Qian Liqun’s specific information

Qian Liqun, male, was born on January 30, 1939 in Chongqing, Sichuan. His ancestral home is Hangzhou, Zhejiang, and he is of Han nationality. In 1956, he was admitted to the Journalism Department of the Chinese Department of Peking University. In 1958, he was merged into the Journalism Department of Renmin University of China and graduated in 1960. From 1960 to 1978, he taught at the Anshun District Health School and the District Normal School in Guizhou Province. In 1978, he was admitted to the literature major of the Chinese Department of Peking University and studied modern literature under Mr. Wang Yao and Yan Jiayan. He graduated in 1981 with a master's degree in literature.

He stayed at the school to teach since the same year. He is currently a professor in the Chinese Department of Peking University and a doctoral supervisor in modern literature. Mainly engaged in the research and teaching of modern Chinese literature. Qian Liqun's research interests and concerns are mainly twofold. The first is "research and writing of literary history." In 1985, together with Huang Ziping and Chen Pingyuan, he proposed the concept of "20th Century Chinese Literature", emphasizing that the new concept was "not just to combine the existing 'modern literature' and 'modern literature' To connect with the research pattern of 'contemporary literature' is not only to expand the research field, but also to grasp 20th century Chinese literature as an indivisible organic whole." Therefore, "the concept of '20th century Chinese literature' First of all, it means that the history of literature becomes independent from the simple comparison of social and political history, and it means that the completeness of the stages of the development of literature itself is taken as the main object of research." In the article "On "Chinese Literature in the 20th Century"" written by *** Tong, he also writes from "Chinese literature moving towards 'world literature'; literature with the general theme of 'transforming the soul of the nation'; literature with 'sadness' as its basic theme The core modern aesthetic characteristics; the modernization process of artistic thinking expressed by the literary language structure" these aspects summarize the overall characteristics of "20th century Chinese literature". The proposal of the concept of "20th century Chinese literature" aroused strong response in the academic world. It has been an academic topic of concern from the 1980s to the 1990s. Various opinions were put forward during the discussion, but this concept has been generally accepted. and spread to other disciplines.

This concept has also aroused strong interest in academic circles in Japan, South Korea and other countries, and has had a certain impact. Later, Qian Liqun collaborated with Wu Fuhui, Wen Rumin, Wang Chaobing and others to write the literary history monograph "30 Years of Modern Chinese Literature". In his long preface, he tried to use the concept of "20th Century Chinese Literature" to summarize the entire book. . This is a textbook-style literary history, which not only extensively absorbs the latest results of academic research, but also contains many of the author's own unique discoveries and insights. Both the first edition and the revised edition show the level reached by the discipline in the 1980s and 1990s. , providing new knowledge and new information that have been strictly selected; at the same time, full attention is paid to scientificity and accuracy, as well as the stability and acceptability that literary history textbooks should have. Therefore, after the book was published, it was welcomed by teachers, students, and literature lovers in colleges and universities. In 1997, the State Education Commission selected it as a textbook for the modern literature history course in universities, which further expanded the influence of the book.

In his chapters on the development of "poetry" and "drama", Qian Liqun consciously experimented with writing "history of style". When describing the trajectory of the development of style, he highlighted style. His own characteristics: He tried to show the development process of new poetry through "the changes in poetic artistic thinking and language (continuity, interruption, discontinuity, etc.)" and took "the mutual growth and decline, ups and downs of square drama and theater drama" as clues. Narrate the history of drama. Later, he and his students also proposed three prose types: "gossip style", "lecture style" and "monologue", which provided a new development clue for the writing of prose history. These explorations of his have had a certain impact in the academic world. The "Literature in the New Century" section of "The Illustrated History of Chinese Literature" (cooperated with Wu Xiaodong), on the one hand, is an overall description of Chinese literature in the 20th century, and at the same time, it is integrated into the overall structure of "History of Chinese Literature" - this It is another new attempt in the study of Qian Liqun's literary history. This structure determines the focus of attention on the intrinsic historical relationship between modern literature and traditional Chinese literature. It also means that a century of literature is placed in the historical coordinates of thousands of years for strict screening. A considerable number of writers and works are In the narrative of this big history, they disappeared from the field of research, while other writers and works with advanced characteristics were highlighted in the long-term historical examination. After careful research, this book puts forward its own positioning in literary history that is different from traditional textbooks.

