Critical Survey

The formation of ancient Chinese literary critical theory was deeply rooted in the abundant creative output of ancient literature, serving as a catalyst for the advancement of literary endeavours from that era. In contrast to Western literary traditions, Eastern literary expressions are distinguished by their literary heritage and spiritual depth. Literary criticism, as a methodological approach, involves the examination, analysis and interpretation of literary works, authors and thematic elements through a societal lens. The crux of social criticism in Chinese literary circles lies in its intrinsic societal value, serving as a key metric for assessing the value of critical discourse. This approach prioritises addressing societal issues through a nuanced critique that evaluates the role of literary creation, ideological underpinnings in literature, and the engagement of literary phenomena within the broader societal framework. Against the backdrop of cultural collisions between East and West and the evolution of literature across different epochs and regions, Chinese literature draws inspiration from the zeitgeist of the time. Central to this discourse are themes of independent thought, fostering dialogue and harnessing the communicative power of literature. Through a thoughtful examination encompassing diverse social, historical and ethical dimensions, critics explore the specific, dynamic and universal aesthetic elements present within literary works. Within the realm of Chinese literature, critics, propelled by an unwavering spirit of independence, have fashioned a diverse array of critical approaches, coherent and distinctive in their patterns, thus expanding the discourse surrounding critical analysis. These multifaceted perspectives represent essential pillars upon which contemporary literary criticism continues to evolve and flourish.

Examining the survival status of women under the feudal system is of great significance for the stable development of social structure. Drama therapy can establish the resonance of the audience with the fate of female characters in drama, promoting attention and resolution of social issues. As a classic ancient theatrical literary work, ‘The Jade Hairpin’ provides rich materials and perspectives for understanding the plight of women in feudal society. This study uses a combination of text analysis and historical research to critique the limitations and oppression faced by the female characters of the work. Reflecting on the fate of women and awakening subjectivity in dramatic literature provides a unique perspective for inspiring audiences to think about gender issues in society.

Compilations of regional literature in the Ming Dynasty increased dramatically in quantity and significant improvements were made in the quality of compilation and engraving. This marked the initial construction of a national and regional literary history, making it a valuable literary and cultural phenomenon for research. The evaluative framework of regional literature compilations in the Ming Dynasty encompasses not only praise for the editors’ talent and compilation skills, and praise for the textual value, but also judgements about the compilation content and format. Despite some shortcomings in certain regional literature compilations of the Ming Dynasty, they are far from sufficient to overshadow their brilliance. These collections provide valuable data and experience for the compilation of regional literature compilations in the Qing Dynasty and nationwide regional literature compilations and profoundly influence the formation of literary evaluative systems in later generations.

This article explores Lin Shu's (1852–1924) translations of foreign novels, known as ‘novels translated by Lin Shu’ (1899–1919), highlighting their contribution to the world literature of Late Qing China. Lin's translations, classified into emotional romance, adventure and mystery, and critical realism, showcase a unique blend of poetic style, ethical reflection and political commentary. By examining the textual nuances of ‘novels translated by Lin Shu’, the study reveals Lin's significant role in intercultural communication and the global literary sphere. It argues that Lin's translations, embodying distinctive narrative techniques and perspectives on translation, underscore the interplay between culture, ethics and politics in Late Qing China's literary landscape.

Xinjiang, an enclave nestled in the northwest region of China, has emerged as a captivating subject of artistic contemplation, bestowing on us a myriad of perspectives enveloping this locality. The primary objective of this article is to undertake a comprehensive examination of the construction of critical discourse within Xinjiang literature. What sets this article apart from others is its pioneering endeavour to introduce the multifarious realm of Xinjiang in literature, encompassing ancient texts and resounding echoes of the Silk Road, as well as depictions found within Chinese literature. By drawing upon various approaches to the conceptualisation of critical discourse in Xinjiang literature, this study innovatively uncovers the overarching layers of critique within historical narratives of Xinjiang, thus allowing readers to develop a comprehensive understanding of critical discourse in Xinjiang-related literary works.

The interaction between literature and art is essential to human cultural progress. Huizhou folk printmaking is essential as a traditional Chinese art form in this dynamic relationship. To comprehensively and objectively evaluate the relationship between literature and art and promote the cross-fusion and innovative evolution between literature and art, this article incorporates Huizhou folk prints into its analysis to examine and evaluate this complex connection. The relationship between literature and art is summarised by evaluating how literature is expressed in Huizhou folk prints and how these prints interpret literary works. In the field of literary and artistic creation, it is necessary to broaden our horizons and enrich the meaning and expression of creation to promote the diversified development of literature and art.

