My era, 1979!

Chapter 51 The Modern Transformation of Traditional Chinese Literary Theory

As for what to write?
The topic of the paper had already been decided.

The Modern Transformation of Traditional Chinese Literary Theory: From "Literature as a Vehicle for Morality" to a Localized Path of Realism

The content was even mostly written on scrap paper beforehand, but I got stuck on the references and some expressions from that era.

He found a seat by the window in the reading area and gently placed the scrap paper and pencil from his canvas bag on the table.

A few students who stayed on campus sat scattered around, the sound of turning pages and pens scratching across paper mingling together.

The auspicious time has arrived, time to begin working on the thesis!
Xu Chengjun unfolded the draft of his thesis; three chapters were already listed under the titles:
"Contemporary Translation of Textual Research and Etymology"

"The Beauty of Harmony and the Tension of Realism"

"The rebirth of the metaphorical tradition in reform literature."

He pulled out the 1963 edition of "Selected Works of the Tongcheng School" and underlined the phrase "moral principles as the trunk, textual research as the branches" with a wavy line.

The annotation next to it reads, "Corresponding to the core ideas and empirical spirit of reform literature."

"What's missing is the wisdom of our ancestors."

These documents, which are readily available to later generations, now have to be painstakingly sifted through piles of old papers.

He didn't find it boring at all; on the contrary, he felt that it added a more solid weight to the argument.

However, the time frame was indeed difficult for someone like him, who was used to using a computer mouse and keyboard, to accept.

Efficiency, oh efficiency!
but,

These days, people don't have much of a concept of efficiency.
The slogan "Time is money" was first posted in the Shenzhen Special Economic Zone in 81.

It gave birth to the first miracle of economic construction during the reform and opening up.

Let's return to the paper.

The paper's framework is nothing special.

The abstract sets the tone, the introduction sets the target, the literature review lists the competitors, the theoretical framework forms the skeleton, case studies provide the flesh and blood, and the countermeasures and conclusions bring the net to a close.

This traditional approach to university graduation theses is applicable no matter the era.

The basics are often the most classic and the most useful.

What makes this paper difficult?

The challenge lies in how to delve into the research trends in Chinese literature development in 1979, introduce Zhang Peiheng's "classical literary theory" perspective, transform the traditional framework into a creative tool for contemporary realism, and demonstrate academic insight that transcends specific historical contexts!

The theory must be new, but it must be grounded in the realities of 1979.

He didn't want to be a Bruno who would be posthumously honored fifty years later; he wanted to be a Borges who could be realized in the present.

Who are considered competitors in the literature review?

In 1979, the academic community was experiencing a surge in the introduction of Western theories.

Before Freud's theory of the unconscious could be fully digested, Sartre's "free choice" became the new object of admiration.

Now,
Treating "magical realism," which even Márquez himself doesn't acknowledge, as a literary canon.

A group of people use Western theories as a yardstick, and they want to label all Chinese literary works as "absurdist symbols".

Absurd and laughable.

No one is saying that "learning from the West and applying it to China" is not acceptable.
However, they forcefully apply Western frameworks to Chinese literature, neglecting local traditions, and their research on traditional literary theory often remains at the level of textual research or simple denial.

They focus on "breaking through ideological taboos," talking at length about reflection and wounds, but fail to realize the importance of "building an independent Chinese literary theory system."

No wonder so many Chinese literature professors these days are shouting: "The backbone of literature must be Chinese!"

Look, what a great target. What is Xu Chengjun going to write?
He wants to use his pen to puncture the current academic hype, to sharpen this needle and pierce into the fabric of realist literature.

What theoretical framework and countermeasures can Xu Chengjun provide?