In the historical narration, we also try to get rid of the influence of the literary history view of historical determinism and historical evolution, and pay more attention to the interruption, repetition, advance, lag, accident and individuality in the development of literature, so as to show the richness and specificity of history. In addition, the literature of Taiwan and Hong Kong is regarded as an integral part of "20th century Chinese literature"; popular literature enters the research field of view, and Jin Yong, a master of popular literature, is fully evaluated; when describing the literature after 1949, the first This chapter discusses "underground literature", which also constitutes the characteristics of this book. This book also begins an experiment in narrative methods of literary history. While paying attention to the description of the overall history of Chinese literature in the 20th century, Qian Liqun began to shift his research focus to the investigation of Chinese literature in the 1940s from the late 1980s. In Qian Liqun's view, the literature of the 1940s was not only the result of the natural development of modern Chinese literature (history) since the May Fourth Movement, but also gave birth to the development of contemporary Chinese literature (history) in the second half of the century (Qian Liqun believes that this An independent cultural form was formed in the last 50 years, which he called "Japanese and Chinese culture"); therefore, seizing the middle (transition, conversion) link of the "40s" and breaking into this point can play a role. The role of taking an overall view (the development of Chinese literature and history in the 20th century). When entering the specific operation of literary research in the 1940s, Qian Liqun first carried out the excavation and arrangement of original materials.

He compiled and selected the fourth volume of "Theoretical Materials on Chinese Novel in the 20th Century", and together with his colleagues and students compiled the "Literary Series of Chinese Occupied Areas" (16 volumes), and discovered (or re-discovered) Understand and evaluate some writers and works, which fully prepares for the ongoing writing of "History of Novel in the 1940s". The book "1948: Heaven and Earth Xuanhuang" published in 1998 is an important result of Qian Liqun's literary research in the 1940s, and it is also a new attempt in his "personalized (non-textbook)" writing of literary history. This is an experiment on the structural and narrative methods of literary history: breaking the previous structural model of literary history, this book chooses "1948", a typical era that best reflects the historical transition and transitional characteristics of the 1940s. Literary events, schools, controversies, journals, works, and descriptions of the writer's spiritual journey that occurred in this year, looking forward and backward, clarifying the ins and outs, thus revealing the main clues and trends of literary development in the 1940s and even the early 1950s. This " The structural method of "looking at an era from an era" can bring into the research field people and things that have been ignored (omitted) in the narrative of literary history, especially what books ordinary people and intellectuals in this era read and what music they like to listen to. , what movies to watch, what jokes are circulated in the streets...such details of daily life have entered the narrative of literary history in detail, which also means certain changes in the concept of literary history. In the narrative method of literary history, this book places typical historical details in a relatively important position, pursuing rich, concrete and vivid descriptions of typical phenomena (characters and events) and details like reportage, and thus It creates a sense of place; but at the same time, it strictly rejects any fiction and requires every detail to have a specific historical basis. This book also made great efforts in the selection of narrative perspective and narrative tone. It can be seen that Qian Liqun, as a literary historian, is not only committed to the specific writing of "modern literary history", but also pays attention to the concepts, methods, and formal issues of literary history behind the writing, and strives to find his own unique way of grasping literary history. He has written consecutive articles to explain the literary history theories and methods of his mentor Mr. Wang Yao (and traced them back to Lu Xun), as a theoretical guide for his own literary history research and writing, and each of his research and writing practices has Have a clear and conscious purpose of the experiment and make a summary in a timely manner. He defines the task (goal) of his literary history research and writing as "going deep into the deep internal organism of 'writers, works, and readers' to examine, excavate, and discover intellectual groups and individuals (writers) in a specific historical era. ), reader groups and individuals, as well as the living conditions, experiences, confusions and aesthetic forms of various types of 'people' groups and individuals shown in the works, and from the comprehensive grasp of all these, it reveals the human beings in a specific historical era. survival dilemma and its aesthetic form". He therefore emphasized, "As a literary historian, he must, like a writer, maintain social, historical, cultural and metaphysical dual concerns for 'people' (his living conditions, experiences, and confusions), and should care about both reality and transcendence." to reality".

In specific research and operations, he always grasped "typical literary phenomena" and broke into "one point" to see the "whole picture", which was both specific and subtle and reflected the trajectory of development. He used this as his basic method for researching literary history. Therefore, it is proposed that the thinking characteristics of literary historians are to maintain professional interest and sensitivity in specific, vivid details and historical phenomena; at the same time, they must have the ideological penetration to discover the universal symbolic meaning behind the details and phenomena.

