“世界中国学论坛”网站介绍
2004-5-25 10:09:38
“世界中国学论坛”设有专门网站，网站全面收录全球中国学研究主要机构近百家,为了解海外研究中国问题的最新最全面进展,提供一站式服务，并力争成为具有世界影响的中国学研究学术交流网上平台。收录机构如下：
国际组织（3个）
1 .亚洲基金会中国项目
2.联合国发展项目（UNDP）中国办公室
3.联合国中国小组
港澳台地区（2个）
1.香港中文大学中国研究服务中心
2.香港大学亚洲研究中心
亚洲（5个）
1.印度中国研究所
2.亚欧基金会
3.日本东洋文库
4.新加坡国立大学东亚研究所
5.日本经济贸易和产业研究所“转变中的中国”刊物
大洋洲（7个） 1.新西兰奥克兰大学亚洲研究所
2.澳大利亚国立大学当代中国中心
3.澳大利亚昆士兰大学历史、哲学、宗教和古典学院
4.澳大利亚澳中理事会
5.澳大利亚墨尔本亚洲语言和社会研究院
6.澳大利亚拉筹伯大学亚洲研究项目
7.澳大利亚国立大学亚太经济与政治学院中国经济与商业项目
欧洲(33个)
1.荷兰国际亚洲研究院
2.德国海德堡大学中国研究所
3.德国的亚洲之家
4.德国柏林理工大学中国科学技术史学与哲学研究所
5.德国特里尔大学汉学系
6.德国波鸿大学汉学系
7.德国纽伦堡大学汉学系
8.德国慕尼黑大学汉学系
9.瑞典隆德大学东亚和东南亚研究中心
10.英国伦敦大学东方与非洲研究学院
11.英国剑桥大学东亚研究所
12.英国爱丁堡大学中文系
13.英国汉学协会
14.英中协会
15.英国伦敦经济学院亚洲研究中心
16.英国北安普敦大学学院中国中心
17.英国诺丁汉大学当代中国研究所
18.英国牛津大学东语系中国研究中心
19.英国及爱尔兰皇家亚洲协会
20.苏格兰-中国友好协会
21.苏格兰中国研究信息网
22.英国伦敦大学东非学院欧洲汉学学会
23.欧洲汉学图书馆协会
24.法国当代中国研究中心
25.法国近现代中国研究中心
26.法国远东学校
27.法国汉学协会
28.法国汉语教师协会
29.俄罗斯科学院远东研究所
30.西班牙马德里自治大学东亚研究中心
31.西班牙马德里大学东亚研究中心
32.西班牙阿利坎特大学东方研究中心
33.西班牙加泰鲁尼亚大学亚洲研究项目
南北美洲(50个)
1.美国哈佛燕京学社
2.美国哈佛大学费正清东亚研究中心
3.美国芝加哥大学东亚研究中心
4.美国加利福尼亚大学伯克利分校中国研究中心
5.美国加利福尼亚大学圣迭戈分校(UCSD)现代中国史项目
6.美国美中关系委员会
7.美国加利福尼亚大学洛杉机分校东亚语言与文化系
8.美国印第安纳大学东亚研究中心
9.美国东亚图书馆合作万维网
10.美国约翰-霍普金斯大学
11.美国杜克大学亚太研究学院
12.美国耶鲁大学东亚研究委员会
13.美国福特基金会
14.美国普林斯顿大学东亚研究系
15.美国加利福尼亚大学伯克利分校东亚研究所
16.美国哥伦比亚大学东亚语言与文化系
17.美国巴德学院外语、文化和文学部
18.美国传统基金会亚洲研究中心
19.美国亚洲研究协会
20.美国1990研究所
21.美国中国学术交流委员会
22.美国亚太法律学社
23.美国亚洲观察（网站）
24.美国旧金山中华文化中心
25.美国纽约中国学社
26.美国哥伦比亚大学美中艺术交流中心
27.美国丹佛大学美中合作中心
28.美国东西方研究中心
29.美国能源分析部中国能源与环境研究室
30.美国国际中国环境基金会
31.美国加利福尼亚大学洛杉矶分校中国研究中心
32.美国伯克利中国评论
33.美国哥伦比亚大学法学院中国法律研究中心
34.美国西北地区中国研究会
35.美国中国能效环境经济信息
36.美国密歇根大学汉学中心
37.美国中国环境论坛
38.美国太平洋论坛
39.美国亚洲研究文献
40.美国“当代中国”期刊
41.美国EIN新闻网“今日中国”网页
42.美国亨利L.斯廷森中心：中国项目出版物
43.美国萨奇出版集团，中国信息刊物
44.美国马塞储塞大学东亚图书馆中国研究的日文在线资料
45.加拿大亚太基金会
46.加拿大蒙特里亚大学东亚研究中心
47.墨西哥学院亚非研究中心，墨西哥
48.秘鲁天主教大学东方研究中心
49.阿根廷萨尔瓦多大学东方研究学院
50.智利大学国际研究所亚太中心
2007年12月31日星期一
2007年12月15日星期六
The University of Manchester语言文化类
Chinese Studies PhD
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Degree awarded: Doctor of Philosophy
Duration: 36 months full-time, 72 months part-time
Entry requirements: Successful completion of a Masters course, or its overseas equivalent, with an element of research training, is a prerequisite for entry to a PhD. Completing the MA unit in Research Methods is obligatory for all PhD students who have not previously received such training. A research proposal must be included with the formal application materials.
Course fees:
For entry in 2008, the tuition fees are £3,300 per annum for home/EU students and £10,500 per annum for international students. For general fees information, please visit: Postgraduate Fees.
Scholarships/sponsorships:
British and EU students intending to take a research degree (MPhil or PhD) are eligible to apply for support to the Arts and Humanities Research Council (AHRC). AHRC grants are awarded competitively and will cover the payment of fees and maintenance for UK students, and fees (and maintenance, subject to eligibility criteria) for EU students.
International students are eligible to apply for an Overseas Research Students (ORS) award. The award pays the difference between the international student tuition fees and the Home/EU student tuition fees. Candidates who are successful in obtaining an ORS award may receive an additional scholarship from the School to cover the Home/EU rate of tuition fees and a maintenance award.
The University of Manchester and the China Scholarship Council award up to ten postgraduate scholarships annually to nationals of PR China who intend to study a PhD or undertake post-doctoral work at the University of Manchester. The Scholarship covers tuition fees and an annual maintenance grant for a period of up to three years subject to satisfactory progress.
The British Inter-University China Centre (BICC) normally funds PhD studentships. BICC is a consortium of the Universities of Oxford, Manchester and Bristol funded by the ESRC, HEFCE and AHRC. Please see the BICC website http://www.bicc.ox.ac.uk/ for further details.
The School of Languages, Linguistics and Cultures also offers a limited number of Graduate Teaching Fellowships (GTFs) for PhD students, together with a number of fee bursaries on a competitive basis. Details of available funding in a given year are posted on the web in February/March.
Number of places/applicants: There is no limit on the number of places available.
Related website: www.manchester.ac.uk/llc
Academic department: School of Languages, Linguistics and Cultures
Contact email: pg-chinese@manchester.ac.uk
Contact telephone: +44 (0)161 275 3559
How to apply:
For details on how to apply, go to: Apply online
Course options
| Full-time | Part-time | Full-time distance learning | Part-time distance learning | |
|---|---|---|---|---|
| PhD | Y | Y | N | N |
Translation and Intercultural Studies
Programme details
| University name: | The University of Manchester |
| Department: | School of Languages, Linguistics and Cultures |
| Research opportunity title: | Translation and Intercultural Studies |
| Qualification, duration, mode: | PhD 36FT 72PT*MPhil 9FT 21PT |
| Months of entry: | January, July, September |
| Entry requirements: | Normally, successful completion of a Masters course, with an element of research training is a pre-requisite for entry onto a PhD, but applicants who submit evidence of relevant postgraduate training may be offered direct entry to a PhD. |
| Funding: | The Arts and Humanities Research Council (AHRC) offers PhD funding and UK/EU students are encouraged to apply. See the AHRC website for details: www.ahrc.ac.uk. School bursaries ORS competition for oversaes applicants |
| Annual number of new students: | 6-10 |
| Total number of students enrolled: | 11-20 |
| Research description: | The Centre for Translation and Intercultural has the largest concentration of translation studies specialists in the country. It attracts visiting scholars and postgraduate students from a wide range of countries and backgrounds. By collaborating with experts elsewhere in SLLC, in fields such as literary studies, linguistics, intellectual, social and cultural history and theory, CTIS provides unique opportunities, particularly at PhD level, for postgraduates in translation studies, both in core areas of the discipline and at its interdisciplinary cutting edge. |
| Contact name: | Postgraduate Admissions Officer |
| Telephone: | +44 0161 275 3559 |
| Fax: | +44 0161 275 3031 |
| Email: | pg-translation@manchester.ac.uk |
2007年12月9日星期日
中国文学作品译名词典
【阿Ｑ正传】The True Story of A Q
【哀歌】elegy
【《哀江南赋》】Lament for the South
【爱情喜剧】romantic comedy
Ｂ
【八股】eight-part essay ( a literary composition prescribed for the imperial civil
service examinations, knows for it rigidity of form and poverty of ideas )
【白话诗】free verse written in vernacular
【白话文】writings in vernacular
【《白话文学史》】History of Vernacular Literature
【白描】simple, straightforward style of writing
【《白香词谱笺》】A Collection of Tunes of Ci Poems
【百花齐放，推陈出新】Let a hundred flowers blossom, weed through the old to bring forth
the new
【百花齐放，百家争鸣】Let a hundred flowers blossom and a hundred schools of thought
contend
【报告文学】reportage
【《暴风骤雨》】The Hurricane
【暴露文学】literature of exposure
【悲剧性缺陷】tragic flaw
【笔记小说】literary sketches; sketch-book
【边塞诗】frontier-style poetry
【扁平人物】flat character
【变文】bianwen (form of narrative literature flourshing in the Tang Dynasty, with
alternate prose and rhymed parts for recitation and singing, often on Buddhistic
themes )
【表现手法】technique of expression
【柏拉图式恋爱】Platonic love
Ｃ
【才子佳人】gifted scholar and beautiful woman ( a term usually used to refer to ideal
lovers in Chinese romance )
【《采莲赋》】Lotus Gathering
【《蔡文姬》】Cai Wenji
【《沧浪诗话》】Cang Lang's Notes on Poets and Poetry
【《茶馆》】Teahouse
【长短句】a kind of classical poetry consisting chiefly of seven-character lines
interspersed with shorter or longer ones
【《长干行》】The Trader's Wife
【《长恨歌》】Song of Enduring Sorrow；A Song of Everlasting Sorrow
【《长生殿》】Palace of Eternal Youth; The Longevity Hall
【畅销书】best-seller
【衬托】to make...stand out in high relief
【衬字】extra word inserted in a line of verse for balance or euphony
【《赤壁赋》】Song of the Red Cliff
【《出师表》】Memorial on Sending Out the Troops
【《初学记》】The Primary Anthology
【《楚辞》】Chuci; Elegies of Chu; Songs of Chu
【传奇】legend; short stories of the Tangand Song dynasties
【传奇小说】romantic novel
【《创业史》】The Builders
【创造社】Creation Society
【创作思想】ideas guiding creation in literature and art
【创作源泉】fountain-headofliteraryand artistic creation
【《春蚕》】Spring Silkworms
【《春灯谜》】Spring Latern Riddles
【《春风沉醉的晚上》】intoxicating Spring Nights
【《春江花月夜》】Spring, the River, Flowers, the Moon: night；The River On a Spring Night
【春柳社】Spring Willow Society
【《春秋》】The Spring and Autumn Annals
【纯文学】balles-letters
【《辍耕录》】Talks in the Intervals of Ploughing
【词】ci poetry (written to certain tunes with strict tonal pattens and rhyme
schemes, in fixed numbers of lines and words originating in the Tang Dynasty and
fully developed in the Song Dynasty )
【词调】tonal patterns and rhyme schemes of ci poetry
【词牌】tune; names of tunes of ci poems
【《词谱》】A Collection of Tunes of Ci Poems
【词曲】general term for ci and qu
【《词源》】The Origin of the Ci Poetry
【词韵】rhyme of ci poems
Ｄ
【打油诗】doggerel; ragged verse
【大场剧场】public theaters
【《大风歌》】Song of the Great Wind
【大墙文学】prison literature
【《大学》】The Great Learning
【大众化】popular; in a popular style
【《当代》】Contemporary Literature
【《道德经》】The Scripture of Ethics; The Way and Its Power
【道德含义】moral meaning
【倒叙】flashback
【地方出版物】samizdat
【地方色彩】local colour
【地方小说】regional novel
【典型环境】typical environment
【典型人物】typical person
【典型形象】typical image
【典型性】typicality
【典型性格】model personalities
【电影理论】film theory
【叠句】reiterative sentence
【叠韵】two or more characters with the same vowel formation
【叠字】reiterative locution
【动物寓言故事】beast fable
【《窦娥冤》】The Injustice Done to Dou E
【读者反应批评】reader-response criticism
【对联】couplet written on scrolls
【多重含义】multiple meaning
Ｅ
【俄国形式主义】Russian Formalism
【《儿女英雄传》】The Story of the Hero and The Sisters; Two Sisters Marry the Same Man
【儿童文学】children's literature
【《儿童文学研究》】The Study on Children's Literature
【《而已集》】And That's that
【《尔雅》】Literary Expositor
【《二刻拍案惊奇》】The Second Collection of Striking the Table in Amazement at the
Wonders
【《二十年目睹之怪现状》】Odd Things Witnessed Over Twenty Years; Having Seen Strange Present
Conditions for Twenty Years
【《二十四诗品》】The Twenty-Four Moods of Poetry
【二十四史】the Twenty-Four Histories (dynastic histories from remote antiquity till
the Ming Dynasty)
【二为方向】literature and art following the two directions of being for serving the
people and for serving socialism
【《二心集》Two Hearts
Ｆ
【反面人物】negative character
【反现实主义小说】antirealistic novel
【反映现代生活】to reflect present-day life
【反映现实生活】to reflect real life
【《飞燕外传》】The Private Life of Lady Swallow
【非传统英雄式的主人公】anti-hero
【非理性主义】irrationalism
【非虚构小说】nonfiction novel
【非正式出版物】underground literature
【肥皂剧】soap opera
【风骨】strength of character; vigour of style
【风景诗】topographical poetry
【风骚】literary excellence; coquettish
【《凤凰涅磐》】The Nirvana of the Phoenix
【《封神演义》】Canonization of the Gods; Gods and Heroes; Investiture of the Gods
【讽刺喜剧】satirical comedy
【讽刺作品】satire
【丰富的表现能力】rich expressive power
【《枫桥夜泊》】To Moor at Night at the Maple Bridge
【《芙蓉镇》】A Small Town Called Hibiscus
【《腐蚀》】Decay
【赋】fu;descriptive prose interspersed with verse; prose-poetry
【复仇悲剧】revenge tragedy
【《浮生六记》】Six Chapters of a Floating Life
Ｇ
【干预生活】interventing in life
【感伤小说】senimental novel
【高大全】tall, big, and perfect ( the nonexistent divorced-from-realistic-life,
"heroic" figures fabricated in certain literary and art works along the
Gang-of-Four's theory of literature and art during the Cultural Revolution
【格律诗】regulated verse
【革命的政治内容和尽可能完美的艺术形式的统一】unity of revolutionary political content and highest
possible perfection of artistic form
【革命斗争小说】novels and novelettes on revolutionary struggle
【革命文学】revolutionary literature
【革命戏剧】revolutionary drama
【革命现实主义】revolutionary realism
【革命现实主义和革命浪漫主义相结合】combining revolutionary realism with revolutionary romanticism
【革命样板戏】revolutionary model theater
【歌颂工农兵英雄】enlogizing worker, peasent and soldier heroes
【歌颂光明】enlogizing what is bright
【歌行】a poem that can be set to music and song
【《隔帘花影》】Flower Shadows on the Screen
【工人文学】arbeiter literature
【功利主义艺术观】vtilitarianism of art
【宫体诗】palace-style poetry