The evolution of ethnic identity has undergone various stages in its historical development, from the early primitive phase to the emergence of cultural identity consciousness. Throughout the history of the Manchu people, the progression of history and culture has shaped the development of Manchu culture. The narrative of Manchu cultural identity is significant in advancing Manchu culture, symbolising its establishment and assertive growth. This article seeks to track the evolution of Manchu culture through methods such as historical literature analysis and cultural research, delving into the establishment of the dominant position of the Manchu, the evolution of the Manchu language and script, and the diversified expansion of Manchu literature. These efforts aim to propel Manchu cultural identity into a new historical development phase. Nonetheless, Manchu culture faced challenges during the late Qing Dynasty, leading to adverse effects. Lao She criticised this negativity and escapism in his novel Beneath the Red Banner, hastening a shift in cultural identity within Manchu culture.

Critical discourse plays a vital role in enhancing literary comprehension. However, critical discourse research, spanning ancient to contemporary literature, frequently falls short by confining itself to narrow viewpoints, neglecting a comprehensive exploration of characteristics and commonalities. To bridge the critical discourse between ancient and modern literature, this study conducts an in-depth study of literary continuity by defining the structure and characteristics of discourse theory in ancient and contemporary literary criticism, comparing and analysing the common elements of the two, and exploring the future inspiration for the development of literary criticism from a unified perspective. In practical terms, literary criticism must innovate the critical discourse of contemporary literature while honouring the discourse framework of ancient literary criticism, and delving into the profound social meanings and values embedded within diverse works.

In comparing the passage ‘非之而不可亚(恶)者, 䈞(笃)于忎(仁)者也’ from the Guodian Chu Slips Xing Zi Ming Chu with the excerpt ‘苟志于仁矣, 无恶也’ from the Li Ren chapter in the Analects, a revealing juxtaposition emerges. When examining the phrase, the term ‘无’ should be construed as ‘unable to’, signifying a nuanced perspective. This statement conveys an attitude towards individuals earnestly dedicated to pursuing goodness. Delving into surrounding chapters of the Li Ren chapter sheds light on the understanding that the term ‘恶’ should be interpreted in the context of likes and dislikes. Hence, the claim ‘苟志于仁矣, 无恶也’ implies that if devoted to benevolence, one should not be despised.

The surge in popularity of the Chinese TV series ‘Soldiers Sortie’ can be viewed as a process whereby a prevalent ideology garners widespread acceptance through narrative works. This article delves into how ideology, in this process, utilises traditional Chinese narrative methods to present itself and garner legitimacy through packaging, thus gaining acceptance among the masses. A detailed analysis of the plot of ‘Soldiers Sortie’ reveals that the intertwined narrative and the overarching family narrative model employed in this work align with the cultural psyche accumulated over thousands of years in China, leading to it being quickly embraced by Chinese viewers. This is the underlying reason for the widespread popularity of this work. Throughout history, famous literary and artistic works in China that have been widely embraced by the public have often employed this traditional Chinese narrative style. Therefore, mainstream ideologies seeking to promote and disseminate through literary works should pay heed to the use of Chinese narrative traditions.

The art of landscape painting involves a coherent chain of development and transformation between individual self-awareness and the construction of a scholar's emotions. These paintings directly explore personal consciousness and expressing personal emotions. The main themes depicted in seasonal landscape paintings are seclusion and travel. The relationship between scholars’ self-awareness, landscape painting portrayal and the emergence of literature is explored by analysing the emotional states and life interests inherent in the composition of these two themes of landscape painting. The connection between changes in landscape painting themes and the emotional content carried by scholars, as well as the relationship between seasonal development in landscape paintings and scholars’ literary explorations and poetic expressions, is discussed. Consequently, the themes of seclusion and travel contain contemplation of life and aesthetic interests, revealing connections between these themes, scholarly pursuits, and the unity of poetry and painting.

This article uses a comparative analysis approach to juxtapose Socratic dialogues in Euthyphro with the Confucian ethical principle of ‘mutual concealment of wrongdoing among family members’ from the Analects of Confucius · Zilu. The comparative analysis approach provides a fresh perspective to comprehend and interpret Socrates’ attitude towards Euthyphro's act of accusing his father in Euthyphro. The analysis reveals that Socrates’ stance is not simply for or against but instead situated within the intricate triangular relationship between Athenian customs, Euthyphro's wisdom and civic morality. From the critical perspective in Chinese literature, Confucius's principle of ‘mutual concealment of wrongdoing among family members’ and the importance of family relations is the oppression of individuals, and ‘accusing his father of a crime’ is the awakening of individuals. However, in Euthyphro, Socrates challenges traditional moral notions, revealing moral decision-making's philosophical depth and complexity.