Qian Liqun also attaches great importance to the issue of time and space distance in the study of literary history. He believes that "history" happened at that time and place, and those who write history live here and now. The so-called historical writing is a two-way movement process that constantly goes back and forth: from here to there, and strives to enter the historical situation, Put yourself in someone else’s shoes, understand how and why people (individuals and groups) in that place and time made this or that choice, resulting in a certain historical proposition; and from there, face up to and reveal the importance of choice without hesitation. All serious and complex facts that arise in the process of (proposition) development and realization have consequences that the parties involved cannot foresee. Therefore, he proposed "put yourself in someone's shoes" and "face the consequences" as the basic principles for research and writing in literary history.

Qian Liqun also proposed that two "intermediary" links must be grasped in the study of literary history: First, as the "culture" between the economic foundation and literature that ultimately determines the development of literature--from now on, Qian Liqun Based on the historical characteristics of the development of modern literature, Qun also proposed the three major cultural elements that are most closely related to the modernization of literature: "publishing culture", "university culture" and "political culture" from among the many factors that influence the development of literature; There is also an intermediary between the "cultural" background that restricts the development of literature and the "text structure" of the work, which is the "writer's living condition and psychological structure" of the subject of text creation. Qian Liqun also emphasized that while paying attention to the updating of concepts and methods of literary history, we should not ignore the issues of writing form (structure, narrative method, etc.) of literary history, and therefore proposed the concept of "narratology of literary history". His summary of these practical experiences and theoretical assumptions have also had a certain influence in the academic world. Another research focus of Qian Liqun is to conduct a unified historical investigation of the development of modern Chinese literature and the spiritual process of modern Chinese intellectuals, that is, to conduct research on the "century spiritual history of modern writers (modern intellectuals)". His research in this aspect attempts to break the strict boundaries of literary history, intellectual history and cultural history research, and conduct self-examination, reflection and theoretical summary of contemporaries on the historical experience and lessons soaked in blood and tears in the 20th century. He still adopted the method of "catching typical phenomena" and selected three modern writers with different typical significance, namely Lu Xun, Zhou Zuoren and Cao Yu, so as to analyze people and "see the world from one person". "The Quest of the Soul" is considered to be one of the representative works of Lu Xun research in the new era that breaks through the traditional Lu Xun research model. It is also the author's reflection on himself and his contemporaries (the People's Communist Party and the People's Liberation Army) after experiencing the spiritual purgatory of the "Cultural Revolution". It is the self-reflection and reconstruction of the distorted soul (and the distorted view of Lu Xun) of the intellectuals trained in China in the 1950s and 1960s. It is the author's first "counterattack" after awakening from long-term slavery. "The work. Therefore, the "Introduction", "Postscript" and "Text" of this book have the same important significance, and they contrast and supplement each other. The author clearly declares in the "Introduction" that the focus of this book is not the somewhat deified Lu Xun as a "national hero", but Lu Xun as an "individual", the existence and survival dilemma of his independent life, and As "the great representative of humankind's pursuit of truth", Lu Xun's eternal pursuit of human spiritual freedom, and his painful torture of people's (national) mental illness. What this book discusses is not Lu Xun's external "heroic" behavior, but his "inner purgatory". The purpose is to find "the spiritual passage between historical great men and ordinary 'self'". Therefore, the author chooses Lu Xun's "Wild Grass" (this is Lu Xun's poetic "philosophy" "written for himself") as the focus and "outline" of the research, including "Thinking Chapter", "Mood Chapter", "Emotion Chapter", The "Art Chapter" structures the whole book, showing "Lu Xun's World" from the inside to the outside. This book's grasp of Lu Xun's various spiritual phenomena always revolves around the central concept of "historical intermediate" to demonstrate Lu Xun's clear self-reflection, that is, a thorough spirit of doubt, rejection and negation of the existing world, absolute order, and self. And the philosophy of "resistance to despair" formed in painful struggles.