【宫廷作家】courtly makers
【古代文学】ancient literature
【古典悲剧】classical tragedy
【古典文学】classical literature
【《古今谭概》】A Chat about the Present and the Past
【《古今小说》】The Ancient and Modern Stories
【古今之争】quarrel at the ancients and moderns
【《古诗源》】The Wellsprings of Old Poems
【古体诗】gutishi; ancient style poetry ( a form of pre-Tang poetry, usu. having five
or seven characters to each line, without strict tonal patterns or rhyme schemes
【古为今用，洋为中用】make the past serve the present and foreign things serve China
【古文】1. prose written in the classical literary style
2. ancient Chinese prose
3. Chinese script before the Qin Dynasty
【《古文观止》】The Finest of Ancient Prose
【古文运动】Ancient-Style Prose Movement
【《古小说钩沉》】Ancient Stories Salvaged
【《故事新编》】Old Tales Retold; Old Stories Retold
【故事中的故事】story whthin a story
【《官场现形记》】Revealing Original Shape in Officialdom; Bureaucrats Shown Up
【《管锥编》】The Pipe and Awl Collection; Perspectives on Literature
【《归去来辞》】On Returning Home; The Return
【闺怨诗】boudoir-plaint poetry
【国粹】quintessence of the Chinese culture
【《国殇》】The Ode to the Fallen
【《国语》】Guoyu; Conversations from the States; Discourse on the States
Ｈ
【《海上花列传》】Lives of Shanghai Singsong Girls
【海外奇谈】tall tale
【《汉宫秋》】Sorrow in the Han Palace
【《汉书》】The History of the Han Dynasty; Book of Han;
Chronicles of the Han Dynasty
【《好逑传》】The Fortunate Union
【合声】improptu verse
【《荷花淀》】Lotus Creek
【荷花淀派】Lotus Lake School
【黑色幽默】black humour
【《红高梁》】Red Sorghum
【《红楼梦》】A Dream of Red Mansion; Dream of the Red Chamber
【红学】redology
【《呼兰河传》】The History of Hulan River
【《胡笳十八拍》】Barbarian Reed-Whistle Song in Eighteen Stanzas;
Eighteen Verses Sung to a Barbarian Whistle
【《华盖集》】Bad Luck
【《花边文学》】Fringed Literature
【滑稽讽刺作家】burlesque
【《红旗谱》】Keep the Red Flag Flying
【《红岩》】Red Crag
【后现代主义】post modernism
【厚今薄古】paying more attention to the present than to the past
【话本】script for story-telling; text of a story
【话本小说】story-tellers scripts
【话剧】modern drama
【《淮南子》】Writings of Prince Huainan
【《幻灭》】Disillusion
【《黄河东流去》】The Yellow River Flows East
【《黄鹤楼送孟浩然至广陵》】Seeing Meng Haoran off to Yangzhou from Yellow Crane Tower
【荒唐故事】cock-and-bull story
【回忆录】reminiscences
【活报剧】skit; street performance
Ｊ
【《激流三部曲 》】The Torrent Trilogy
【及时行乐】carpe diem
【《家》】The Family
【家庭悲剧】domestic tragedy
【加强艺术感染力】to intensity the impact of the art
【《翦灯新话》】New Stories Written While Trimming the Wick
【建安七子】seven leading writers during the Jian An Period at the end of the Han
Dynasty ( Kong Rong, Chen Lin, Wang Can, Xu Gan, Ruan Yu, Ying Yang, and Liu
Zhen )
【建国后文学】literature after founding of the P.R.C
【间谍小说】spy novel
【教诲文学】didatic literature
【结构谨严】(with) a tightly-knit structure(plot)
【结构主义批评】structuralism Criticism
【接受美学】reception-aesthetic
【《今古奇观》】Wonders of the Present and the Past
【《金光大道》】The Bright Road
【《金瓶梅》】The Golden Lotus; Gold Plum Vase; The Plum in the Golden Vase
【《锦瑟》】The Richly Painted Zither
【近代文学】modern literature
【近体诗】modern style poetry ( a refernce to innovations in classical poetry during
the Tang Dynasty, marked by strict tonal patterns and rhyme schemes )
【《京本通俗小说》】Popular Stories from Capital Editions
【经济建设小说】novels and novelettes on economic construction
【《警世通言》】Convincing Arguments Warning the World; Comprehensive Words to Admonish
the World
【《镜花缘》】Romance of the Mirrored Flowers
【精神分析学文艺批评】psychoanalysis criticism
【精神生活】spiritual life
【《静夜思》】In the Quiet Night
【《九歌》】Nine Odes; None Songs
【《九尾龟》】None-Tailed Tortoise
【《九章》】The nine Elegies; The Nine Songs
【旧诗】old-style poetry; classical poetry
【《旧文四篇》】Four Essays of Yesterday
【《救风尘》】The Rescue of a Courtesan
【救世主形象】christ figure
【俱象诗】concrete poetry
【绝句】jueju, poem of four lines, each containing five or seven characters, with a
strict tonal pattern and rhyme scheme
【《绝妙好词》】Excellent Lyrics
【军事小说】military novels and novelettes
Ｋ
【客观对应物】objective correlative
【客观批评】objective criticism
【科学幻想小说】science fiction; fantasic fiction
【《孔雀东南飞》】Southeast Fly the Peacocks
【口头流传】oral transimission
【口头文学传统】oral tradition
【《苦菜花》】Bitter Herb
【夸张】to exaggerate
【《狂人日记》】A Madman's Diary
Ｌ
【《兰亭集序》】Preface to the Orchid Pavilion Collection
【浪漫主义悲剧】romantic tragedy
【浪漫主义批评理论】romantic criticism
【浪漫主义时期】romantic period
【《老残游记》】The Travels of Lao Can
【《雷雨》】Thunderstorm
【类型化人物】type character
【理论斗争】theoretical struggle
【理性时代】age of reason
【《礼记》】The Book of Rites; The Book of Ceremonies and Proper Conduct
【《李有才板话》】Rhymes of Li Youcai
【离奇故事】tall story
【《离骚》】Li Sao; The Lament; Encountering Sorrow
【历史小说】historical novel
【恋母情结】Oedipus complex
【连载小说】serial story
【联句】parallel phrases
【《聊斋志异》】Strange Tales of Liao-Zhai; Strange stories from a Chinese Studio;
【《列子》】The Works of Liezi
【《林海雪原》】Tracks in the Snow Forest
【《林家铺子》】The Shop of Lin Family
【《六十家小说》】Sixty Stories
【六言诗】poems in six-word verse
【《龙须沟》】Dragon Beard Ditch
【《陋室铭》】On My Modest Room
【鲁迅研究会】Society for the Study of Lu Xun
【《吕梁英雄传》】Heroes of the Lu Liang Mountain
【律赋】regulated prose-poem
【律诗】lushi; a poem of eight lines five or seven characters in each line
【伦理的批评】ethic criticism
【《论契合》】Degrees of Affinity: Studies in Comparative Literature
【论说文】argumentative prose
【《论语》】The Analects of Confucius; Analects
【《洛神赋》】On the Goddess of Luo River
【《骆驼祥子》】Camel Xiangzi; The Ricksha Boy
Ｍ
【马克思主义文学批评】Marxist criticism
【冒险小说】novel of adventures
【梦幻体】dream vision
【美学批评】aesthetic criticism
【朦胧诗】obscure poetry; "murky" poetry
【《孟子》】Mencius; The Book of Mencius; The Works of Mencius
【迷语】riddle
【描写阴暗面】description on dark-side
【民间歌谣】popular ballad
【民间故事】folk tale; folklore
【民间文学】folk literature
【民族遗产】national legacy
【《墨池记》】The Ink Pond
【魔幻现实主义】magic realism
【木偶剧】pupppet show
【牧歌】pastoral
【《牡丹亭》】The Peony Pavilion
Ｎ
【《呐喊》】Call to Arms
【《南腔北调集》】Mixed Dialects
【内容和形式的统一】unity of content and form
【内心独白】interior monologue
【浓厚的中国民族特色】rich Chinese national colour
【女才子】bluestockings
【《女神》】The Goddesses
Ｐ
【《拍案惊奇》】Thumping the Table in Amagement at the Wonders; Amazing Stories
【《彷徨》】Wandering
【《佩文韵府》】The Standard Phrase Dictionary
【批判地继承】to inherit in a critical way
【批判地吸收文学艺术遗产】to critically assimilate the legacies of literature and art
【皮影戏】shadow play
【《琵琶行》】Song of the Pipa
【骈琦派】School of Euphuism
【骈文】rhythmical prose characterized by parallelism and ornateness
【平仄】1. level and oblique tones
2. tonal patterns in classical Chinese poetry
Ｑ
【七绝】four-line poem with seven characters to a line and a strict tonal pattern
and rhyme scheme
【七律】eight-line poem with seven characters to a line and a strict tonal pattern
and rhyme scheme
【《七侠五义》】Seven Heroes and Five Gallants
【七言诗】poem with seven characters to a line
【强烈的生活气息】strong smack of everyday life
【《且介亭杂文》】Demi-Concession Studio Essays
【《青春之歌》】The Song of Youth
【《清明前后》】Before and After the Festival of Pure Brightness
【《清平山堂话本》】Vernacular Short Stories from the Clear and Peaceful Studio
【情节剧】melodrama
【《情史》】A history of Love
【《秋》】Autumn
【曲】qu ( a type of verse for singing, which emerged in the Southern Song and Jin
dynasties and became popular in the Yuan Dynasty )
【《屈原》】The Death of Qu Yuan
【《全宋词》】The Complete Ci-Poetry of the Song
【《全唐诗》】Complete Poetry of the Tang; Collected Tang poems
【《全唐文》】Complete Prose Works of the Tang
【《全相平话五种》】Five Completely Illustrated Pinghua
【《全相古今小说》】Illustrated Stories Anicent and Modern
【全知的观点】omniscient point of view
Ｒ
【《热风》】Hot Air
【人物描写】characterization
【人物素描】the character
【人物突出】(with) characters that stand out
【《日出》】Sunrise
【《容斋随笔》】Miscellaneous Notes from the Tolerant Studio
【《儒林外史》】The Scholars; Unofficial History of Officialdom; Unofficial History
about the Scholars as a Class
Ｓ
【三部曲】trilogy
【《三国演义》】Romance of the Three Kingdoms; Three Kingdoms
【《三国志》】Annals of the Three Kingdoms; History of the Three Kingdoms
【《三家巷》】The Alley of the Three Families
【三苏】The Three Su
【三突出】three standouts (the formula for literary and art creations during the
Cultural Revolution with positive characters standing out from all the
characters, the main heroic characters standing out from the positive
characters, and a most important central character standing out from the main
heroic characters )
【《三侠五义》】Three Heroes and Five Gallants
【《三闲集》】Three Leisures
【三言二拍】San Yan Er Pai; the popular short stories collected by Feng Menglong and
Ling Menchu
【《三字经》】Three Character Classic
【散曲】a type of verse popular in the Yuan, Ming and Qing dynasties, with tonal
patterns modelled on tunes drawn from folk music
【散文诗】prose poetry
【骚客】poet
【骚人墨客】poet and man of letters
【骚体】poetry in the style of Li Sao
【色情文学】erotic literature
【《莎菲女士日记》】The Diary of Miss Sha Fei
【《山歌》】Folk Songs
【《山海经》】The Classic of Mountains and Rivers; Book of Mountains and Seas
【山药蛋派】Patato School
【《山乡巨变》】Great Changes in a Mountain Village
【伤痕文学】literature of the wounded; "scar" literature ( literary works reflecting
the scars inflicted on people's psyches by the Cultural Revolution)
【《上海屋檐下》】Under the Eaves in Shanghai
【少数民族文学】literature of national minorities
【社会风俗小说】novel of manners
【社会小说】social novel
【社会主义现实主义】socialist realism
【神话批评】myth criticism
【神韵】romantic charm
【诗】poetry
【《诗经》】The Odes; The Book of Songs; The Book of Odes Classic of Poetry
【《诗刊》】Poetry
【《诗品》】Critique of Poetry
【《诗人玉屑》】Jade Splinter of Poets
【诗书画合而为一】combination of poetry, calligraphy and painting in one
【诗仙】poetic genius
【《十二楼》】Twelve Towers
【《十三经》】Thirteen Classics
【《十月》】October
【时代精神】spirit of the age
【时代思潮】current thought
【《蚀》】The Canker
【《史记》】Shi Ji; Historical Records; Redords of the Grand History of China; Records
of the Historian
【史传小说】biographical novels and novelettes
【市井歌谣】broadside ballad
【《世说新语》】New Accounts of Old Episodes; New Anecdotes of Social Talk
【世外桃园】Arcadia
【视角】point of view
【《收获》】Harvests
【《书经》】The Book of History; The Book of Documents
【书信体小说】epistolary novel
【抒情歌剧】lyric theater
【抒情诗】lyric poem
【抒情文学】lyric literature
【双重人格】double personality
【双重生活】double life
【《水浒传》】The Water Margin; All Men Are Brothers; The Outlaws of the Marsh
【《说文解字》】Analytical Dictionary of Characters; Explanation and Study of Principles
of Composition of Characters
【《四库全书》】Complete Library of Four Branches of Books; Complete Library in the Four
Branches of Literature
【《四世同堂》】Four Generations under One Roof
【"四书"】The Four Books
【四言诗】a type of classical poem with four characters to a line
【《搜神记》】Stories of Immortals
【俗文学】folk literature
【《随想录》】Random Thoughts
【《随园诗话》】Criticism of Poetry from the Garden of Leisure
【《隋唐演义》】Romance of the Sui and Tang Dynasties
Ｔ
【《太平广记》】Extensive Records Compiled in the Taiping Years；The Extensive
Anthologies of Taiping Period
【《太阳照在桑乾河上》】The Sun Shines Over River Sanggan
【台阁体】secretariat style
【《谈艺录》】Notes on Literature and Art
【《唐诗三百首》】Three hundred Tang Poems
【唐宋八大家】Eight Great Men of Letters of the Tang and Song Dynasties (Han Yu, Liu
Zongyuan, Ouyang Xiu, Wang Ansh, Su Xun, Su Shi, Su Zhe, and Zeng Gong)
【《桃花扇》】The Peach Blossom Fan
【《桃花源记》】The Story of the Peach Blossom Valley
【《陶庵梦忆》】Recollections of Taoan's Past Dreams
【特写】feature article
【《天安门诗抄》】The Tian'anmen Poems
【田园诗】bucolic poem; pastoral poem; idyll
【田园浪漫小说】pastoral romance
【《铁道游击队》】Railway Guerrillas
【通俗小说】popular novel
【通讯】correspondence
【童话】nursery tales
【童谣】children's folk rhymes
【颓废主义】Decadence
Ｗ
【《万首唐人绝句》】Ten Thousand Quatrains from the Tang
【《望江亭》】River-Watching Pavilion
【唯美主义】Aestheticism
【唯物史观】materialistic conception of history
【《围城》】A Town Besieged
【为艺术而艺术】art for art sake
【为人生而艺术】art for life's sake
【《伪自由书》】False Liberty
【文笔】style of writing
【文化遗产】cultural heritage
【文人墨客】poets and literary men
【《文心雕龙》】Carving a Dragon at the Core of Literature
【《文选》】The selections of Refined Literature
【文学革命】literature revolution
【文学批评史】history of literary critiques
【文学社会学】sociology in literature
【文学史】history of literature
【文学思想史】history of literary thought
【文学心理学】psychology in literature
【文学研究会】the Society for Literary Research
【文学遗产】literary heritage
【文艺创作】literary and artistic creation
【文艺队伍】ranks of writers and artists
【文艺革命】revolution in literature and art
【文艺工作者】literary and art workers
【文艺民俗学】folklore in literature
【文艺批评】literary and art criticism
【文言】classical Chinese
【文言文】writings in classical Chinese
【《文苑英华》】Wenyuan Yinghua; Best Literary Works
【问题小说】problem novel
【五经】The Five Classics
【五言诗】a poem with five characters in a line
【无产阶级文学】proletarican literature
【无产阶级小说】proletarian novel
【无题诗】untitled poems
