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Published in last 1 year |  In last 2 years |  In last 3 years |  All Please wait a minute... For Selected: Download Citations EndNote Reference Manager ProCite BibTeX RefWorks Toggle Thumbnails Select From YAN Zi-ling to HUANG Gong-wang: The Cultural Images of Fu-chun River as well as the Prehistory and Connotation of the Painting of Dwelling in the Fu-chun Mountains HU Xiao-Ming Journal of East China Normal University (Philosoph    2016, 48 (4): 15-28.   DOI: １０．１６３８２／ ｊ．ｃｎｋｉ．１０００-５５７９．２０１６．０４．００２ Abstract （262）   HTML （14）    PDF （13913KB）（683）       Knowledge map    Why did HUANG Gong-wang paint Fu-chun River? Why did the painting of Dwelling in the Fu-chun Mountains take up so many years? According to HUANG Gong-wang’s another annotation written in the same period, the connotation of “Fu-chun River” in HUANG’s mind is related to the tradition of poetry. From the two important collected literary works, that is, The Collected Works of Yanling in the Song Dynasty and The Collected Works of Diaotai in the Ming Dynasty, we can see that the legend about the eminent person YAN Zi-ling starting from the East Han Dynasty became the long-lasting core value in the writings of Fu-chun River, the landscape literature represented by XIE Ling-yun, SHEN Yue, MENG Hao-ran and LI Bai condensed images, established traditions and created the “textual landscape”, which triggered later generations’ enriched discourse seeking for truth in beauty and embodying principles in poetry, and FAN Zhong-yan’s new statements about YAN Zi-ling represented the self-consciousness of the moral subject and the understanding of landscape from a perspective of Neo-Confucianism. In the new situation of being ruled by aliens, HUNAG Gong-wang provided a new interpretation of the image of Fu-chun River with his masterpiece: with the dissolution of the ethical subject, scholars and literati’s traditional anxiety of getting along with rulers was transformed into the new issue of their getting along with themselves and the universe. With the discard of rulers and scholars and literati on the one hand and the dissolution of self and others on the other, the image of Funchun River achieves a super realm of Dao. It is not the point whether HUANG’s painting is really about YAN Zi-ling; rather, it is the spiritual similarity between the painting of Dwelling and YAN Zi-ling, i.e., Dao’s being more significant than worldly power, that secure the honor and dignity of scholars and literati. In this way, we can understand better the value of the painting of Dwelling in the cultural history of China, and it is also in this way that we can see the intellectual connotation of literature and art. Related Articles | Metrics Select “Abandoning Medical and Undertaking Cultural Work”: Fact, Fabrication and Narration ----Reading Mr. Fujino and Japanese Cultural Ideas Pan Shi-sheng Journal of East China Normal University (Philosoph    0, (): 113-118.   Abstract （1022）            Knowledge map    Lu Xun twice revealed how he himself “abandoned medical and undertook cultural work” in his articles of Mr. Fujino and Preface to Call to Arms. As to his narrations, there have been different “readings” and “interpretations” respectively in Chinese and Japanese intellectual circles. Some Japanese scholars argue that there is a “legendary” tendency in Lu Xun’s remarks, which contain some “fictitious” elements. The extension of such a thinking path to the Japanese-language textbook has resulted in an orientation of Mr. Fujino, which is included in the textbook, as a piece of “fiction”. This is concerned with the issue of “verification” or “falsification” in academic studies and what is more, with the conditioning of the cultural tradition, literary awareness and thinking path. Related Articles | Metrics Select The Misty Poetry, New Poetry Tide and “Today Group”: Three Narrations of One Period in Literary History Liang Yan Journal of East China Normal University (Philosoph    0, (): 119-123.   Abstract （935）            Knowledge map    In the narration of the new-period literary history, Today, a folk magazine, has always been sandwiched in controversies on “misty poetry”. The three concepts of “misty poetry”, “new poetry tide” and “Today group” are often confused as the same one. In fact they three are related but not equal to one another. Without the “group of Today”, there is no “new poetry tide”, and without the “new poetry tide”, there is no “misty poetry”. Moreover, those “Today” poets and their works have widened their influences thanks to debates on “misty poetry” on the one hand, and the mainstream literary circles have stifled Today’s existence more seriously due to its partial reorganization on the other hand. Such a suppression even has had a deep influence on today’s literary orientation. 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