The author writes on the extra pages of this book that it is "dedicated to young friends who are committed to the transformation of Chinese people and Chinese society", indicating that the author consciously regards the writing of this book as a "speech" to the reality of China and is in line with the reality of China. Therefore, the writing style of this book is "lecture-like" (it is actually also a compilation of classroom lecture notes), full of critical passion and sincerity of self-analysis, so it will be very popular among readers (especially (young readers)) and became one of the representative works of the Enlightenment trend of the 1980s. The papers and essays about Lu Xun written by the author in the 1990s were compiled into the book "Lu Xun in the Contemporary", which focuses on the contemporary interpretation of Lu Xun as a thinker and stylist, including the study of Lu Xun's ideological propositions and his unique expression methods. , the study of the stylistic characteristics of Lu Xun's novels, prose, and essays has made new developments and supplements to the author's research in the 1980s, and attracted the attention of the academic community. Qian Liqun's "Research on Zhou Zuoren" opened up a forbidden area of ??academic research. His "On Zhou Zuoren" excavated and organized a large number of original materials. On this basis, in comparison with Lu Xun, he scientifically It discusses the complexity of Zhou Zuoren's thought, literary development path and his philosophy of life, explores Zhou Zuoren's relationship with Eastern and Western cultures, and comprehensively summarizes Zhou Zuoren's achievements in literature (including prose creation, literary criticism, translation, and stylistics). theory, literary language theory) and cultural studies (including childhood studies, fairy tales, mythology, folklore, and sexual psychology); he also made contributions to Zhou Zuoren and contemporary thinkers and writers (including Zhang Taiyan, Cai Yuanpei, Li Dachuang, Chen Duxiu, Hu Shi, Qian Xuantong, Liu Bannong, etc.) were investigated in detail, thus establishing a basic pattern and laying the foundation for Zhou Zuoren's research.

His "Biography of Zhou Zuoren" is recognized as an authoritative work in the study of Zhou Zuoren. It has had a wide impact on domestic and foreign academic circles and domestic reading circles. Many people have learned about Zhou Zuoren through this book. Understand and know Zhou Zuoren. Commentators believe that the "biggest feature of "The Biography of Zhou Zuoren" lies in its speculative nature" (Shu Wu). This book not only accurately outlines the development of Zhou Zuoren's thoughts and the trajectory of his life, but also fully and meticulously demonstrates As a thinker and writer, as well as a human being, Zhou Zuoren writes about various aspects of his spiritual world, and with Zhou Zuoren as a model, he writes about the fate of China's liberal intellectuals, their unique values, spiritual confusions and crises. For the author himself, it is both a recall of the suppressed inner liberal spiritual tradition and a severe introspection. Therefore, the whole book is a cross-spiritual dialogue between the "biographer (Zhou Zuoren), the author, and the reader". It also has a unique meditative tone, full of warmth and bitterness. Later, the author wrote "Reading Zhou Zuoren", which is a close reading of the text and is obviously a necessary supplement to the first two books. In this way, Qian Liqun's research on Lu Xun and Zhou Zuoren each formed their own complete system. In the late 1990s, based on nearly 20 years of research, Qian Liqun finally realized the similarities between the two. He agreed with this statement: The Zhou brothers faced the "Chinese people's survival crisis in the 20th century" and challenged this crisis. Two different paradigms", adding that their respective life forms (and their choices) are in "dramatic change" and "stability", "destruction" and "solidification", "restlessness" and "tranquility"," "Conflict" and "harmony", "sadness" and "leisure"...the two poles of "eternal harmony and eternal struggle" reflect the two fundamentally opposing characteristics of human nature. The "Zhou brothers" are also It has become a "cultural (spiritual and personality) biological entity" with typical significance in the history of mankind, nation and the spirit of the times. After examining the unique life forms of two "strong men" among Chinese intellectuals in the 20th century, Qian Liqun turned his attention to the majority of intellectuals, looking for more common and universal models: He discovered Cao Yu. This is a talented artist, but he is a "weak": he lacks the skeptical spirit like Lu Xun, his idealism, romantic innocence, and excessive humanitarian kindness make him dare not face the dripping blood, and always He is immersed in a man-made dream; he lacks the complete self-denial of Lu Xun. He loves himself too much and pities himself. He can neither defeat himself nor involuntarily succumb to others and power. His life was filled with conflicts between the artistic creation of his personal genius and the established social creation norms governed by ideology, and ended with the former succumbing to the latter.

Qian Liqun's "Between the Big and Small Stages--A New Theory of Cao Yu's Drama" writes about such a tragedy in which spiritual "crippling" leads to the destruction of art, a tragedy in which imagination is stifled by ideology, and a nation's rare geniuses are destroyed by great talents. The tragedy of most people "praising the killing" and "reviling the killing".