【吴中四杰】Four Outstanding Men of Wu ( the four renowned young poets of the early
Ming, namely , Gao Qi, Zhang Yu, Yu Ben and Jang Ji )
【武侠小说】chivalry novel and novelettes; gongfu novel
【《雾》】Fog
Ｘ
【西方马克思主义文艺批评】Western Marxist criticism
【《西湖佳话》】Memorable Stories of the West Lake
【《西厢记》】West Chamber; The Western Chamber
【《西游记》】Pilgrimage to the West; Monkey; Story of a Journey to the West; Records
of a Journey to the West
【戏剧冲突】dramatic conflict
【戏剧性手法】the dramatic method
【《闲情偶寄》】Sketches of Idle Pleasure
【险韵】obscure rhymes
【现代文学】contemporary literature
【现代戏剧】modern drama
【现代主义与后现代主义】modernism and post-modernism
【现实主义小说】realistic novel
【乡村小说】rural novel
【乡土文学】local literature; native literature
【象征派诗】Symoblist poetry
【《湘西散记》】Recollections of West Hunan
【小剧场运动】little theater movement
【小品文】familiar essay; essay
【小说美学】aesthetics of fiction
【《小说月刊》】The Short Story Monthly
【小小说】short-short story
【消遣小说】light fiction
【《笑府》】Treasury of Jokes
【笑话】joke
【《笑林广记》】Jest Books
【楔子】prologue in some modern novels
【写光明】writing about the bright
【写黑暗】writing about the dark
【心理描写】inside description
【心理现实主义】psychological realism
【心理小说】psychological novel
【《新儿女英雄传》】New Story of Heroic Sons and Daughters
【新青年】New Youth
【新月社】the Crescent Moon Society
【形象思维】thinking in terms of images
【《醒世恒言》】Lasting Words to Awaken the World; The Common Saying Moralizing People
【《醒世烟缘传》】Marriage that Awakens the World
【性的描写】sextual description
【性格喜剧】comedy of humours
【《性格组合论》】On the Composition of Character
【修辞手段】figures of speech
【绣像小说】illustrated fiction
【叙事诗】narrative poem
【叙事小说】narrative novel
【序跋】preface and postscript
【序幕】prologue; prelude
【宣传鼓动剧】agitprop
【宣传文学】porpaganda literature
【宣传小说】propaganda novel
【渲染】apply colours to a drawing; play up
【悬念】audience involvement in a film or play; reader involvement in a piece of
literature
【学院戏剧】academic drama
Ｙ
【延安文艺座谈会】the Yan'an Forum on Literature and Art
【演义】historical novel; historical rommance
【《艳阳天》】Radiant Skies
【《阳春白雪》】The Spring Snow
【《野草》】Wild Grass
【《野叟曝言》】A Rustic's Idle Talk
【《易经》】The Book of Changes
【艺术标准】artistic criterion
【艺术成就】artistic merit
【艺术的起源】origin of art
【艺术鉴赏】virtuosity
【艺术借鉴】reference in art
【艺术效果】effect of art
【艺术性】artistic quality
【艺术至上论】art eorart
【《艺文类聚》】Yi Wen Lei Ju; Classified Excerpts from Ancient Writers; A Categorized
Collection of Literary Writing
【意识流】stream of consciousness
【印象主义批评】impressionistic criticism
【因材施教】individualized method of instruction; case by case
【《永乐大典》】Yong Le Da Dian ; Great Encyclopaedia of the Yongle Reign; The Great
Encyclopaedia in the Reign of Emperor Yongle
【用民族风格表现新的内容】presenting new ideological content with a national style
【语义重叠】multiple meaning
【《喻世明言》】Illustrious Words to Instruct the World
【寓教于乐】delight and instruction
【寓言故事】fable
【元曲】Yuan verse
【元杂剧】Yuan-Dynasty zaju plays
【原型批评】archetypal criticism
【圆形人物】round character
【鸳鸯蝴蝶派】Mandarin Duck and Butterfly School; Love Birds and Butterfly School
【乐府】folk rhyme; folk songs and ballads in the Han style
【《乐府诗集》】The Collection of Folk Songs and Ballads in the Han Style
【《岳阳楼记》】On Yueyang Tower
【《阅微草堂笔记》】Jottings from the Thatched Abode of Close Observations
Ｚ
【杂剧】zaju (poetic drama set to music, flourishing in the Yuan Dynasty, usu.
consisting of four acts called zhe, with a character having the singing role in
each zhe )
【《在延安文艺座谈会上的讲话》】Talks at the Yan'an Forum of Literature and Art
【《再别康桥》】Saying Good-bye to Cambridge Again
【《战国策》】Strategies of the Warring States Period;
Intrigues of the Warring States
【章回小说】Traditional Chinese novels (with each chapter headed by a couplet giving
the list of its content)
【《朝华夕拾》】Dawn Blossoms Plucked at Dusk
【《浙西六家词》】The Ci Poetry by Six Poets from the Westen Part of Zhejiang Province
【真相大白的情节或场面】recognition plot or scene
【侦探小说】detective story
【正面人物】positive character
【《正气歌》】A Song of the Moral Sense
【政治标准】political criterion
【政治和艺术的统一】unity of politics and art
【政治小说】political novel
【志怪小说】mythical stories
【中国诗歌会】the China Poetry Society
【《中国俗文学史》】History of Chinese Popular Literature
【《中国通俗小说书目》】A Bibliography of Popular Chinese Fiction
【《中国文学批评史》】History of Chinese Literary Criticism
【中国文学艺术界联合会】All China Federation of Literary and Art Circles
【《中国小说史略》】A Short History of Chinese Fiction
【中国左翼作家联盟】China League of Left-Wing Writers
【中国作家协会】Association of Chinese Writers
【中华全国文学工作者协会】All-China Federation of Writers
【《中庸》】The Doctrine of the Mean
【主情文学】literature of sensibility
【主题明确】(with) a clear-cut theme
【竹枝词】1. ancient folk songs with love as their main theme
2. occasional poems in the classical style devoted to local topics
【《庄子》】Zhuang Zi; Book of Master Zhuang
【《资治通鉴》】Comprehensive Mirror for Aid Government
【《子不语》】What the Master Would Not Talk of
【《子夜》】Midnight
【自我隐退的作者】self-eff
【自叙体形式】ich-form
【自由恋爱】free love
【自由诗】free verse
【姊妹篇】companion piece
【《组织部来了个年轻人》】A Young Newcomer in the Organization Department
【《醉翁亭记》】Record of the Old Tippler's Pavalion
【《左传》】Zuo Zhuan; Zuo Commentary; Master Zuo's Spring and Autumn Annals
【作品基调】mood and ambience
【作品评价】evaluation of literary works
【作品欣赏】appreciation of literature works
【《左传》】Zuo Zhuan; Zuo Commentary; Master Zuo's Spring and Autumn Annals
【作品基调】mood and ambience
【作品评价】evaluation of literary works
【作品欣赏】appreciation of literature works
【哀歌】elegy
【《哀江南赋》】Lament for the South
【爱情喜剧】romantic comedy
Ｂ
【八股】eight-part essay ( a literary composition prescribed for the imperial civil
service examinations, knows for it rigidity of form and poverty of ideas )
【白话诗】free verse written in vernacular
【白话文】writings in vernacular
【《白话文学史》】History of Vernacular Literature
【白描】simple, straightforward style of writing
【《白香词谱笺》】A Collection of Tunes of Ci Poems
【百花齐放，推陈出新】Let a hundred flowers blossom, weed through the old to bring forth
the new
【百花齐放，百家争鸣】Let a hundred flowers blossom and a hundred schools of thought
contend
【报告文学】reportage
【《暴风骤雨》】The Hurricane
【暴露文学】literature of exposure
【悲剧性缺陷】tragic flaw
【笔记小说】literary sketches; sketch-book
【边塞诗】frontier-style poetry
【扁平人物】flat character
【变文】bianwen (form of narrative literature flourshing in the Tang Dynasty, with
alternate prose and rhymed parts for recitation and singing, often on Buddhistic
themes )
【表现手法】technique of expression
【柏拉图式恋爱】Platonic love
Ｃ
【才子佳人】gifted scholar and beautiful woman ( a term usually used to refer to ideal
lovers in Chinese romance )
【《采莲赋》】Lotus Gathering
【《蔡文姬》】Cai Wenji
【《沧浪诗话》】Cang Lang's Notes on Poets and Poetry
【《茶馆》】Teahouse
【长短句】a kind of classical poetry consisting chiefly of seven-character lines
interspersed with shorter or longer ones
【《长干行》】The Trader's Wife
【《长恨歌》】Song of Enduring Sorrow；A Song of Everlasting Sorrow
【《长生殿》】Palace of Eternal Youth; The Longevity Hall
【畅销书】best-seller
【衬托】to make...stand out in high relief
【衬字】extra word inserted in a line of verse for balance or euphony
【《赤壁赋》】Song of the Red Cliff
【《出师表》】Memorial on Sending Out the Troops
【《初学记》】The Primary Anthology
【《楚辞》】Chuci; Elegies of Chu; Songs of Chu
【传奇】legend; short stories of the Tangand Song dynasties
【传奇小说】romantic novel
【《创业史》】The Builders
【创造社】Creation Society
【创作思想】ideas guiding creation in literature and art
【创作源泉】fountain-headofliteraryand artistic creation
【《春蚕》】Spring Silkworms
【《春灯谜》】Spring Latern Riddles
【《春风沉醉的晚上》】intoxicating Spring Nights
【《春江花月夜》】Spring, the River, Flowers, the Moon: night；The River On a Spring Night
【春柳社】Spring Willow Society
【《春秋》】The Spring and Autumn Annals
【纯文学】balles-letters
【《辍耕录》】Talks in the Intervals of Ploughing
【词】ci poetry (written to certain tunes with strict tonal pattens and rhyme
schemes, in fixed numbers of lines and words originating in the Tang Dynasty and
fully developed in the Song Dynasty )
【词调】tonal patterns and rhyme schemes of ci poetry
【词牌】tune; names of tunes of ci poems
【《词谱》】A Collection of Tunes of Ci Poems
【词曲】general term for ci and qu
【《词源》】The Origin of the Ci Poetry
【词韵】rhyme of ci poems
Ｄ
【打油诗】doggerel; ragged verse
【大场剧场】public theaters
【《大风歌》】Song of the Great Wind
【大墙文学】prison literature
【《大学》】The Great Learning
【大众化】popular; in a popular style
【《当代》】Contemporary Literature
【《道德经》】The Scripture of Ethics; The Way and Its Power
【道德含义】moral meaning
【倒叙】flashback
【地方出版物】samizdat
【地方色彩】local colour
【地方小说】regional novel
【典型环境】typical environment
【典型人物】typical person
【典型形象】typical image
【典型性】typicality
【典型性格】model personalities
【电影理论】film theory
【叠句】reiterative sentence
【叠韵】two or more characters with the same vowel formation
【叠字】reiterative locution
【动物寓言故事】beast fable
【《窦娥冤》】The Injustice Done to Dou E
【读者反应批评】reader-response criticism
【对联】couplet written on scrolls
【多重含义】multiple meaning
Ｅ
【俄国形式主义】Russian Formalism
【《儿女英雄传》】The Story of the Hero and The Sisters; Two Sisters Marry the Same Man
【儿童文学】children's literature
【《儿童文学研究》】The Study on Children's Literature
【《而已集》】And That's that
【《尔雅》】Literary Expositor
【《二刻拍案惊奇》】The Second Collection of Striking the Table in Amazement at the
Wonders
【《二十年目睹之怪现状》】Odd Things Witnessed Over Twenty Years; Having Seen Strange Present
Conditions for Twenty Years
【《二十四诗品》】The Twenty-Four Moods of Poetry
【二十四史】the Twenty-Four Histories (dynastic histories from remote antiquity till
the Ming Dynasty)
【二为方向】literature and art following the two directions of being for serving the
people and for serving socialism
【《二心集》Two Hearts
Ｆ
【反面人物】negative character
【反现实主义小说】antirealistic novel
【反映现代生活】to reflect present-day life
【反映现实生活】to reflect real life
【《飞燕外传》】The Private Life of Lady Swallow
【非传统英雄式的主人公】anti-hero
【非理性主义】irrationalism
【非虚构小说】nonfiction novel
【非正式出版物】underground literature
【肥皂剧】soap opera
【风骨】strength of character; vigour of style
【风景诗】topographical poetry
【风骚】literary excellence; coquettish
【《凤凰涅磐》】The Nirvana of the Phoenix
【《封神演义》】Canonization of the Gods; Gods and Heroes; Investiture of the Gods
【讽刺喜剧】satirical comedy
【讽刺作品】satire
【丰富的表现能力】rich expressive power
【《枫桥夜泊》】To Moor at Night at the Maple Bridge
【《芙蓉镇》】A Small Town Called Hibiscus
【《腐蚀》】Decay
【赋】fu;descriptive prose interspersed with verse; prose-poetry
【复仇悲剧】revenge tragedy
【《浮生六记》】Six Chapters of a Floating Life
Ｇ
【干预生活】interventing in life
【感伤小说】senimental novel
【高大全】tall, big, and perfect ( the nonexistent divorced-from-realistic-life,
"heroic" figures fabricated in certain literary and art works along the
Gang-of-Four's theory of literature and art during the Cultural Revolution
【格律诗】regulated verse
【革命的政治内容和尽可能完美的艺术形式的统一】unity of revolutionary political content and highest
possible perfection of artistic form
【革命斗争小说】novels and novelettes on revolutionary struggle
【革命文学】revolutionary literature
【革命戏剧】revolutionary drama
【革命现实主义】revolutionary realism
【革命现实主义和革命浪漫主义相结合】combining revolutionary realism with revolutionary romanticism
【革命样板戏】revolutionary model theater
【歌颂工农兵英雄】enlogizing worker, peasent and soldier heroes
【歌颂光明】enlogizing what is bright
【歌行】a poem that can be set to music and song
【《隔帘花影》】Flower Shadows on the Screen
【工人文学】arbeiter literature
【功利主义艺术观】vtilitarianism of art
【宫体诗】palace-style poetry
【宫廷作家】courtly makers
【古代文学】ancient literature
【古典悲剧】classical tragedy
【古典文学】classical literature
【《古今谭概》】A Chat about the Present and the Past
【《古今小说》】The Ancient and Modern Stories
【古今之争】quarrel at the ancients and moderns
【《古诗源》】The Wellsprings of Old Poems
【古体诗】gutishi; ancient style poetry ( a form of pre-Tang poetry, usu. having five
or seven characters to each line, without strict tonal patterns or rhyme schemes
【古为今用，洋为中用】make the past serve the present and foreign things serve China
【古文】1. prose written in the classical literary style
2. ancient Chinese prose
3. Chinese script before the Qin Dynasty
【《古文观止》】The Finest of Ancient Prose
【古文运动】Ancient-Style Prose Movement
【《古小说钩沉》】Ancient Stories Salvaged
【《故事新编》】Old Tales Retold; Old Stories Retold
【故事中的故事】story whthin a story
【《官场现形记》】Revealing Original Shape in Officialdom; Bureaucrats Shown Up
【《管锥编》】The Pipe and Awl Collection; Perspectives on Literature
【《归去来辞》】On Returning Home; The Return
【闺怨诗】boudoir-plaint poetry
【国粹】quintessence of the Chinese culture
【《国殇》】The Ode to the Fallen
【《国语》】Guoyu; Conversations from the States; Discourse on the States
Ｈ
【《海上花列传》】Lives of Shanghai Singsong Girls
【海外奇谈】tall tale
【《汉宫秋》】Sorrow in the Han Palace
【《汉书》】The History of the Han Dynasty; Book of Han;
Chronicles of the Han Dynasty
