroused many people's interest in commenting and researching "A Dream of Red Mansions", and formed a specialized knowledge - Redology.
This great work "A Dream of Red Mansions" belongs to China and the world. "Dream of Red Mansions" has many translations abroad: translations in more than 10 languages ??including English, French, and Japanese. And many commentators at home and abroad have commented on its version, author, as well as its social tragedy, life tragedy, love tragedy, character, personalized literary language, fusion of realism and poetry, and integrated network structure. A lot of summarization and research was done. However, Jia Baoyu and Ximen Qing are the two male protagonists of "A Dream of Red Mansions" and "The Plum in the Golden Ping".
Many commentators at home and abroad have summarized and explored their characters, language styles, realistic prototypes, character connotations, sexual experiences, personal tragedies, etc. "Dream of Red Mansions" is a continuation and development of "Jin Ping Mei". Its male protagonist Jia Baoyu has a certain connection with Ximen Qing. The study of the two of them in the future should tend to be the social tragedy of the two and human beings. Tragedy, interpretation and analysis of man's tragedy.
(2) Practical significance
As the first wonder book in China, "The Plum in the Golden Vase" has laid the foundation for the development of Chinese novels about worldly affairs since its publication, and has transformed our country into a novel about world affairs. The development of novels can be divided into stories about talented men and beautiful ladies and family life as themes to describe the state of the world, and social life as themes and using satire to expose the darkness of society. "A Dream of Red Mansions" has made a major breakthrough after critically inheriting the writing experience of "Jin Ping Mei" novels about talents and beauties. It has become the greatest work of worldly romance novels.
After the "54" literary revolutionaries made new evaluations and Lu Xun and others elaborated on the realist spirit and outstanding achievements of "A Dream of Red Mansions", the realist spirit of "A Dream of Red Mansions" returned. Until now, "Dream of Red Mansions" and "Jin Ping Mei" are still good books that many writers can never finish and are always worth reading.
It has become a rare reference material for Chinese writers to create high-level works. However, exploring the tragedy of the male protagonists Jia Baoyu and Ximen Qing in the two famous works can provide a better understanding of the social tragedy, human tragedy, and male tragedy in the two famous works, so that future generations can learn from them. This will inspire the creation of later world-love novels and bring the tragedy of characters in future world-love novels to a higher peak.
2 Scheme Design
(1) General
Without "Jin Ping Mei", "A Dream of Red Mansions" cannot be written. From the theme of "A Dream of Red Mansions" and "Jin Ping Mei" A similar angle leads to the central argument.
(2) Essay
The full text is divided into three parts
Part 1: Expounding the tragedy of Ximen Qing
Ximen Qing A scoundrel, a hooligan, a slut, a shrewd businessman who relies on his possession of money to squander and indulge in wantonness, is self-centered to realize his indulgence of desires, and obtains powerful rights through money. , casually despising the world, behind which is reflected the darkness and decadence of society. It constitutes its unique social tragedy, human tragedy and man's tragedy.
Part 2: Elaborating on the tragedy of Jia Baoyu
Jia Baoyu is a crystal clear jade, a prominent nobleman, his personality, his self, his love for girls His respect forced him to go against the feudal tradition. As the sole heir of Rongguo Mansion, he shoulders all the hopes of Rongguo Mansion.
But his own character traits made him a "rebellious and unworthy son."
Part 3: Demonstrating traditional values, traditional ethics and the tragedy of Jia Baoyu and Ximen Qing
Traditional values ??and traditional ethics were trampled wantonly in the actions of Jia Baoyu and Ximen Qing. The emerging and traditional were in great opposition, but the old feudal forces were extremely powerful. In the end, Jia Baoyu Baoyu failed and Ximen Qing failed, resulting in an eternal tragedy.
(3) Summary
Summarize the full text and prove the argument
Part 2: Sample proposal report on Chinese language and literature
Artistic creation and All art appreciation activities require imagination, and there are incisive discussions on imagination in ancient and modern times both at home and abroad. The essence of art is to touch the most essential things of life and provide aesthetic redemption, and imagination is the most important means to strengthen this essence of art. Imagination is an important reason why art becomes art. In the artistic and aesthetic realm of imagination, the most critical role of imagination is to open up the sky where human free spirit can fly. Watching the spiritual home has become the mission of imagination.
