Chinese Lyrical Tradition And The Study Of Modern Chinese Literature

Since Chen Shih-hsiang proposed an article called “On Chinese Lyrical Tradition” in 1971 at the Association for Asian Studies(AAS).This issue the Chinese Lyrical Tradition which is narrated by Yu-Kung Kao and David D.W.Wang,becomes a modern trope.There are three chapters in this paper.In the first chapter,two questions would be solved.The first question comes the background of the Chinese Lyrical Tradition.The second question happens to be that how the readers react on it.In the second chapter,this paper focus on David D.W.Wang's reconstruction on “modern Chinese lyrical tradition”.“The repressed lyrical tradition” is used to describe Wang's theory.His theory contains four main meanings:(1)the relations to literature,history and politics;(2)some hidden traits in Wang's early works;(3)modern Chinese lyrical tradition's association to classical literature and(4)the invention to this theory.The third chapter of this paper aims to discuss Leonard K.K.Chan and his contributions to the “modern Chinese lyricalism”.First,this paper emphasizes Chan's literature study in four areas: Chinese classic literature criticism,Czech Structuralism(The Prague School),literary historiography and Chinese Lyrical tradition.In Chan's argument,the construction of discipline of modern Chinese literature should be one polar in literary historiography,and the other polar is Chan's study of the methods of literary historians.He introduced the sense of place to Chinese Lyrical tradition,and put forward the “Lyrical China Theory” which connected the conception of “ Lyrical Hong Kong”.His theory of “lyrical China” which breeds the dialectical antinomy between Chinese classic and modern literature follows Chen Shih-hsiang and Gao Yu-kung's interpretation of the Chinese Lyrical Tradition and dialects with David Der-wei Wang and Kim-Chew Ng.