【《好逑传》】The Fortunate Union
【合声】improptu verse
【《荷花淀》】Lotus Creek
【荷花淀派】Lotus Lake School
【黑色幽默】black humour
【《红高梁》】Red Sorghum
【《红楼梦》】A Dream of Red Mansion; Dream of the Red Chamber
【红学】redology
【《呼兰河传》】The History of Hulan River
【《胡笳十八拍》】Barbarian Reed-Whistle Song in Eighteen Stanzas;
Eighteen Verses Sung to a Barbarian Whistle
【《华盖集》】Bad Luck
【《花边文学》】Fringed Literature
【滑稽讽刺作家】burlesque
【《红旗谱》】Keep the Red Flag Flying
【《红岩》】Red Crag
【后现代主义】post modernism
【厚今薄古】paying more attention to the present than to the past
【话本】script for story-telling; text of a story
【话本小说】story-tellers scripts
【话剧】modern drama
【《淮南子》】Writings of Prince Huainan
【《幻灭》】Disillusion
【《黄河东流去》】The Yellow River Flows East
【《黄鹤楼送孟浩然至广陵》】Seeing Meng Haoran off to Yangzhou from Yellow Crane Tower
【荒唐故事】cock-and-bull story
【回忆录】reminiscences
【活报剧】skit; street performance
Ｊ
【《激流三部曲 》】The Torrent Trilogy
【及时行乐】carpe diem
【《家》】The Family
【家庭悲剧】domestic tragedy
【加强艺术感染力】to intensity the impact of the art
【《翦灯新话》】New Stories Written While Trimming the Wick
【建安七子】seven leading writers during the Jian An Period at the end of the Han
Dynasty ( Kong Rong, Chen Lin, Wang Can, Xu Gan, Ruan Yu, Ying Yang, and Liu
Zhen )
【建国后文学】literature after founding of the P.R.C
【间谍小说】spy novel
【教诲文学】didatic literature
【结构谨严】(with) a tightly-knit structure(plot)
【结构主义批评】structuralism Criticism
【接受美学】reception-aesthetic
【《今古奇观》】Wonders of the Present and the Past
【《金光大道》】The Bright Road
【《金瓶梅》】The Golden Lotus; Gold Plum Vase; The Plum in the Golden Vase
【《锦瑟》】The Richly Painted Zither
【近代文学】modern literature
【近体诗】modern style poetry ( a refernce to innovations in classical poetry during
the Tang Dynasty, marked by strict tonal patterns and rhyme schemes )
【《京本通俗小说》】Popular Stories from Capital Editions
【经济建设小说】novels and novelettes on economic construction
【《警世通言》】Convincing Arguments Warning the World; Comprehensive Words to Admonish
the World
【《镜花缘》】Romance of the Mirrored Flowers
【精神分析学文艺批评】psychoanalysis criticism
【精神生活】spiritual life
【《静夜思》】In the Quiet Night
【《九歌》】Nine Odes; None Songs
【《九尾龟》】None-Tailed Tortoise
【《九章》】The nine Elegies; The Nine Songs
【旧诗】old-style poetry; classical poetry
【《旧文四篇》】Four Essays of Yesterday
【《救风尘》】The Rescue of a Courtesan
【救世主形象】christ figure
【俱象诗】concrete poetry
【绝句】jueju, poem of four lines, each containing five or seven characters, with a
strict tonal pattern and rhyme scheme
【《绝妙好词》】Excellent Lyrics
【军事小说】military novels and novelettes
Ｋ
【客观对应物】objective correlative
【客观批评】objective criticism
【科学幻想小说】science fiction; fantasic fiction
【《孔雀东南飞》】Southeast Fly the Peacocks
【口头流传】oral transimission
【口头文学传统】oral tradition
【《苦菜花》】Bitter Herb
【夸张】to exaggerate
【《狂人日记》】A Madman's Diary
Ｌ
【《兰亭集序》】Preface to the Orchid Pavilion Collection
【浪漫主义悲剧】romantic tragedy
【浪漫主义批评理论】romantic criticism
【浪漫主义时期】romantic period
【《老残游记》】The Travels of Lao Can
【《雷雨》】Thunderstorm
【类型化人物】type character
【理论斗争】theoretical struggle
【理性时代】age of reason
【《礼记》】The Book of Rites; The Book of Ceremonies and Proper Conduct
【《李有才板话》】Rhymes of Li Youcai
【离奇故事】tall story
【《离骚》】Li Sao; The Lament; Encountering Sorrow
【历史小说】historical novel
【恋母情结】Oedipus complex
【连载小说】serial story
【联句】parallel phrases
【《聊斋志异》】Strange Tales of Liao-Zhai; Strange stories from a Chinese Studio;
【《列子》】The Works of Liezi
【《林海雪原》】Tracks in the Snow Forest
【《林家铺子》】The Shop of Lin Family
【《六十家小说》】Sixty Stories
【六言诗】poems in six-word verse
【《龙须沟》】Dragon Beard Ditch
【《陋室铭》】On My Modest Room
【鲁迅研究会】Society for the Study of Lu Xun
【《吕梁英雄传》】Heroes of the Lu Liang Mountain
【律赋】regulated prose-poem
【律诗】lushi; a poem of eight lines five or seven characters in each line
【伦理的批评】ethic criticism
【《论契合》】Degrees of Affinity: Studies in Comparative Literature
【论说文】argumentative prose
【《论语》】The Analects of Confucius; Analects
【《洛神赋》】On the Goddess of Luo River
【《骆驼祥子》】Camel Xiangzi; The Ricksha Boy
Ｍ
【马克思主义文学批评】Marxist criticism
【冒险小说】novel of adventures
【梦幻体】dream vision
【美学批评】aesthetic criticism
【朦胧诗】obscure poetry; "murky" poetry
【《孟子》】Mencius; The Book of Mencius; The Works of Mencius
【迷语】riddle
【描写阴暗面】description on dark-side
【民间歌谣】popular ballad
【民间故事】folk tale; folklore
【民间文学】folk literature
【民族遗产】national legacy
【《墨池记》】The Ink Pond
【魔幻现实主义】magic realism
【木偶剧】pupppet show
【牧歌】pastoral
【《牡丹亭》】The Peony Pavilion
Ｎ
【《呐喊》】Call to Arms
【《南腔北调集》】Mixed Dialects
【内容和形式的统一】unity of content and form
【内心独白】interior monologue
【浓厚的中国民族特色】rich Chinese national colour
【女才子】bluestockings
【《女神》】The Goddesses
Ｐ
【《拍案惊奇》】Thumping the Table in Amagement at the Wonders; Amazing Stories
【《彷徨》】Wandering
【《佩文韵府》】The Standard Phrase Dictionary
【批判地继承】to inherit in a critical way
【批判地吸收文学艺术遗产】to critically assimilate the legacies of literature and art
【皮影戏】shadow play
【《琵琶行》】Song of the Pipa
【骈琦派】School of Euphuism
【骈文】rhythmical prose characterized by parallelism and ornateness
【平仄】1. level and oblique tones
2. tonal patterns in classical Chinese poetry
Ｑ
【七绝】four-line poem with seven characters to a line and a strict tonal pattern
and rhyme scheme
【七律】eight-line poem with seven characters to a line and a strict tonal pattern
and rhyme scheme
【《七侠五义》】Seven Heroes and Five Gallants
【七言诗】poem with seven characters to a line
【强烈的生活气息】strong smack of everyday life
【《且介亭杂文》】Demi-Concession Studio Essays
【《青春之歌》】The Song of Youth
【《清明前后》】Before and After the Festival of Pure Brightness
【《清平山堂话本》】Vernacular Short Stories from the Clear and Peaceful Studio
【情节剧】melodrama
【《情史》】A history of Love
【《秋》】Autumn
【曲】qu ( a type of verse for singing, which emerged in the Southern Song and Jin
dynasties and became popular in the Yuan Dynasty )
【《屈原》】The Death of Qu Yuan
【《全宋词》】The Complete Ci-Poetry of the Song
【《全唐诗》】Complete Poetry of the Tang; Collected Tang poems
【《全唐文》】Complete Prose Works of the Tang
【《全相平话五种》】Five Completely Illustrated Pinghua
【《全相古今小说》】Illustrated Stories Anicent and Modern
【全知的观点】omniscient point of view
Ｒ
【《热风》】Hot Air
【人物描写】characterization
【人物素描】the character
【人物突出】(with) characters that stand out
【《日出》】Sunrise
【《容斋随笔》】Miscellaneous Notes from the Tolerant Studio
【《儒林外史》】The Scholars; Unofficial History of Officialdom; Unofficial History
about the Scholars as a Class
Ｓ
【三部曲】trilogy
【《三国演义》】Romance of the Three Kingdoms; Three Kingdoms
【《三国志》】Annals of the Three Kingdoms; History of the Three Kingdoms
【《三家巷》】The Alley of the Three Families
【三苏】The Three Su
【三突出】three standouts (the formula for literary and art creations during the
Cultural Revolution with positive characters standing out from all the
characters, the main heroic characters standing out from the positive
characters, and a most important central character standing out from the main
heroic characters )
【《三侠五义》】Three Heroes and Five Gallants
【《三闲集》】Three Leisures
【三言二拍】San Yan Er Pai; the popular short stories collected by Feng Menglong and
Ling Menchu
【《三字经》】Three Character Classic
【散曲】a type of verse popular in the Yuan, Ming and Qing dynasties, with tonal
patterns modelled on tunes drawn from folk music
【散文诗】prose poetry
【骚客】poet
【骚人墨客】poet and man of letters
【骚体】poetry in the style of Li Sao
【色情文学】erotic literature
【《莎菲女士日记》】The Diary of Miss Sha Fei
【《山歌》】Folk Songs
【《山海经》】The Classic of Mountains and Rivers; Book of Mountains and Seas
【山药蛋派】Patato School
【《山乡巨变》】Great Changes in a Mountain Village
【伤痕文学】literature of the wounded; "scar" literature ( literary works reflecting
the scars inflicted on people's psyches by the Cultural Revolution)
【《上海屋檐下》】Under the Eaves in Shanghai
【少数民族文学】literature of national minorities
【社会风俗小说】novel of manners
【社会小说】social novel
【社会主义现实主义】socialist realism
【神话批评】myth criticism
【神韵】romantic charm
【诗】poetry
【《诗经》】The Odes; The Book of Songs; The Book of Odes Classic of Poetry
【《诗刊》】Poetry
【《诗品》】Critique of Poetry
【《诗人玉屑》】Jade Splinter of Poets
【诗书画合而为一】combination of poetry, calligraphy and painting in one
【诗仙】poetic genius
【《十二楼》】Twelve Towers
【《十三经》】Thirteen Classics
【《十月》】October
【时代精神】spirit of the age
【时代思潮】current thought
【《蚀》】The Canker
【《史记》】Shi Ji; Historical Records; Redords of the Grand History of China; Records
of the Historian
【史传小说】biographical novels and novelettes
【市井歌谣】broadside ballad
【《世说新语》】New Accounts of Old Episodes; New Anecdotes of Social Talk
【世外桃园】Arcadia
【视角】point of view
【《收获》】Harvests
【《书经》】The Book of History; The Book of Documents
【书信体小说】epistolary novel
【抒情歌剧】lyric theater
【抒情诗】lyric poem
【抒情文学】lyric literature
【双重人格】double personality
【双重生活】double life
【《水浒传》】The Water Margin; All Men Are Brothers; The Outlaws of the Marsh
【《说文解字》】Analytical Dictionary of Characters; Explanation and Study of Principles
of Composition of Characters
【《四库全书》】Complete Library of Four Branches of Books; Complete Library in the Four
Branches of Literature
【《四世同堂》】Four Generations under One Roof
【"四书"】The Four Books
【四言诗】a type of classical poem with four characters to a line
【《搜神记》】Stories of Immortals
【俗文学】folk literature
【《随想录》】Random Thoughts
【《随园诗话》】Criticism of Poetry from the Garden of Leisure
【《隋唐演义》】Romance of the Sui and Tang Dynasties
Ｔ
【《太平广记》】Extensive Records Compiled in the Taiping Years；The Extensive
Anthologies of Taiping Period
【《太阳照在桑乾河上》】The Sun Shines Over River Sanggan
【台阁体】secretariat style
【《谈艺录》】Notes on Literature and Art
【《唐诗三百首》】Three hundred Tang Poems
【唐宋八大家】Eight Great Men of Letters of the Tang and Song Dynasties (Han Yu, Liu
Zongyuan, Ouyang Xiu, Wang Ansh, Su Xun, Su Shi, Su Zhe, and Zeng Gong)
【《桃花扇》】The Peach Blossom Fan
【《桃花源记》】The Story of the Peach Blossom Valley
【《陶庵梦忆》】Recollections of Taoan's Past Dreams
【特写】feature article
【《天安门诗抄》】The Tian'anmen Poems
【田园诗】bucolic poem; pastoral poem; idyll
【田园浪漫小说】pastoral romance
【《铁道游击队》】Railway Guerrillas
【通俗小说】popular novel
【通讯】correspondence
【童话】nursery tales
【童谣】children's folk rhymes
【颓废主义】Decadence
Ｗ
【《万首唐人绝句》】Ten Thousand Quatrains from the Tang
【《望江亭》】River-Watching Pavilion
【唯美主义】Aestheticism
【唯物史观】materialistic conception of history
【《围城》】A Town Besieged
【为艺术而艺术】art for art sake
【为人生而艺术】art for life's sake
【《伪自由书》】False Liberty
【文笔】style of writing
【文化遗产】cultural heritage
【文人墨客】poets and literary men
【《文心雕龙》】Carving a Dragon at the Core of Literature
【《文选》】The selections of Refined Literature
【文学革命】literature revolution
【文学批评史】history of literary critiques
【文学社会学】sociology in literature
【文学史】history of literature
【文学思想史】history of literary thought
【文学心理学】psychology in literature
【文学研究会】the Society for Literary Research
【文学遗产】literary heritage
【文艺创作】literary and artistic creation
【文艺队伍】ranks of writers and artists
【文艺革命】revolution in literature and art
【文艺工作者】literary and art workers
【文艺民俗学】folklore in literature
【文艺批评】literary and art criticism
【文言】classical Chinese
【文言文】writings in classical Chinese
【《文苑英华》】Wenyuan Yinghua; Best Literary Works
【问题小说】problem novel
【五经】The Five Classics
【五言诗】a poem with five characters in a line
【无产阶级文学】proletarican literature
【无产阶级小说】proletarian novel
【无题诗】untitled poems
【吴中四杰】Four Outstanding Men of Wu ( the four renowned young poets of the early
Ming, namely , Gao Qi, Zhang Yu, Yu Ben and Jang Ji )
【武侠小说】chivalry novel and novelettes; gongfu novel
【《雾》】Fog
Ｘ
【西方马克思主义文艺批评】Western Marxist criticism
【《西湖佳话》】Memorable Stories of the West Lake
【《西厢记》】West Chamber; The Western Chamber
【《西游记》】Pilgrimage to the West; Monkey; Story of a Journey to the West; Records
of a Journey to the West
【戏剧冲突】dramatic conflict
【戏剧性手法】the dramatic method
【《闲情偶寄》】Sketches of Idle Pleasure
【险韵】obscure rhymes
【现代文学】contemporary literature
【现代戏剧】modern drama
【现代主义与后现代主义】modernism and post-modernism
【现实主义小说】realistic novel
【乡村小说】rural novel
【乡土文学】local literature; native literature
【象征派诗】Symoblist poetry
【《湘西散记》】Recollections of West Hunan
【小剧场运动】little theater movement
【小品文】familiar essay; essay
【小说美学】aesthetics of fiction
【《小说月刊》】The Short Story Monthly
【小小说】short-short story
【消遣小说】light fiction
【《笑府》】Treasury of Jokes
【笑话】joke
【《笑林广记》】Jest Books
【楔子】prologue in some modern novels
【写光明】writing about the bright
【写黑暗】writing about the dark
【心理描写】inside description
【心理现实主义】psychological realism
【心理小说】psychological novel
【《新儿女英雄传》】New Story of Heroic Sons and Daughters
【新青年】New Youth
【新月社】the Crescent Moon Society
【形象思维】thinking in terms of images
【《醒世恒言》】Lasting Words to Awaken the World; The Common Saying Moralizing People