He wanted to clearly state that "Western realism cannot fully explain Chinese reform literature," advocated "taking traditional literary theory as the root and Western theory as the application," and proposed that "traditional literary theory is not a historical legacy, but a living creative methodology."
Bring out the "beauty of moderation" of the Tongcheng School to cure the wailing disease of scar literature. Writing about suffering does not necessarily require bloodshed; "sorrow can be without pain."
We can apply the "chronological order" theory from *The Literary Mind and the Carving of Dragons* in a more nuanced way. As policy trends change, literature must adapt, just as farmers adjust their wheat seeds based on the weather. Why bother with Western "magical realism"?
Furthermore, the added advantage of being a graduate or doctoral student at Fudan University,

Currently, we may be attacked and smeared by those who are either aware of right and wrong, or those who are not.
But in the long run
This will make him a leading figure in the study of Chinese realist literature.
Established its position in academia!
Furthermore,
How important is cultural confidence?

Self-explanatory.

In the practice of later generations, how many of our own bones were broken and how much blood was shed to forge a new cultural path?
Xu Chengjun's goal is to deeply embed himself in the specific context of Chinese culture and play the trump card of "cultural confidence"!

This can nip some signs of "Western theoretical colonization" in the bud.

Eliminate a group of ungrateful "cultural ingrates" and "sheepdogs" who cannot be tamed.
That's truly gratifying; this trip wasn't in vain.

He wanted to spark forward-looking thinking in academia about the "Chinese independent literary theory system," laying the groundwork for the "cultural roots-seeking" trend in the 80s.

He will go further down this path, write more, and conduct more in-depth research in the future.

What is a literary master?

Is it copying a book by piecing together phrases and sentences, or currying favor with foreign awards to gain empty fame, that makes you a literary giant?
ridiculous!

The lamps in the Shaoxing Guild Hall are still burning, and the shouts from the Hundred Herbs Garden still echo in our ears.

If that were truly the case, I fear that Xun Ge (Zhou Xun) would rise from the depths of history, glaring angrily, and slam his fist on the table, exclaiming: "Such petty and despicable behavior, does he even deserve the title of 'literary giant'?!"

True literary talent is the sincere sentiment expressed by Lin Zexu: "If it benefits the country, I will risk my life; how can I avoid it because of personal fortune or misfortune?"

True literary skill lies in the sense of responsibility that Zhang Zai spoke of: "to establish a heart for heaven and earth, and to establish a destiny for the people!"

It is not about pandering to Western standards, but about seeking the soul of our nation's roots;

Instead of wallowing in the mire of fame and fortune, we sow new seeds of thought in the soil of our times.

When the pen flows with the strength of five thousand years of cultural heritage, when the words pulsate with the heartbeat of national rejuvenation...

Even a small spark can start a prairie fire;
Even a tiny ray of light contributes to the glory of our land.

Xu Chengjun may not be that noble, but he is still a good young man of the 21st century who was born under the red flag and grew up in the spring breeze.

For the greater good, one should not seek fame or fortune.
This has brought new seeds of national self-confidence and literary thought to this era.

To contribute a tiny bit of strength to the great rejuvenation of this country and nation.

The pen is like a dragon spring, and the words are like a clarion call.

He's determined to take this path!
When writing about the modern interpretation of "literature as a vehicle for conveying moral principles".

The cicadas outside the window gradually stopped chirping, and as dusk crept up the windowsill, the holiday library was already deserted.

The elderly lady who manages the facility came over to inform us that it was almost closing time.

Seeing him still writing furiously, I couldn't help but mutter, "Young man, you're really working hard. Do you have an interview tomorrow?"

"The day after tomorrow."

Xu Chengjun looked up and smiled, but didn't notice the ink smeared on his face. "I just want to finish the paper as soon as possible so I can feel at ease."

The old lady sighed, perhaps thinking that Xu Chengjun and her grandson were about the same age, and said, "My grandson is in the economics department. He was admitted last year and he complains every day that his thesis is hard to write. But your manuscript... looks quite decent."

"I just wrote it all down," Xu Chengjun said modestly.

Wang Zengqi: So you're just writing nonsense again?

At this point, the references on the manuscript paper had filled an entire page:
From Liu Xie's "The Literary Mind and the Carving of Dragons" to Zhang Peiheng's "On the Nationalization Path of Realism",
From the 1958 edition of "Studies in Ancient Literary Theory" to the newly published special issue on literary theory in the "Fudan Journal" this year.

(End of this chapter)