In fact, human artistic aesthetic activities are, with the help of the temptation of certain artistic media, in an illusionary world created by imagination, one can either gain spiritual comfort or gain a thorough understanding of life. Artistic imagination can turn nothing into something, turn decay into magic, and create infinitely diverse aesthetic images and profound aesthetic artistic conceptions. Liu Zongyuan, a Tang Dynasty poet, wrote a poem called "Snow on the River": Birds in thousands of mountains have disappeared, and all traces of people have been wiped out. A man in a boat and a man with a coir raincoat fishes alone in the snow on the cold river. This poem seems like the author has only written a beautiful picture of specific objects, and obviously it cannot be counted. A successful poem, in fact, the beauty of this poem is that the author uses specific objects and imagination to express his own feelings of isolation, independence, and aloofness, and thereby expresses his own personality and realm. Although Liu Zongyuan has been living in a foreign place for a long time, he is still calm and calm despite the rain and wind. All of these are the implicit meaning and emotion of this poem. The deep emotional connotation of his poems is hidden outside the words and words, waiting for the readers to discover and excavate as they wander around.
In the process of artistic creation, it is inseparable from the processing of images, the concentration of images, and the sublimation of emotions. Image stirs up the sails of imagination, image blows up the wings of imagination, imagination in turn promotes the rise and change of emotion. Image, image, emotion and imagination are intertwined and constantly penetrate, interact, influence each other, and together form a joint force. Promote artistic creation activities to move forward smoothly. Therefore, it can be said that the spiritual power that literature and art rely on for survival is unique imagination. In short, imagination is an ontological spirit of artistic creation. Imagination is always infused with the rich emotions of the creative subject, which is displayed under the stimulation of emotional power. It has a distinctive personality and is displayed in the works through the condensed images and images.
Therefore, artistic creation that lacks imagination cannot have eternal artistic vitality and appeal. However, when we set a fresh and healthy civilizational coordinate and re-examine the current artistic creation, it is not difficult to find that the increasing lack of imagination in the field of art and the forgetfulness of imagination by writers and artists have become an indisputable fact. Since the 1990s, under the control of instrumental rationality, literary works, movies, cross talk and other artistic categories have become increasingly far away from the necessary imagination space and have lost their poetic aesthetic quality and poetic wisdom. This not only highlights the artistic thinking of writers and artists. The feebleness of the work reveals the attitude of writers and artists to actively cater to commercial interests, and at the same time shows their downplay and indifference to the artistic concept of spiritual freedom. The characteristics of imaginative thinking tend to be increasingly programmed and simplistic. Therefore, the current imaginary world presents a desolate and desolate scene.
As one critic said, imagination is increasingly subject to rationality. On the one hand, under the guidance of countless concepts, it has acquired a refined logical order and has a new direction of flow. On the other hand, it is entangled, bound and even suffocated by concepts. Lack of imagination not only makes literature and art boring and devoid of charm, but also makes the originally poetic life fall into a monotonous repetition of imitating each other. Undoubtedly, a lack of imagination will make our lives not only lack necessary changes and freshness, but also make even the most daily operations seem particularly lazy and boring. Once there is a lack of imagination, the ductility and aesthetic taste of artistic works will be limited to a small space and lose the sense of life and rhythm. Imagination is to art what the never-exhausting source of living water is to life. In fact, imagination is not only a comprehensive ability, but also a kind of life consciousness. Without this consciousness as a premise, there would be no emergence of unique works and the birth of individual schools, let alone the overall development and prosperity of literature and art.