【《醒世烟缘传》】Marriage that Awakens the World
【性的描写】sextual description
【性格喜剧】comedy of humours
【《性格组合论》】On the Composition of Character
【修辞手段】figures of speech
【绣像小说】illustrated fiction
【叙事诗】narrative poem
【叙事小说】narrative novel
【序跋】preface and postscript
【序幕】prologue; prelude
【宣传鼓动剧】agitprop
【宣传文学】porpaganda literature
【宣传小说】propaganda novel
【渲染】apply colours to a drawing; play up
【悬念】audience involvement in a film or play; reader involvement in a piece of
literature
【学院戏剧】academic drama
Ｙ
【延安文艺座谈会】the Yan'an Forum on Literature and Art
【演义】historical novel; historical rommance
【《艳阳天》】Radiant Skies
【《阳春白雪》】The Spring Snow
【《野草》】Wild Grass
【《野叟曝言》】A Rustic's Idle Talk
【《易经》】The Book of Changes
【艺术标准】artistic criterion
【艺术成就】artistic merit
【艺术的起源】origin of art
【艺术鉴赏】virtuosity
【艺术借鉴】reference in art
【艺术效果】effect of art
【艺术性】artistic quality
【艺术至上论】art eorart
【《艺文类聚》】Yi Wen Lei Ju; Classified Excerpts from Ancient Writers; A Categorized
Collection of Literary Writing
【意识流】stream of consciousness
【印象主义批评】impressionistic criticism
【因材施教】individualized method of instruction; case by case
【《永乐大典》】Yong Le Da Dian ; Great Encyclopaedia of the Yongle Reign; The Great
Encyclopaedia in the Reign of Emperor Yongle
【用民族风格表现新的内容】presenting new ideological content with a national style
【语义重叠】multiple meaning
【《喻世明言》】Illustrious Words to Instruct the World
【寓教于乐】delight and instruction
【寓言故事】fable
【元曲】Yuan verse
【元杂剧】Yuan-Dynasty zaju plays
【原型批评】archetypal criticism
【圆形人物】round character
【鸳鸯蝴蝶派】Mandarin Duck and Butterfly School; Love Birds and Butterfly School
【乐府】folk rhyme; folk songs and ballads in the Han style
【《乐府诗集》】The Collection of Folk Songs and Ballads in the Han Style
【《岳阳楼记》】On Yueyang Tower
【《阅微草堂笔记》】Jottings from the Thatched Abode of Close Observations
Ｚ
【杂剧】zaju (poetic drama set to music, flourishing in the Yuan Dynasty, usu.
consisting of four acts called zhe, with a character having the singing role in
each zhe )
【《在延安文艺座谈会上的讲话》】Talks at the Yan'an Forum of Literature and Art
【《再别康桥》】Saying Good-bye to Cambridge Again
【《战国策》】Strategies of the Warring States Period;
Intrigues of the Warring States
【章回小说】Traditional Chinese novels (with each chapter headed by a couplet giving
the list of its content)
【《朝华夕拾》】Dawn Blossoms Plucked at Dusk
【《浙西六家词》】The Ci Poetry by Six Poets from the Westen Part of Zhejiang Province
【真相大白的情节或场面】recognition plot or scene
【侦探小说】detective story
【正面人物】positive character
【《正气歌》】A Song of the Moral Sense
【政治标准】political criterion
【政治和艺术的统一】unity of politics and art
【政治小说】political novel
【志怪小说】mythical stories
【中国诗歌会】the China Poetry Society
【《中国俗文学史》】History of Chinese Popular Literature
【《中国通俗小说书目》】A Bibliography of Popular Chinese Fiction
【《中国文学批评史》】History of Chinese Literary Criticism
【中国文学艺术界联合会】All China Federation of Literary and Art Circles
【《中国小说史略》】A Short History of Chinese Fiction
【中国左翼作家联盟】China League of Left-Wing Writers
【中国作家协会】Association of Chinese Writers
【中华全国文学工作者协会】All-China Federation of Writers
【《中庸》】The Doctrine of the Mean
【主情文学】literature of sensibility
【主题明确】(with) a clear-cut theme
【竹枝词】1. ancient folk songs with love as their main theme
2. occasional poems in the classical style devoted to local topics
【《庄子》】Zhuang Zi; Book of Master Zhuang
【《资治通鉴》】Comprehensive Mirror for Aid Government
【《子不语》】What the Master Would Not Talk of
【《子夜》】Midnight
【自我隐退的作者】self-eff
【自叙体形式】ich-form
【自由恋爱】free love
【自由诗】free verse
【姊妹篇】companion piece
【《组织部来了个年轻人》】A Young Newcomer in the Organization Department
【《醉翁亭记》】Record of the Old Tippler's Pavalion
【《左传》】Zuo Zhuan; Zuo Commentary; Master Zuo's Spring and Autumn Annals
【作品基调】mood and ambience
【作品评价】evaluation of literary works
【作品欣赏】appreciation of literature works
【《左传》】Zuo Zhuan; Zuo Commentary; Master Zuo's Spring and Autumn Annals
【作品基调】mood and ambience
【作品评价】evaluation of literary works
【作品欣赏】appreciation of literature works
2007年12月8日星期六
about UK visas
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Cambridge Chinese Studies
Graduate Handbook 2007-2008
Two-Year MPhil in Chinese Studies - Schedule of Papers
Regulations for this course require candidates to fulfil the following examination requirements:
1. Five written papers
Paper Title Paper Content Method and Date of Assessment
1 Chinese Language 1 Translation of general texts in Modern Chinese Final Exam (May/June of second year)
2 Chinese Language 2 Translation of Chinese texts in candidate's specialist area Final Exam
(May/June of second year)
3 Chinese Culture Based on lectures covering contemporary Chinese history and a China-related discipline other than the student's own specialisation To be submitted by the end of the Easter term in the second year of the course:
Either one essay of 10,000 words or two 5,000-word essays, due (see note):
* Friday 13 June 2009 for those starting in October 2007
4 Modern Chinese Studies, 1 Based on instruction in the candidate's specialist discipline as it relates to China Final Exam
(May/June of second year)
5 Modern Chinese Studies, 2 Based on instruction in the candidate's specialist discipline from relevant partner faculty as it relates to China. Either one essay of 10,000 words, due (see note):
* Friday 21 March 2008
for students starting in October 2007
Or two essays of 5,000 words each, due (see note):
* Friday 18 January 2008 and
* Friday 21 March 2008
respectively for students starting in October 2007
2. A thesis of 12,000 words
On a topic related to the student's specialist area, with supervision provided by the relevant lecturer. The title must be submitted to the Faculty Degree Committee by the end of January in the year of submission. Two copies of the thesis must be submitted at the end of August in the second year. For details of how to submit your dissertation, see "Submitting your M.Phil. Thesis".
3. A Chinese Oral Examination
To be held in the May/June of the second year of the course.
In addition, students will take a Chinese language test in Lent Term to judge their progress and ability to cope with the course in
Special note: All alternative exercises, essays and theses must be submitted to the Degree Committee Office (Room 12) by 12pm (noon) on the day of the relevant deadline. The penalty for lateness is the subtraction of 5 points for each late day. Be aware that this can easily reduce your mark from a pass to a fail.
Graduate Handbook 2007-2008
One-Year MPhil in Oriental Studies - General
This is a one-year course running from 1 October to 31 August. It provides initial research training and, in most cases, aims to develop students’ linguistic skills as well as methodological sophistication Applicants must have a working knowledge of the language of the area in which they propose to study, with the exception of Assyriology.
Full details of application procedures and of financial, residential and other matters can be found in the Graduate Studies Prospectus, which is issued annually by:
The Board of Graduate Studies
CB2 1RZ
It is available on the Board of Graduate Studies website at:
http://www.admin.cam.ac.uk/univ/gsprospectus/
Copies of the prospectus and application forms for graduate studies may be obtained by writing to the Board of Graduate Studies at the address above or using the following contact information:
Tel: +44 (0) 1223 760606
Fax: +44 (0) 1223 338723
E-mail: admissions@gradstudies.cam.ac.uk
It should be noted that evidence will be required of a candidate's competence in the English language, and that the references supplied should also be in English from persons who have recent knowledge of the candidate's academic work.
Please note that it is not possible to study part-time for an M.Phil.
One-Year MPhil in Oriental Studies - Degree Regulations
Regulation
The scheme of examination for the one-year course(s) of study for the M.Phil. in Oriental Studies consists of:
a. Three written examination papers on subjects approved by the Degree Committee for the Faculty of Asian & Middle Eastern Studies, which shall fall within one of the fields specified in the Schedule to these regulations. With the approval of the Degree Committee, a candidate may offer, in place of one or more of those papers, the same number of essays, each of not more than 5,000 words, including footnotes, but excluding bibliography, or equivalent Alternative Exercises approved by the Degree Committee.
b. A thesis of not more than 15,000 words, including footnotes and appendices but excluding bibliography, on a subject approved by the Degree Committee.
The submission deadline is: 12pm (noon), Friday 29 August, 2008.
The two parts are of equal weight and will each count for 50% of the final mark.
Regulation
In place of the examination prescribed in Regulation
NB: There are no written examination papers in this option.
Regulation
For M.Phil. students under Regulation
For M.Phil. students under Regulation
Regulation
The deadline for all Alternative Exercises is 12pm (noon), Monday 22 April 2008 (the first day of Full Easter Term). You must ensure that your excercise is received in the Degree Committee Office (Room 12) by 12pm (noon) on the day of the deadline. There is a penalty for late submission of work.
One-Year MPhil in Oriental Studies - Your Supervisor
Each student will be assigned a supervisor, and all choices of papers, exercises and thesis topic must be discussed with the supervisor as early as possible in the academic year and must then be approved by the Degree Committee.
Students submitting essays or other alternative exercises in place of examination papers should submit drafts of these essays to their supervisors well before the closing date and can expect to receive their supervisor's comments on their written work. In some cases, it will be appropriate for the supervisor to go through several successive drafts until he or she is satisfied that the essay is ready for submission.
NB: Students should note that they are responsible for the English expression, spelling and punctuation of their essays as well as of their thesis and cannot expect that their supervisors will have the time to revise these or to correct faults of presentation in the text or bibliography. Students can expect to be alerted by their supervisors if the English expression or aspects of the presentation of their work are not up to standard. Students whose native language is not English are strongly advised to have a native speaker of English check through their written work before submission.
Any student who is dissatisfied with his or her supervisor or with the supervision being recieved should write in confidence to the Chairman or Secretary of the Degree Committee. The Degree Committee will normally also assign an advisor to each student. The advisor acts as a second point of contact for academic advice for the student, makes him/herself available to read work and discuss progress as reasonably agreed with the student and provides advice and administrative cover in the absence of the supervisor.
One-Year MPhil in Oriental Studies - Schedule of Papers and Topics
This is for illustrative purposes only. Alternatives may be available from time to time, subject to the approval of the Degree Committee.
Assyriology
• As.1 - Akkadian language and texts
• As.2 - Sumerian language and texts
• As.3 - Poetical and religious literature of
• As.4 - Mesopotamian society and institutions
• As.5 - Special subject in Mesopotamian history and archaeology
• As.6 - Archaeology of
• As.E - Alternative Exercise(s)
Chinese Studies
• C.1 - Chinese Texts, 1
• C.2 - Chinese Texts, 2
• C.3 - Japanese texts for Chinese Studies 1
• C.4 - Japanese texts for Chinese Studies 2
• C.E - Alternative Exercise(s)
East Asian Studies
• EA.1 - East Asian history
• EA.2 -
• EA.3 -
• EA.E - Alternative Exercises(s)
Two-Year MPhil in Chinese Studies - General
This is a 2-year conversion course running from the beginning of October and is designed for graduates who have no (or very little) prior knowledge of the Chinese language. It is particularly aimed at students whose first degree is in management and economics and who wish to specialise in the China region. The 2-year programme combines Chinese language study with specialist training in the Chinese economy and management.
