The Theory Of Material Response In The WeiJin Southern And Northern Dynasties

The theory of material response is an important category in the theory of ancient Chinese literature. This theory is a theory on the genesis of literary art and aesthetic experience as well as a theory on literary creation. Material response had already been mentioned before WeiJin Dynasties, but the content was of fragmentary nature. Around the time of the WeiJin Southern and Northern Dynasties. The WeiJin Southern and Northern Dynasties. Material r esponse came to be highly regarded in various areas including philosophy, literature, calligraphy, and painting and reached its completion as a theory. Of theories of Material r esponse in the WeiJin Southern and Northern Dynasties, the current study examined the discourse of Material response in literary theory.The first chapter discusses the definition of material response theory and backgrounds to the development of Material response theory in WeiJin Dynasties. Material response theory signifies the correspondence between the mind of the writer and the object, as well as psychological activities during the process of literary creation. The material response theory was affected by the correspondence theory of the philosophy of XianQinLiangHan, and <LiJi>that mentioned material response theory had a great influence on the Material response theory in the generations to come. In the period of HanMoWeiJin, much emphasis was laid on personal emotions and there was a growing interest in natural features. This was reflected on the production of literature in the period of Jian An. And these provided the background to the development of the Material response theory in the period of the WeiJin Southern and Northern Dynasties. The second chapter is about the material response theory in<Wenfu> of LuJia.An analysis was conducted, focusing on the relations among object, emotion, and letters In the Material response theory of LuJi, the object refers to natural features and social reality, emotion means deep and graceful emotional elegance. LuJi reflected the writer’s emotion on literature felt during Material response, and advocated accord between emotion and writing.The third chapter discusses the Material response theory in<WenXinDiaoLong> of LiuX ie. The book on<ShenSi>in<WenXinDiaoLong> contains one of the best explications of M aterial response theory. LiuXie mentioned"ShenyuWuyou". This signifies the process of fusion and union of the object and the writer’s emotion. LiuXie viewed that the activity of the writer’s mind called ZhiQi and the linguistic activity called SiLing are involved in this psychological process.The fourth chapter examines the Material response theory in<ShiPin> by ZhongRong. ZhongRong raised a Material response theory in creation of poetry for the first time. He laid great stress on Ghi (a kind of spiritual energy), social reality, and the feeling of rancor, which is the main point of ZhongRong’s theory of Material response. Especially, ZhongRong attached great importance to Fu, Bi, Xing, a form of rhetoric. He interpreted Fu, Bi, Xing from the perspective of pure literature, which is divergent from previous interpretations.The fifth chapter is about theory of creation and literary ideas in relation to. Mos tly,<YueLun> of RuanJi and the issue of XingSi and ShenSi arementioned. RuanJi was influenced by XuanXue, and his<YueLun> inherited the traditional Material resp onse theory of the Confucian school and applied the philosophy of nature of XuanX ue. In creation of literary work, XingSi and ShenSi refer to description of the externa1forms of things. It was frequently employed in poetry on landscape, and through su ch poetry, the relation between Material response and XingSi and ShenSi can be und erstood.Lastly, this thesis states the relationship between Tiwu and emotions. This thesis examines Fu and<QuanFu> edition-material response of<WenXinDiaoLong>...