Ancient Chinese aesthetics and literary theory have always attached great importance to imagination. Its theoretical resources are very rich, and different theoretical discourses and ways of speaking are also used to explain imagination. Among the pre-Qin scholars, Laozi and Zhuangzi were the most imaginative and wise thinkers, and their description and understanding of Tao had a very distinctive imaginative character. Lao Tzu believes that in order to understand the indescribable Tao, one must eliminate all mysteries. In essence, such a state of emptiness and tranquility is to seek communication with the spirit of all things in the world in the imaginary world, that is, to forget both the inside and outside, and to unite things and myself. That is, the subject abandons all limited forms and paranoid concepts, and has a pure heart. One place to travel the road. Zhuangzi inherited Laozi's thought about the ineffability of Tao.
Zhuangzi believed that the meaning of calligraphy has limitations and needs to be expressed in terms of the manifestation and grasp of Tao. Zhuangzi does not speak directly but uses fables to imply and symbolize Tao.
Similar to Lao Tzu’s Tao of purifying mysteries, Zhuangzi put forward the theory of mind fasting and forgetfulness. Zhuangzi made extensive use of imagination as a spiritual tool in his articles. To put it in Zhuangzi's philosophical language, imagination means sitting around, forgetting about nothingness, being quiet, hanging around, listening to the sounds of nature, keeping one's roots, and keeping one's spirit. Therefore, Zhuangzi's imagination has the connotation of negating logic, negating language, negating sensory experience, negating knowledge, negating rationality, etc., focusing on the overall grasp of intuitive experience in the spiritual world, especially the poetic concern and wisdom of the pure consciousness of self-existence. Ask questions. Zhuangzi's aesthetics of life is an aesthetics based on the Tao, the foundation of Zhuangzi's philosophy, which points to the ultimate care of life and individual life. It includes Zhuangzi's understanding of beauty and beauty, and also contains a state of mind in the process of understanding Tao. It is to use aesthetic thinking to design the habitat of the human spirit, and at the same time seek ways for individual life to reach this wonderful spiritual home.
Therefore, Zhuangzi’s theory of imagination is different from both perceptual thinking and rational thinking. It is a kind of poetic thinking. What it has from the beginning is philosophical wisdom and poetic character, rather than just As a tool of understanding; what it gives us is not the presupposition and premise of value, but the opening and enlightenment of poetic wisdom. Lu Ji's "Wen Fu" of the Western Jin Dynasty vividly depicts the artistic imagination in the creative conception: listening to the audience, thinking about side news, reaching the eight extremes, and wandering far and wide. Liu Xie of the Liang Dynasty in the Southern Dynasties even believed that imagination is the organic blend of subjective thoughts and objective objects. Therefore, thinking is the best, gods and objects wander, gods communicate with images, and emotions are conceived. Seek things by their appearance, and respond by their hearts ("Wen Xin Diao Long? Shen Si").
Imagination in the ancient Chinese aesthetic thought system is obviously different from the West from the beginning. It is not a category of psychological thinking, but it is elevated to the highest form of examination of the human spirit. As the highest way of thinking and logical tool for exploring phenomena and questioning self-existence, it has a poetic character.
Regarding the current sluggish development of literature and art, calling for the return of imagination is the first question that all art creators today should think about. Excellent artists always use their unique imagination to closely observe, analyze, and perceive the world they live in, revealing the existence state and ontological spirit of life. The return of imagination can effectively curb the decline and decadence of current artistic creation, enhance the connotation and expressiveness of artistic works, and enhance the public's artistic taste and aesthetic level. Similarly, imagination also plays a very important role and significance in the current social and cultural construction.
References:
[1]Marx, Engels. Marx and Engels on Art[M]. Beijing: People's Publishing House, 1963.
[2] Editor-in-chief Wu Lifu. Selected Western Literary Essays (Part 1) [C]. Shanghai: Shanghai Translation Publishing House, 1979.
[3] Edited by the Institute of Foreign Literature, Chinese Academy of Social Sciences. Foreign theorists and writers on image thinking [ C]. Beijing: China Social Sciences Press, 1979.
[4] [Germany] Written by Kant, translated by Li Qiuling. Critique of Pure Reason. [M]. Beijing: Renmin University of China Press. 2015.
[5] Hegel. Aesthetics (Volume 1) [C]. Commercial Press, 1979: 357.
[6] Gorky. Essays on Literary Techniques. Essays on Literature .[C]. People's Literature Publishing House 1978: 317. ;