Note for new applicants: From 2008, the programme will combine intensive Chinese language study with training in Chinese economics, politics, anthropology, culture and society.
Teaching is by individual supervisions and classes and guided research. The assessment consists of two Chinese language exams; three further exam papers, essays or other exercises; a Chinese oral; and a thesis.
Students also spend nine months in China as part of the course. The Easter Term of their first year and the Michaelmas Term of their second year are spent following an approved course at Peking University in China. The intervening summer vacation is also spent in China for the 10-week fieldwork period dedicated to research related to the dissertation and course assignments.
The Language Learning Laboratories
The Language Teaching Facility is used for class-based computer-assisted language learning. Computers have been installed in the Independent Learning Facility with language learning programmes for student use
Two-Year MPhil in Chinese Studies - Degree Regulations
1. Five written examination papers on subjects approved by the Degree Committee of the Faculty of Asian & Middle Eastern Studies. A candidate may offer (with the approval of the Degree Committee), in place of not more than three of those papers, either two essays per paper, (each of not more than 5,000 words), or one essay per paper (of not more than 10,000 words), or equivalent alternative exercises, on topics approved by the Degree Committee;
2. A thesis of not more than 12,000 words, including footnotes, references, and appendices but excluding bibliography, on a subject approved by the Degree Committee (submission date 31 August in the second year);
3. A Chinese oral.
Proceeding from MPhil to PhD
Students hoping to continue to a Ph.D. after completing their M.Phil. should be aware that in order to continue they are required not simply to pass their M.Phil., but to pass at a level that satisfies the Degree Committee. This normally means that they have to achieve an overall average of 65 or above to be permitted to continue. The Graduate Programmes Administrator will write to all M.Phil. students early in the Lent Term to tell them how they can apply to continue. The appropriate form can be downloaded from the following web page:
www.admin.cam.ac.uk/offices/gradstud/current/continuing/
The Degree Committee will consider applications to continue on their individual merits. Permission to continue will not automatically be granted on the basis of M.Phil. examination results alone.
There is no strict deadline for applications to continue to the Ph.D. but applicants should take into account deadlines for applications for reasearch funding. Applications for AHRC funding, for example, must be submitted to the Faculty by Friday 31 March 2008. Further information about funding for Ph.D. students is available on the Faculty web site.
PhD - General
The Ph.D. is a three-year course consisting of individual supervisions and guided research. Students are given guidance in areas specific to their subject and in advanced research methods.
Near the end of their first year, students take a Progress Examination, which usually consists of a Critical essay and a General Statement about progress to date and the likely course of their future research. Please note: Students who have already completed an M.Phil. at the Faculty are exempt.
Students are normally required to submit the Progress examination within 30 weeks of the beginning of their first term of study. Students who begin their PhD studies in Michaelmas term are expected to submit by 25 April; those beginning in Lent term are expected to submit by 8 August; and those beginning in Easter term are expected to submit by 14 November.
Near the end of the second year (eighth term of PhD study) students undergo a progress assessment, by submitting a 500-word report, draft chapters and a schedule of final year work. There will then be a formal discussion with the Advisor. The purpose of the assessment is to encourage timely and efficient submission of the dissertation.
The Advisor writes a report, which is sent to the Degree Committee.
Students are expected to submit an 80,000-word thesis (including footnotes, appendices and text but excluding bibliography) after completing three (or at most four) years of research. There is sometimes the opportunity for third (and fourth) year students to supervise or teach undergraduates.
Please note that it is currently possible to study part-time for the Ph.D. only in very special circumstances (i.e., while also working in the University as a Language Teaching Officer).
Sample Reference Letter for Teacher
To Whom It May Concern:
I have had the distinct pleasure of having Kaya Stone as a student in my debate classes and on my debate team for three years at Eastern Little Hope High School.
The academics at Eastern Little Hope are most challenging, and Kaya fulfilled all the requirements with the added challenge of honors and advanced courses. Kaya is an outstanding extemporaneous speaker and debater. She has won many awards on the speech and debate circuits, and qualified for national tournaments. Success in these interscholastic activities requires extensive research and persuasive skills. Kaya also holds the degree of Special Distinction, as a member of the National Forensic League.
Due to its nature of metro, state, and national interscholastic competition, the successful high school forensics student serves by not only representing his or her school but also by representing his or her community as well. One of the requirements in my advanced class is to prepare lectures and guidance for the beginners. With Kaya’ s superior knowledge and involvement in the political sciences, she developed a strong sense of confidence with a charming attitude. Therefore, I could always depend on her to set the best example as an instructor. Because of her natural leadership abilities, Kaya was selected as our Debate Captain. On account of her mature approach to her responsibilities, I often thought of Kaya as a colleague.
Since her classmates, my fellow teachers, and I will always hold her in the highest esteem, I sincerely recommend Kaya Stone as the ideal candidate for matriculation at Eastern Little Hope State.
Respectfully submitted,
Dan Peel, Ph.D.
To Whom it May Concern:
I highly recommend Michelle Johnson as a candidate for a teaching position. I have worked with Michelle in my position as Principal of St. Paul's School.
While a student, Michelle was employed in various teaching related-positions including teaching a museum program to fourth grade classes in the Huntington School District. Since then she has substituted at a variety of schools in the Long Island area, including St. Paul's.
Michelle has a wonderful rapport with people of all ages, especially children. Her ability to connect with her students and her talent at teaching simple concepts, as well as more advanced topics, are both truly superior.
I recommend Michelle to you without reservation. If you have any further questions with regard to her background or qualifications, please do not hesitate to contact me.
Sincerely,
Mary Haddock
Principal
St. Paul's School
2007年12月7日星期五
Writing the Personal Statement
General advice
Answer the questions that are asked- If you are applying to several schools, you may find questions in each application that are somewhat similar.
- Don't be tempted to use the same statement for all applications. It is important to answer each question being asked, and if slightly different answers are needed, you should write separate statements. In every case, be sure your answer fits the question being asked.
- Think in terms of showing or demonstrating through concrete experience. One of the worst things you can do is to bore the admissions committee. If your statement is fresh, lively, and different, you'll be putting yourself ahead of the pack. If you distinguish yourself through your story, you will make yourself memorable.
- Don't, for example, state that you would make an excellent doctor unless you can back it up with specific reasons. Your desire to become a lawyer, engineer, or whatever should be logical, the result of specific experience that is described in your statement. Your application should emerge as the logical conclusion to your story.
- If you're like most people, your life story lacks drama, so figuring out a way to make it interesting becomes the big challenge. Finding an angle or a "hook" is vital.
- The lead or opening paragraph is generally the most important. It is here that you grab the reader's attention or lose it. This paragraph becomes the framework for the rest of the statement.
- The middle section of your essay might detail your interest and experience in your particular field, as well as some of your knowledge of the field. Too many people graduate with little or no knowledge of the nuts and bolts of the profession or field they hope to enter. Be as specific as you can in relating what you know about the field and use the language professionals use in conveying this information. Refer to experiences (work, research, etc.), classes, conversations with people in the field, books you've read, seminars you've attended, or any other source of specific information about the career you want and why you're suited to it. Since you will have to select what you include in your statement, the choices you make are often an indication of your judgment.
- There are certain things best left out of personal statements. For example, references to experiences or accomplishments in high school or earlier are generally not a good idea. Don't mention potentially controversial subjects (for example, controversial religious or political issues).
- If a school wants to know why you're applying to it rather than another school, do some research to find out what sets your choice apart from other universities or programs. If the school setting would provide an important geographical or cultural change for you, this might be a factor to mention.
- Be meticulous. Type and proofread your essay very carefully. Many admissions officers say that good written skills and command of correct use of language are important to them as they read these statements. Express yourself clearly and concisely. Adhere to stated word limits.
Examples of Successful Statements
Statement #1
My interest in science dates back to my years in high school, where I excelled in physics, chemistry, and math. When I was a senior, I took a first-year calculus course at a local college (such an advanced-level class was not available in high school) and earned an A. It seemed only logical that I pursue a career in electrical engineering.
When I began my undergraduate career, I had the opportunity to be exposed to the full range of engineering courses, all of which tended to reinforce and solidify my intense interest in engineering. I've also had the opportunity to study a number of subjects in the humanities and they have been both enjoyable and enlightening, providing me with a new and different perspective on the world in which we live.
In the realm of engineering, I have developed a special interest in the field of laser technology and have even been taking a graduate course in quantum electronics. Among the 25 or so students in the course, I am the sole undergraduate. Another particular interest of mine is electromagnetics, and last summer, when I was a technical assistant at a world-famous local lab, I learned about its many practical applications, especially in relation to microstrip and antenna design. Management at this lab was sufficiently impressed with my work to ask that I return when I graduate. Of course, my plans following completion of my current studies are to move directly into graduate work toward my master's in science. After I earn my master's degree, I intend to start work on my Ph.D. in electrical engineering. Later I would like to work in the area of research and development for private industry. It is in R & D that I believe I can make the greatest contribution, utilizing my theoretical background and creativity as a scientist.
I am highly aware of the superb reputation of your school, and my conversations with several of your alumni have served to deepen my interest in attending. I know that, in addition to your excellent faculty, your computer facilities are among the best in the state. I hope you will give me the privilege of continuing my studies at your fine institution.
(Stelzer pp. 38-39)
Statement #2
Having majored in literary studies (world literature) as an undergraduate, I would now like to concentrate on English and American literature.
I am especially interested in nineteenth-century literature, women's literature, Anglo-Saxon poetry, and folklore and folk literature. My personal literary projects have involved some combination of these subjects. For the oral section of my comprehensive exams, I specialized in nineteenth century novels by and about women. The relation ship between "high" and folk literature became the subject for my honors essay, which examined Toni Morrison's use of classical, biblical, African, and Afro-American folk tradition in her novel. I plan to work further on this essay, treating Morrison's other novels and perhaps preparing a paper suitable for publication.
In my studies toward a doctoral degree, I hope to examine more closely the relationship between high and folk literature. My junior year and private studies of Anglo-Saxon language and literature have caused me to consider the question of where the divisions between folklore, folk literature, and high literature lie. Should I attend your school, I would like to resume my studies of Anglo-Saxon poetry, with special attention to its folk elements.
Writing poetry also figures prominently in my academic and professional goals. I have just begun submitting to the smaller journals with some success and am gradually building a working manuscript for a collection. The dominant theme of this collection relies on poems that draw from classical, biblical, and folk traditions, as well as everyday experience, in order to celebrate the process of giving and taking life, whether literal or figurative. My poetry draws from and influences my academic studies. Much of what I read and study finds a place in my creative work as subject. At the same time, I study the art of literature by taking part in the creative process, experimenting with the tools used by other authors in the past.
In terms of a career, I see myself teaching literature, writing criticism, and going into editing or publishing poetry. Doctoral studies would be valuable to me in several ways. First, your teaching assistant ship program would provide me with the practical teaching experience I am eager to acquire. Further, earning a Ph.D. in English and American literature would advance my other two career goals by adding to my skills, both critical and creative, in working with language. Ultimately, however, I see the Ph.D. as an end in itself, as well as a professional stepping stone; I enjoy studying literature for its own sake and would like to continue my studies on the level demanded by the Ph.D. program.
