Republic Of China A New Word Theory Change Research

Based on western philosophy and aestheticism, the Ci (poetry) theorists in Minguo period have reassessed traditional study of Ci from cultural perspective by using modern academic ideas and researching methods. The Ci theorists in Minguo have devoted themselves in maintaining tradition while being creative; exploiting both eastern and western studies; and promoting literature revolution. Their efforts have turned the traditional study of Ci in Minguo into a modern one by adding new standards and theoretical points, such as: ontology with both "intensive" and "extensive" features; origin of Ci from both "court banquet music" and "folk music"; "evolution" instead of "orthodox school and variation" attitude towards Ci history; and criticism on bailment and artistic conception.The "new change" and "transition" in Minguo period reveal their own significance and demonstrate the inevitability and diversity of modern Chinese theory of Ci. Scholars in Minguo have set us models in: how to catch up with the society, times and culture spontaneously; how to balance between internationalizing and maintaining nationality; and how to balance between learning from the past and being updated.This thesis is divided into three parts: the introduction, the body, and conclusion.The introduction part illustrates the aim, significance and structure of the thesis by providing basic methods, detailed facts and related intellectual history of Ci's modernization in Minguo period.The body part includes five chapters: in the first chapter, four most representative ontologies are analyzed to explore views on the "intensive" while "extensive" stylistic features of Ci, they are: Li Qingzhao's theory of "Ci is a distinctive literary form"; Zhang Huiyan's "the meaning is implied", Wang Guowei's "Ci is delicate and elegant"; and Hu Yunyi's "poetry is all about personal sentiment". The second chapter provides a review of former researchers' studies and achievements. It explains why Ci comes from both "court banquet music" and "folk music". Furthermore, it comments the practice of distinguishing concepts of "origin of Ci" from "founding of Ci". In the following chapter, the author inspected transition of views on Ci history which has experienced a change from focusing on "orthodox school and variation" of the stylistic features of Ci, to an "evolution" attitude. After examining evolution theory's influence on the development and diminishing of "orthodox school and variation", the author analyzes the significance and defects of "each era has its own literature" theory. In chapter four, Zhan Antai, Long Yusheng, and Ch'ien Chung-shu's theories on Bi and Xing bailment are systematically summarized in different levels. The author elaborates four principles of Bi and Xing bailment from the perspective of Ci's content. Then deviation from Bi and Xing bailment and criticism about it are analyzed. The last chapter starts with Wang Guowei's producing of artistic conception theory under philosophy considerations. Based on this, the author discusses theories on "new system" and "new academic language"; and distinguishes the following opposing concepts: "self-conscious prospect" and "unself-conscious prospect"; "idealistic imagery" and "realistic imagery"; "poets' artistic conception" and "ordinary people's artistic conception". Wang's theory of artistic conception is valuable, however, it is much aestheticism oriented. Therefore, further improvements are discussed based on analysis of its acceptance and popularity in Minguo.In conclusion, features and achievements of the "new change" in Minguo period are illustrated. The current study of Ci can benefit a lot through evaluating the "new change" and the process of Ci theory's modernization.