Study On Novels Prefaces And Postscripts In Qing Dynasty

Ancient novels prefaces and postscripts began in the Han and end in the Qing Dynasty. The Qing Dynasty is not only the ancient novels prefaces and postscripts terminator, but also the climax, which is different from the many characteristics of the previous generation.The thesis consists of five chapters. The first chapter in the novels of the Qing Dynasty and the environment as the object, discusses the political and cultural background of the Qing Dynasty Novels prefaces and postscripts. Loose political environment alternation and gentle, both to the novel with the development and dissemination of space, but also constantly on the lookout for novels inpornography and violence on the glide path too far. Cultural multi-both to thedisclaimer novelist romance, but also to the prefaces and postscripts’evaluationand standard novels to make.The second chapter starts from the relationship between the novels prefaces and postscripts novels and spread, first discusses the propagation path of popular fiction, preface and postscript to "price concerns clearly illustrates the popular novel consumption has become the literati of the patent, the economic pressure makes the general reader can only rent or borrow way to complete the popular fiction reading; at the same time, the popular novel deep thinking on the traditional culture also appeal to the cultural elite, narrative multiplication retaindifferent aesthetic experience. The prefaces and postscripts writing real concernand creative expression "like and not like","like a deceitful and. like her, while"reflects the taste of literati distinct. Secondly, discusses the relationship betweenclassical Chinese novels set propagation and preface and postscript. In the preface Zhang Chao emphasized to express material you Qi and affection. Zheng Shuruo’s preface first road system, and Huang Chengzeng emphasized theLegendary Novels "odd","true","Ya","work" the intrinsic aesthetic elements at the same time, also do not neglect the novel to broaden the mind, di annoyingand tired of social function. Finally, the novels prefaces and postscripts strongpropaganda means, depending on the specific content of the summary sexgeneration novels, creative ideas. reveals the process of creation and themotivation of the secret, edition, outline of the creation concept search as well asto accept the effect of the spread. so as to attract the audience, and stimulate the purchase for the purpose of. But there are also part of the Qing DynastyNovels prefaces and postscripts show advertisement consciousness is weak,specifically manifested in:no association of prefaces and postscripts and novelself promotion; cover or back to the general language in directly or indirectly for the novel marketing campaign; and clearly communicated with the text of the novel negative evaluation; part of the novel no preface and postscript.The third chapter mainly appraisal and the novels prefaces and postscripts.Classical Chinese novels prefaces and postscripts repeatedly referred to thecustoms, information about the dust, extension of mind, art function on infinite inclassical Chinese novels, so widely accepted literati, rich official involved in the creation of classical Chinese novels and the novels prefaces and postscriptswriting, the author or the identity of the prefaces and postscripts introduced not only in the prefaces and postscripts, more chatter without stop about two peoplehistory and your highly esteemed kindness and invaluable friendship, the relationship between the two generally clear; and the popular novels in Qing Dynasty and has achieved very high literary achievements, although in the socialacceptance can get a high recognition, but because the author is in the middle and lower classes literati, and economic condition, social contact surface is not wide enough the preface and postscript, so more for the writer. Even if the otherperson is preface, anonymous, a pseudonym mostly vif.In the popular novels in the preface accounted for half the proportion of all theprefaces and postscripts. As the preface, the author for his creative process,creative motivation since them do, to win the trust of the readers, and for other types of preface and postscript can not be replaced. Others include the author of the novel’s friends, friends, or for the school paper, owner of the book workshop.And if is the author’s friends friends, many from the acceptance of the appeal tothe platform. And if those are novel magazine, mostly from version angle to the work described in the novels prefaces and postscripts or view. Some popular novels prefaces and postscripts is only a reader, and a writer without association,will introduce their karma and novels. The relationship between the author andthe classical Chinese novels and more popular novels was simple, and basicallyjust preface and postscript two friends and relatives, such as Zhao Qigao anddoes not see more in classical Chinese novels.The fourth chapter from the novel prefaces and postscripts of reader identityperspective. Through analyzing the prefaces and postscripts identity carding.eloquently demonstrates the popular novels of the whole social classes covering.The classical Chinese novel reader is relatively narrow, like only literati’s social class. because classical Chinese novels most stories is not strong, and thenarrative is concise. language is archaic. if there is no certain language skills and considerable literary attainments. almost chewed wax. Even some of the stories,like "the scholars", and the strangeness of novels and the lower the reader lives,but not by readers to understand and accept. Bad reading interest readerssatisfied in the Qing Dynasty, Qing Dynasty novel exist serious problems ofnarrative elements of obscene, similar with bad taste to meet readers’ suspicion,from social responsibility perspective, the author of the novel and the bookshopowners can not shirk responsibility. Qing Dynasty Novels prefaces and postscripts who can lead from the front to the reader to be, not completely in order to occupy the market, in order to commercial profit. Novels of the Qing Dynasty and the literati tendency was obvious day by day, showing theeuphemism narrative style preferences, emphasize the pursuit of The meaning is implied., overtones, sublime words with deep meaning, feeling against the size of people, take in everything in a glance. In the narrative that odd, odd, odd thingstechnique. The spirit of literature is to stick to the traditional.The fifth chapter focuses on the novel theory relates to the Qing Dynasty Novelsprefaces and postscripts. The preface and postscript "odd" mentioned in thearticle has more than40, visible "Qi" as an important aesthetic features of novels in the Qing Dynasty said non trivial, if the description generation and early Qingnovels in the pursuit of something odd, odd things to people, in the late Qing Dynasty,"strange but not strange" theory was pushed the Qing Dynasty novel theory, makes a qualitative leap in the Ming Dynasty on the basis of the.Although the actual argument is an old topic in Ming Dynasty, but different fromMing Dynasty to Qing Dynasty fiction approval, tend to be more true, words areaccording to material, although in favor of fiction in the Qing Dynasty also has the certain market.