Chinese Ancient Fiction
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Fiction Synopsis (a) After long years of development, Chinese fiction began to take shapeduring the period of the Wei, Jin and Northern and Southern Dynasties.Fiction created during this period falls into two categories: "Supernaturalfiction" and "anecdotal fiction." During the periods of Wei and Jin, religious and superstitious thoughtprevailed in society, leading to the emergence of stories about spirits. Alarge number of works about strange and mysterious events were writtenat the time. The extant supernatural fiction includes more than 30 works,of which, Records of Spirits by Gan Bao represents the highestachievement of the genre at that time. Most earlier supernatural fiction consisted of only sketchy outlines.The purpose of writing supernatural fiction was to argue for the certainexistence of heaven and hell. Some fiction of this period had alreadytaken on the shape of short stories, for example "The Sword-Maker" inRecords of Spirits told a thrilling story in short length. During the period of Wei Jin and the Northern and SouthernDynasties, social commentary became common, leading to the rise of"anecdotal fiction," which were literary works telling interesting storiesabout people. New Anecdotes of Social Talk compiled by Liu Yiqing (AD403-444) belonged to this category and has been well preserved. Itepitomized the achievements that "anecdotal fiction" made in its earlystages". New Anecdotes of Social Talk devoted most of its pages to describingthe "unconventional" ways of scholars at the time. Some stories in thebook recorded the Sima family's despotism and other rich and powerfulfamilies' decadent indulgences in the Jin period. Other stories eulogizedcharitable persons and their beneficence. The novel was very successful.its artistic achievements could be summarized as: skillful portrayal ofcharacters' personalities through distinctive details, flawless blending ofdialogue with storytelling, and concise and subtle language. NewAnecdotes of Social Talk became the rudimentary text for Chinese literarysketches and had a far-reaching influence on later developments inChinese literature. Many stories in the book were used as sourcematerial by later writers. Chinese fiction went through marked transformations in the Tang Dynasty. Although the subject matter was still about spirits and social anecdotes ,compared with fiction created in the period of the Wei,Jin and the Northern and SouthernDynasties, the plots became more intricate and complex, the characters more distinctive, the language more ornate, and the structure more expanded. Fiction of the Tang Dynasty was called "prose romances."The emergence of "prose romances" in Tang Dynasty marked the maturity of the Chinese short story, because they went beyond merely recording anecdotes and became consciously creative literary works by scholars. "Prose romances" of the Tang Dynasty fell into three categories: First, supernatural stories, which drew their subject matter fromliterary sketches. Famous works include "The Story of the Pillow" byshen Jiji, and "The Governor of the Southern Tributary State" by LiGongzuo. The two stories ridiculed feudal scholars obsessed with fameand riches. Second, love stories, which were the most valuable of the "proseromances" of the Tang Dynasty. Famous works include "The Story of ASingsong Girl," "The Story of Yingying," "Prince Huo's Daughter," "Ren,the Fox Fairy," and "The Story of Liu Yi." These stories praised faithfullove and criticized the oppression of women by feudal ethics andcustoms. As well, they successfully portrayed a series of womencharacters who fought bravely for happy marriage. "The Story of A Singsong Girl" describes the love between theprostitute Li Wa and Gongzi zhi, a nobleman from Xingyang. By givingthe story of the two lovers a happy ending, the novel condemned theidea of "two families must match in social status" and expressedappreciation for true love between men and women. The plot of thenovel was complex and the characters well rounded in their portrayal. "The Story of Liu Yi" tells of a romance between Liu Yi, a failedscholar, and Dragon Girl of Dongting Lake. Liu Yi helps Dragon Girlextricate herself from an unhappy marriage, and after a series ofcomplications, the two end up getting married. Wonderful characterizations are the most successful part of this novel. Liu Yi's honesty, Dragon Girl's deep feelings and the explosive character of Qiantangjun are vividly depicted. The novel's adept way of contrasting reality with illusion exerted great influence on literature in later periods. Third, heroic fiction, describes the courageous deeds of swordsmenin punishing villains. The representative works include "The Red ThreadMaid" and "The Story of Xie Xiao'e." "Prose romances" of the Tang Dynasty surpassed the fictioncreated by predecessors not only in its subject matter and ideas butalso in artistic achievement. Many "prose romances" described aperiod or the whole life experience of a character in order to revealhis or her personality and development of thought. The "prose romance"of the Tang Dynasty was the beginning of the Chinese-style novel. Thoughrelatively short in length, it began to take on the profile of a full-lengthnovel. "Storytelling scripts," which first appeared during the Song and Yuandynasties, brought the Chinese novel to a new stage. Storytelling was akind of folk art during the Song Dynasty. It had four forms: "small talk"(xiao shuo i.e. what novels and short stories are now called), "history-telling', (tales from history), "scripture-telling" (tales from Buddhistscriptures), and hesheng or shuo hunhua (improptu verse). "History-telling" narrated the rise and fall of successive dynastiesand famous wars. Historical romances which emerged later originatedfrom this form. "Scripture-telling" described Buddhist stories. "Small talk" was the most influential form of storytelling, and mainlywere myths, and love and heroic stories. They were usually short inlength, with animated plots, and therefore were very popular with readers. The extant scripts of "small talk" are mostly love stories and legalcases. "The Jade Worker" and "Zhou ShengXian's Romance at Fanlou"are representative love stories, which reflected the lives of commonpeople, especially women's resistance to feudal morality Fiction on legalcases are represented by "Killing Cui Ning by Mistake" and "Song SigongMakes Troubles with Councilor Zhang." The two works disclosed thedark inside stories of feudal government while praising people's fightingspirit. "Storytelling scripts" of the Song and Yuan dynasties were furtherdeveloped compared with previous works. First, in order to attractaudiences, storytellers introduced much use of suspense in the story'splot and structure. Second, storytellers began to depict characters withtypical details, for example - character's mental activity, dialogue andbehavior would be in accord with the specific situation. And the dialoguein scripts became more dramatic and better revealed a character'spersonality. Vernacular and lively language began to be used extensively in literaryworks starting from "storytelling scripts" of the Song and Yuan dynasties,bringing the development of Chinese literary language to a new stage. The realistic techniques used in plot and characterization in scripts alsoachieved much progress compared with earlier fiction. In the Ming Dynasty, with developments in politics, society, economyand philosophy, and the growth of printing, fiction was further developedon the foundation of its past achievements. A wealth of short storiesand novels thus emerged. At the end of the Yuan Dynasty and the beginning of the MingDynasty, a batch of full-length "Zhanghui (chaptered) novels"(a type of traditional Chinese novel with each chapterheaded by a couplet giving the gist of its contents) were created based on "history- telling" from the Song and Yuan dynasties, as represented by The Romance of the Three Kingdoms, The Romance of the Five Dynasties, Sorcerer's Revolt and its Suppression, and Outlaws of the Marsh. The Zhanghui novel was the only full-length-novel form of Chineseclassical fiction. Although its characters and plots were derived fromhistory, it did not restrict itself to historical facts. It was longer in length than most history books and covered more in its contents, which wasdivided into different volumes, with each volume again divided intodifferent chapters with introductory couplets. The Romance of the ThreeKingdoms was the earliest Zhanghui novel. From then on a large numberof historical novels were created, including The Romance of Genesisand The Romance of the Qing Palace. The development of the Chinese novel was even greater after themiddle of the Ming Dynasty. Journey to the West and Jin Ping Mei (TheGolden Lotus) represented the pinnacle of novels created during thisperiod. Historic romances and sagas were also created in large numbersduring this period, including The New Fictionalized History of the States,The Romance of the Northern Song Dynasty The Romance of Ming Dynasty Heroes and The Surviving Writings of the Sui Dynasty. After Journey to the West was published, mythological novelsbecame the rage, of which Canonization of the Gods was one of themost successful. The novel was based on the historic story of King Wu'sCampaign against Zhou, with the author also incorporating a great dealof folk tales along with aspects of his own imagination. The main purposeof the novel was to make barbed allusions satirizing social reality. The publication of "storytelling scripts" in large numbers attractedgreat attention from scholars, who turned from merely editing andpolishing the scripts to themselves writing them through imitation -thus emerged the so-called "imitation scripts." Feng Menglong's Wordst Instruct, Words to Warn and Words to Awaken ("Three Words"),written based on Song and Yuan dynasties scripts and Ming Dynasty"imitation scripts," and Ling Mengchu's Amazing Tales 1 & 11 are "imitationscripts" representing the finest of the short stories of the Ming Dynasty. Each of Feng Menglong's (1574-1646) "Three Words" contained40 short stories with subject matter falling into three categories: (1) Women's pursuit of true love and happiness: including "TheCourtesan's Jewel Box," "The Oil Vendor and the Courtesan," and"Yutangchun Find Her Love in Adversity" These stories praise true love,denounce fickleness and call for mutual respect between men and women. (2) The internal struggles of the ruling class: including "Shen XiaoxiaRedresses His Father's injustice," which describes the conflict betweenShen Lian and the Yan Song family; and "old Scholar Meets FlowerGoddess in the Evening," which tells a story about a bullied peasantpunishing his tormentors with the help of a flower goddess. (3) Extolling true friendship while condemning perfidious behavior.Representative works include "Shi Runze Makes True Friends inDifficulty" and "Gui, the Supernumerary official Makes a Confessionat the End of His Rope." Compared with storytelling scripts, the subjectmatter in "Three Words" was more concentrated, the plot more intricateand the description of character's psychological workings more detailedand exquisite. But the conflicts in Feng's stories were not very sharp andthe language not dramatic. Ling Mengchu's (1580-1644) two volumes of Amazing Tales contained78 stories. Most of these tales were based on previously published works.The development of trade and the seeds of capitalism, which emergedduring the middle and late period of the Ming Dynasty, were reflected inhis stories. For example, "Lucky Man Makes A Fortune Out of 'Dongtinghong' Oranges" and "Cheng's Salvation by the Goddess of the Sea" described the moneymaking adventures of some Chinese merchants overseas. The love story "Beautiful Women Play Swing atXuanhuiyuan" and legal case story "Pilgrim Reads Vajracchedika-Sutra" were also very well written. However, some tales were filled wit pornographic and superstitious description, and even falsified a peasant uprising, which greatly impaired his works' value. In the Qing Dynasty, The Strange Tales of Liaozhai pushed classicalChinese fiction to new heights. The writing of full-length novels writtenin vernacular Chinese also made great strides during this period, asrepresented by A Dream of Red Mansions and Outlaws of the Marsh. In the early Qing Dynasty, saga novels prevailed. Chen Chen's Sequelto Outlaws of the Marsh described stories of the 32 surviving heroesfrom Liangshan. They rose up again to defend the country againstoverseas invaders and then went out to start doing business in a foreigncountry. The characters in this novel were drawn from Outlaws of theMarsh, further developed in new settings. The novel, while successful in capturing the spirit of rebellion against the government, still revolved around the subject of patriotism. The Complete Story of Yue Fei was written by Qian Cai and Jin Feng based on all kinds of legends about Yue Fei. Yue Fei was the major character in the novel. He was a national hero and patriotic general, but he was, at the same time, stubbornly loyal to the incompetent government. Negative characters such as Wu Zhu and the Qin Hui couple were also vividly portrayed. Feudal society was in a gradual decline in the late Ming and early Qing dynasties. Discussions about love, marriage and codes of ethics were the major subjects in fiction of this period. The Marriage that Awakes the Worldbelonged to this category. It described the entanglement of marriages between two families engaged in a blood feud. The novel vividly portrayed a host of characters from different social classes, profoundly revealing the seamyside of social reality and acutely reflecting the rise of mercantile forcesat the end of feudal society. This was a long novel of more than 1 millionChinese characters. Flowers in the Mirror was a marvelous, illuminating Qing-Dynastynovel. The classic is a fairy tale of a hundred chapters. The goddess offlowers committed a blunder and was exiled to the earthly world in theincarnation of Tang Ao's daughter, Xiaoshan. Tang Ao failed the imperialexamination and went traveling across the seas. After having visited manystrange lands and encountered many bizarre experiences, he made uphis mind to retire in seclusion. Xiaoshan went in search of her fatherand found the "Book of Heaven" by accident. Guided by the book shewas able to regain her fairy form. The author projected his own idea of aperfect society into the vividly described imaginary world in the novel. Classical novels began to decline at the end of the Qing Dynasty.Main works of this period included Three Heroes and Five Gallants, TheFive Younger Gallants, A Dream of the Green Chamber and Lives ofShanghai Singsong Girls. The Suppression of the Rebels was a reactionarynovel of that time. With the strong development of Reform Movements, the voices ofreforming literature grew louder. Exposure novels, represented by LiBoyuan's (1867-1906) The Bureaucrat: A Revelation and Wu Yanren's(1866-1910) Strange Events for the Last Twenty Years, deliberately choseo focus on reformism and expose the corruption of the governmentand the crimes committed by capitalist countries. Liu E's (1857-1909)The Travels of Lao Can, another exposure novel appearing in this period,also uncovered social reality in the late Qing Dynasty through describingthe experiences of a doctor. A Flower in an Ocean of Sin, by Zeng Pu(1871 -1935) was one of the more valuable of the novels created in thelate Qing Dynasty. The novel satirized the corrupt way of life of the"highbrow" scholars. The literary revolution during the May 4th Movement turned on anew page in the development of Chinese literature. Both the form andcontent of the novel made great breakthroughs during this ideologicalrevolution. Lu Xun's short story "A Madman's Diary" broke the traditional styleof narration adopted by classical literary sketches, creating a new literaryform characterized by an economic, flexible and varied structure. But itsexpressive methods and style still followed those of the traditional novel.The new type of novel written during this period was inclined to reflectthe true colors of life. Lu Xun's Call to Arms and Wandering, both shortstory collections, were regarded as the cornerstone of new fiction andmodern Chinese literature. Members of the Literary Research Society, established in 1921,created a large amount of issue-oriented fiction guided by the dictum"literature for life's sake." "Two Families," "I Alone so Pale and Wan" and"The Superman" by Bing Xin, "The Old Companions on the Seashore"by Lu Yin (1898-1934), "The Diligent Spider Weaving lts Web" and"Spring Peach" by Xu Dishan (1893-1941), "Deep Meditation"and"Smile" by Wang Tongzhao (1897-1957), and "Mr. Pan in the Mire" byYe Shengtao (1894-1988) were all masterpieces. These novels discussedthe problems of family and marriage and solutions from only an individualpoint of view of existence, instead of analyzing them from a political orsocial perspective. Another common aspect of these novels was thatthey all reflected the ideal of "universal love" and criticized the destruction of love and beauty. In the mid-1920s writings reminiscing about hometown life beganto spring up, labeled "Native" fiction, which influenced the "For Life"School. "Native" fiction reflected the peasants' lives of suffering, theirawakening, and the decline of the landlord and small-propertied classes.Major works and writers included: "Exhausted Man" by Wang Renshu(1901 -1972); short story anthologies Instigation and Storm in the Cupby Peng jiahuang (1898-1933); Son of the Earth and Tower Builder byTai Jingnong (1903- ); "Mad Woman" and "The Death of Yuanzheng" byXu Qinwen (1897-1984); and "Independence" and "Gold" by Lu Yan(1901 -1944). These works exhibited intense local color and promptedthe deepening tendencies of new literature towards realism. Existing side by side with the "For Life" School was the "For Art"School. Yu Dafu (1896-1945) made the greatest strides towards creatingthis genre of fiction. Yu Dafu's representative work, written early on,was the collection of short stories Sinking, which described the lives ofChinese students in Japan and reflected on the spiritual injury to thesestudents caused by national oppression. Yu Dafu's writings include"Intoxicating Spring Nights," "She is a Weak Woman," and "Chi Guihua." Another important writer of the "For Art" School was Zhang Ziping(1893-1959), whose representative works include "Fossils of the Alluvial Period" and "Tree-Planting Day." At the end of the 1920s, inspired by proletarian revolution, Chinese "Left" writers created a large number of works. Mao Dun's Trilogy of Shi reflected the disillusionment of Chinese scholars after the failure of the revolution. Rou Shi's (1902-1931 ) representative novel February and Ye Shengtao's Ni Huanzhi also belonged to this category of disillusionment novel. Ding Ling's Diary of Miss Sophie, created out of deep despair towards life after the failure of the revolution, brought her great fame overnight. In contrast to "disillusionment" fiction was "outrage" fiction, whichwas best represented by jiang Guangchi's "Li Sha's Bitterness,""Memorial Ceremony" and "The Last Smile." In the early stages of revolutionary literature, many "Left-wing"writers' novels were idealistic, but this did not restrict the works of ZhangTianyi, Sha Ting and Ai Wu. The novels of Zhang Tianyi (1906-1985)touched upon the lives of various classes and social strata. His novelsreflecting the "gray lives" of the bourgeoisie best revealed his artistry -for example, "The Leather Belt," "From Emptiness to Fullness ,"Fatalismand Fortune-telling." Sha Ting's (1904-1992) novel exposed thecorruption of local government in Sichuan's countryside and the evilsof the local warlords. His representative works included" Ding, A CrippledMan," "The Acting County Magistrate," "The Way of Beasts," "Murderer,"and "In the Ancestral Temple." Sha Ting was adept at telling cruel storiesdispassionately and hiding his own feelings behind the stories. The majorcontribution of Ai Wu (1904- ) lay in his development of the novel'sSubject matter. His The First Lesson of Life, In the Valley and Seeing offa Guest in Mountains all describe the roving and disappointments ofdrifters in the border areas. These novels were filled with powerfullyromantic and legendary color. In the 1930s a series of excellent novels were created by Mao Dun,Lao She, Ba Jin and other writers. The success achieved by these novelsmarked a new breakthrough in Chinese literature. The novels written byLi Jiren (1891-1962), a novelist from Sichuan Province, such as Rippleson Dead Water, At the Eve of Storm and The Great Wave, describedimportant events taking place in Sichuan between the Opium War andthe Revolution of 1911, and shaped the important "Changhe (long river)"novel. Ripples on Dead Water, the most successful novel written by LiJiren, vividly portrayed several distinctive characters as well as the folkcustoms and lifestyles of Sichuan Province. In the 1930s the most popular novel was Zhang Henshui's Fate in Tears andLaughter. Zhang Henshui is the representative writer of the Yuanyang hudie (mandarin duck and butterfly) school, and his novels also include TheAnecdotes of Beijing and The Celebrated Family. During the anti- Japanese war, he took a patriotic stand and published satirical novels such as Eighty-one Dreams. The achievements of Chinese literature in the 1930s were many-sided.In addition to the writers mentioned above, other authors also madegreat contributions to enriching fiction in this period. Shen Congwen,whose works are characterized by moral criticism, was the most prolificwriter during this period. His most outstanding works are those describingthe folk customs of his hometown in western Hubei Province. Hisrepresentative works include "A Remote City," "Xiao Xiao," "LongZhu,"and "Scenery in Moonlight." Shen Congwen tried to construct a worldof kindness and beauty in his stories. After the September 18 Incidence (the seizure of Shenyang in 1931by the japanese invaders, as a step towards their occupation of the entireNortheast), writers in northeastern China, represented by Xiao Jun andXiao Hong, created a large number of stories taking resistance to theJapanese invasion as their central subject matter .Village in August byXiao Jun (1907-1988) and Field of Life and Death by Xiao Hong (1911 -1942) were thought of as masterpieces by Left writers, and took Chineseliterature into a new phase. Fiction Synopsis (b) The intensification of the anti Japanese War was the basis for this new stage of development of the fiction and wartime literature as a whole,and a throng of literary works emerged reflecting people's feelings aboutthe war. Novels praising heroism and new movements which emergedduring the war included: Qiu Dongping's short story "A Stormy Day,"Xiao Qian's "The Death of Liu Cuigang," Ai Wu's "Autumn Harvest," andYao Xueyin's "Half-cart of Wheat Straw Short." Works exposing thereactionary forces which impeded the anti-Japanese resistance includedZhang Tianyi's "Mr. Hua Wei" and Sha Ting's "In the Qixiangju Teahouse." During this period some "reminiscence" novels also came out,including Xiao Hong's The Story of the Hulan River, Duanmu Hongliang'sThe Korchin Banner Plains, Qi Tong's The New Generation, and LuoBinji's The Chaos. With the ongoing war, literary development in Japanese-occupiedareas was difficult. Therefore, literary creation in liberated areas andKuomintang-dominated areas became the most important componentof wartime literature. After the Yan'an Forum on Literature and Art, people's art gatheredgreat momentum in the liberated areas under the guiding principle that"art serves workers, peasants and soldiers," and there emerged a series ofnovels on rural life. Zhao Shuli made the greatest achievement in this respect. His The Marriage of Young Blacky, Rhymes of Li Youcai and The Changes in Li Village were successful in giving strong images of liberated peasants and profoundly reflecting the changes taking place in the countryside in the 194Os. Kang Zhuo's novel used similar language with similar subject matter to Zhao's. This is evident in works like My Two Host Families, In laws and Winter Plum Blossom. Kang's novels are sincere without being stiff, eloquent without being wordy, and come across as very vivid and innovative. Sun Li and Liu Baiyu made distinctive advances in the short story.Sun Li was adept at portraying peasant women and their lives, while LiuBaiyu focused particularly on military topics, such as in "Three invincibleFighters." Foregrounding a typical setting was the greatest achievementof Liu Baiyu's fiction. Most novels emerging in the liberated areas recounted importantevents. Ouyang Shan's (1908- ) Uncle Gao, written in 1946, and LiuQing's first novel, Sowing, written in 1949, both described thedevelopment of production in the countryside, while Cao Ming's novellaThe Moving Force took industry as its focus. Ding Ling's The Sun Shinesover the Sanggan River and Zhou Libo's The Hurricane described thestruggle to abolish feudal land-ownership. The many heroic and inspiring acts in the liberated area providedrich literary material for the creation of epic novels. The Story oflronbucket, written by Ke Lan, and Heroes of the Luliang Mountains, co-authored by Ma Feng and Xi Rong, were deeply appreciated by readers.Yuan Jing and KongJue's New Story of Daughters and Sons is an excellentheroic legendary novel, which described the brave battles of peasantsin Baiyangdian against Japanese invaders. After the New Fourth Army incident (1941 ), medium-and full-lengthnovels mushroomed in Kuomintang-dominated areas. These works,instead of describing the war superficially, probed deeply into people'slives under conditions of war. Famous works created during this periodinclude: Mao Dun's Decay; Sha Ting's three novels reflecting rural life inSichuan represented by Gold Digging; Ai Wu's "Fertile Land,""Hometown" and "In the Mountains;" Lao She's Four Generations underOne Roof; Ba Jin's Cold Nights; and Qian Zhongshu's (1910- ) The CityBesieged, which was likened as The Scholars of modern times. The best fiction created during the period of developing socialistliterature (1949-1956) were those recounting revolutionary war and rurallife. Liu Baiyu's "Flames Ahead," Xu Guangyao's Fires in the Plain, LiuQing's Wall of Bronze, Du Pengcheng's Defend yan'an, Liu Zhixia's TheRaiway Guerrillas, Gao Yunlan's Annals of a Provincial Town, WangYuanjian's "Membership Dues," Jun Qing's "Dawn on the River," YangShuo's A Thousand Miles of Lovely Land, and Lu Zhuguo's The Battle ofSangkumryung, were all very popular with the people. More and more fiction was written about rural life during this period.Famous works include Zhao Shuli's "Registration," Sanliwan ap, MaFeng's "Marriage," Gao Xiaosheng's "Liberation," Li Zhun's "Not ThatWay," Qin Zhaoyang's In the Fisld, March!, Sun Li's The Story ofTiemuqian, Kang Zhuo's "Spring Sowing, Autumn Harvest," LiuShaotang's "Green Leaves," and Li Mantian's The Water Flows East. Characterization made great progress during this period, especiallythe portrayal of negative characters. Novelists of this period no longerdepicted their characters simplistically and their works placed a greatemphasis on revealing conflict and describing a character's inner world. During the period between 1957 and just before the CulturalRevolution, the creation of fiction entered its first turning point since thefounding of new China. Novels of this period were not only created inlarge number, their content also reflected greater depth and breadth ofsocial life. For example, Yao Xueyin's Li Zicheng(volumel), Li Ziren's TheGreat wave, Ouyang Shan's Three Family Lane, and the first volume ofAi Mingzhi's Seeds of Flame, one of his "Trilogy of Flames," recountedChina's glorious tradition in resisting oppression; Liang Bin's Keep theRed Flag Chen Jing's On the Banks of the Jinshajiang River, WuQing's The Red Sun, Feng Deying's Bitter Herb, Liu Liu's Heroes in theFlames of War, Qu Bo's Tracks in the Snow Forest, Yang Mo's The Songof youth, Luo Guangbin and Yang Yiyan's Red Crag, and Li Yingru's In anold city recalled the struggle led by the Chinese communist Party todestroy the old world; Liu Qing's Builders of a New Life, Zhou Libo'sGreat Changes in a Mountain Village, and Kang Zhuo's dripping waterWears through a Stone described socialist reconstruction in rural areas;while Zhou Erfu's Morning in Shanghai told of the socialist transformationof capitalist industry and commerce. Many stories, which took workers, soldiers and intellectuals as theirsubjects, were also excellent works which greatly enriched the literatureof this period. These works created a galaxy of distinctive characters,such as Li Zicheng, Jiang Zhujun, Zhu Laozhong, Liang Shengbao, LinDaojing, Yang Zirong and Zhou Bing, who were strongly representativeof a historic period, and were real and lifelike to readers. Artistically, fiction of this period both absorbed the best of Chinesetraditions and borrowed useful expressive techniques from foreignliterature. Writers made many new experiments in this respect. Short stories of this period were sensitive in encompassing newissues and perspectives. Writers looked squarely at the conflicts in reallife and offered answers to questions of universal concern to people.Works typifying this included Li Zhun's "The Story of Li Shuangshuang,"Ai Wu's "More Southern Journeys," Zhao Shuli's "Exercise," Ma Feng's"I Knew All Along", Xi Rong's "Sister Lai"; Hu Wanchun's "Man of SpecialCut," and Lu Wenfu's "Master Worker Ge" which described a worker'slife, Wang Yuanjian's "Seven Matches," Jun Qing's "The Story of A TrafficStation," Han Zi's "Wan Niu," Ru Zhijuan's "The Lilies," and Liu Zhen's "TheMovement of Heroes" which looked back on the period of war. After the turbulent Cultural Revolution, a slew of literary workscharging the disaster and harms to Chinese people caused by the ten yearsof turmoil were created. These works were called "wound literature." The mainform of "wound literature" were short stories, including Liu Xinwu's "The Class Teacher," Lu Xinhua's "The Wound," Chen Guokai's "What Shail I Do," Wang Meng's "The Most Precious." "Wound literature" also included a few excellent novels such as Ye Xin's The Years Drift By and Zhou Keqin's Xu Mao and His Daughters. One trend in "wound literature," seen in Cong Weixi's The Red Yulan under High Walls, praised revolutionary fighters' persistence in pursuing the truth and their exemplary conduct and nobility of character in times of frustration. Cong Weixi's novels described life in prison and was labeled "daqiang wenxue" (literaliy, the "literature of high walls"). ZhangJie's "Children in the Forest," Zhang Xianliang's "Whispers in Dungeion," and Ye Weilin's "on the River without Beacon Light" were importantcomponents of "wound literature," which praised common people'sexalted sentiments. "Wound Literature" revealed the trauma in many people's memories.In the wake of "wound" stories some writers sought to trace the roots ofthe historic tragedy. Ru Zhijuan's "A Story out of Sequence" reflectedon the perils of "ultra-left" thought. Other works Such as Gao Xiaosheng's"Li Shunda Builds A House," Liu Zhen's "Black Flag," Zhang Xuan's"Memory," Lu Yanzhou's A Tale of Tianyunshan Mountain, Wang Meng'sButterfly and Gu Hua's Hibiscus Town seriously pondered on historicreality. These novels were called "reflection literature. " In 1979 while "reflection literature" was still ascendant, Jiang Zilong established a new kind of fiction "reform literature" with his short story "Manager Qiao Assumes office."Soon a large number of writers gathered together under the banner of "reform literature" and created a series of excellent works. Besides "Manager Qiao Assumes office," Jiang Zilong also published The Developer, iridescence, and Heroic Songs of Yan and Zhao. Other writers and their representative works include Ke Yunlu's "Thirty Million Yuan," New Star, Night and Day; Shui Yunxian's lnside Strife; ZhangXianliang's "The Seed of the Dragon," "Man's Style;" Zhang Jie's HeavyWings; Li Guowen's "No. 5 Garden Street"; Chen Chong's "Fast Trackingwithout Reaction"; Zhang Qi's "The Reformer"; Jia Pingwa's People inJiwowa and Flighty. These works revealed the determination of peoplefrom all walks of life to move society forward. The first group of young writers who had grown up after the founding of new China, overcoming the frustration brought about by the Cultural Revolution, vigorously devoted themselves again to literary creativity. Deng Youmei's "Our Army Commander" and Women Soldiers Rejoin Their Unit, praised as the "pioneer of the novella" in the new period, provided a good beginning.After the mid-198os, he turned to write about urban life and created"Looking for Hua'er Han," Na Wu Tobacco Flask and so on. These novelswere full of local color and descriptions of folk customs and practices,which arose entirely out of the author's unique aesthetic pursuits. Wang Zengqi's short stories "Records of Danao" and "Initiation,"which described the uplifting sentiments of people in bygone years,reveal his keen understanding of historic Culture. Liu Shaotang made a great contribution to the formation of the novelin the new period by initiating and creating "regional literature." Hisrepresentative works include Catkin Willow Flats, Lights on Fishing Boats,"Pretty Eyebrow," Melon Patch Willow Lane, and Scenery in Yuling.Lu Wenfu's "hutong or alley literature" reveals the essence of the life by describing daily life happenings in Suzhou's laneways, Feng Jicai's culture literature" Whip and Three-inch Golden Lotus'conveyed the modern sensibility through popular ways of expression. He Shiguang's novel depicted on ordinary intellectuals' psychologywith lucid and exquisite insights in works like Green Grass and YearsPass Quickly. Since reform and opening up, the conflict between traditionalChinese Culture and Western culture has driven many writers to lookback on their cultural origins. In the mid-198Os, a craze of "seekingroots" sprouted in Chinese literary world and resulted in "root-seekingliterature". Representative writers here include Jia Pingwa, Han Shaogong,Li Hangyu and Zheng Wanlong. Though "root-seeking literature" hadturned out some marvelous novels like Zheng Yi's Old Well many ofthese works were considered obscure. Fiction reflecting on army life continued developing and even madesome breakthroughs during this period. In the mid-1980s, Xu Huaizhong's "Anecdote from the Western Line'. broke the tradition ofdescribing wars in a simplistic way by focusing the story on the majorcharacter Liu Maomei's ambivalent and depressive psychology. The storyrevealed the unity of opposites between historical grudges and a modernsoldier's responsibility. Major military fiction of this period include ZhuSujin's Shooting Heavenly Wolf, Zhu Chunyu's Oasis in Desert and TheYaxiya Waterfall, Li Binkui's "A Soldier in Tianshan Mountains," LiuZhaolin's "A Noisy Town in a Snowy World," Li Cunbao" "Wreath underthe Mountain," and Han Jingting's "Triumphant Return at Midnight."Compared to traditional military literature, modern military literature hasmade great progress in that ideological content is more varied,characterizations are more complex and intricate, and the expressivestyles are more esoteric and unique. Young writers stepping into the literary world during the new periodformed another vital new force in the creation of fiction. Representativewriters include Tie Ning , Zhang Kangkang, Liang Xiaosheng, Wang Anyi,Kong Jiesheng, Shi Tiesheng and Zhang ChengZhi. Wang Anyi caused asensation in the literary world with "And the Rain Patters On". The storywas written in beautifully lyrical language expressing the human desirefor communication and understanding. Zhang Kangkang's "Summer"and Aurora Polaris touched young people in their pursuit of ideals andindividuality in modern times. Zhang Chengzhi's Black Horse and Riverin the Norha carry a deep sense of historical responsibility. Shi Tiesheng's"My Far Away Qingping Bay" tells the reader that the past years werenot blank. Liang Xiaosheng's "This ls a Piece of Miraculous Land" ledpeople to consider the real values in life. Kong Jiesheng's The Riverbankin the South despised the vacuity of urban life and expressed a desire toseek true values. Modern literature, initiated by Gao Xingjian and Li Tuo and enunciatedmainly by Liu Suola and Xu Xing, developed rapidly. Liu Suola's YouHave No Other Choice, Blue Sky and Green Sea, Xu Xing's "VariationsWithout Motif," Liu Xihong's Yuu Cannot Change Me, revealed, fromdifferent perspectives, young people's alienation and confusion whenthe old values are discarded and the new ones are still to be found. MoYan's Transparent Red Turip tries to unveil a unique and distinctiveartistic perception. Ma Yuan and other writers made painstakingexperiments in way of narratives. Literary theory also has a long history in China. Many theorists havemade invaluable contributions in this discipline, with more than 2O0being very famous. These theorists have bequeathed a rich culturalheritage for China. Intent and Ornament (literally, Carving a Dragon onLiterature's Heart) by Liu Xie (c.AD 465-532) and The Classification ofPoets by Zhong Rong (AD 466-518) were both written in the Liang periodof the Southern Dynasty, while The Twenty-tour Moves of Poetry bySikong Tu (AD 837-908) was created in the Tang Dynasty, and WangGuowei's (1877-1927) Studies on Dramas of the Song and YuanDynasties and Talks on Lyric Meters in the Human Wold were writtenin the late Qing Dynasty - these were the most systematic and strictclassics among the thousands of writings on literary theory. There werealso many excellent scholars on the history of modern literature, andtheir works have provided a precious resource for the fertile study ofliterary theory in China.
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