This is also a typical tragedy of Chinese literature in this century. After completing the three "point" case studies, Qian Liqun extended the research tentacles to the overall spiritual temperament of Chinese intellectuals in the 20th century, as well as the inner spiritual communication with intellectuals around the world, seeking to explore the relationship between the history of national spirituality and humankind. Organic connection with spiritual history. Thus, he found "Don Quixote" and "Hamlet", two immortal models of world literature. The main title of the new treatise is "Abundant Pain" and the subtitle is "The Eastward Movement of Don Quixote and Hamlet". The so-called "eastward movement" is not only the process of spread from Spain, Britain, through Germany, Russia, to China, but also the spread of artists and thinkers from different countries in different time and space (from Cervantes and Shakespeare to Heine and Turgenev). , as well as Lu Xun, Zhou Zuoren...) The process of interpreting it with unique characteristics reflects from a specific perspective a certain aspect of the development of human spirituality and the spiritual process of world molecules from the 17th century to the 20th century. From such historical investigation, the author of this book not only discovered the Don Quixote and Hamlet spirit of Chinese intellectuals in the 20th century, but also conducted in-depth thinking on many major theoretical issues raised during the eastward migration. and interpretation. For example, the evaluation of Don Quixote's idealism and Hamlet's skepticism (their respective values ??and existing "traps" and crises); "Don Quixote of dictatorship" ("authoritarian romantic") The concept and its meaning ("the tyranny of the Enlightenment"); the concept and its meaning of "female Quixoteism" ("Bovaryism"), the relationship between Don Quixote and Sancho, the ideal form of Don Quixote The relationship between Quixote and his realized "mad apprentice" (revolutionary), Don Quixote's fate after the victory of the revolution; the non-politicized and non-heroic Don Quixote, Don Quixote's " "Return"; the meaning of distinguishing "true and false Don Quixote"; armed and organized groups Don Quixote and Hamlet's proposition: the relationship between thought and action, the relationship between thought and the consequences of action ("the realization of thought is The destruction of thought itself and the thinker", "Returning thought to the thinker"); Hamlet's doubts about the "future", Hamlet's treatment (and Don Quixote) in the communist movement; Hamlet and Russia" "Superfluous Man", "Nihilist", Hamlet's relationship with the people, etc. It can be seen that Qian Liqun thought and developed all these theoretical propositions with the "issues" of Chinese history and reality in this century. This was also a self-reflection on himself (and his contemporaries). Strong introspection is the most distinctive feature of Qian Liqun's research on the spiritual history of intellectuals. He strives to find the point of convergence between his own era and the era of his research subjects, and between the researcher's own subjective spiritual world and the subjective spiritual world of the research subjects. He conducts spiritual dialogues and pursues "history and reality" and " The organic combination of subject and object. During his long-term research, Qian Liqun also gradually found his own special way of penetrating into the inner world and artistic world of his research subjects. He called the study of "unit image" and "unit concept", that is, "from the writer's use of the words in his works". Start with commonly used and recurring words to find out the writer's unique unit image and unit concepts (including categories); then conduct in-depth multi-level excavations of the unit images and unit concepts (categories) to reveal their inner philosophy and psychology , ethics, history, aesthetics and other rich connotations, and excavate the various factors of traditional culture and foreign culture accumulated in it, in order to achieve an understanding of the writer's unique spiritual world and artistic world that are closely connected with the vast world of ancient and modern times, both at home and abroad. Be specific." Thus, he discovered Lu Xun's "golden world", "array of nothingness", "night", "cold" and "heat", "love" and "hate", "silence" and "opening", "people" and "God", "Ghost"...; Zhou Zuoren's "Love of Wisdom", "Common Sense", "Sorrow of Oriental People (Mortals)", "Wind" and "Rain", "Bitter Tea"... etc.; Cao Yu "cruel", "struggle", "being teased", "flying to the horizon"...etc.

As a scholar on the university campus, Qian Liqun attaches great importance to the mutual penetration and promotion of scientific research and teaching. He has explained the Lu Xun tradition to the 17th class of Peking University students for 15 consecutive years, which has had a great impact; he is also concerned about university and middle school literature education. He devoted considerable energy to academic popularization work and wrote monographs such as "Rereading Masterpieces" and "Studying Novel in the 1940s". He also consciously wrote essays (publishing books such as "Human Trouble", "Meditations at the End of the Century", "The Grave Pressing on the Heart", "Sixty Tribulations", "Recasting the Academic Soul") and other methods. Maintain a spiritual connection with contemporary youth, with one's own era, and with the bottom class of society. Qian Liqun's academic ideals (pursuits) are concentrated on one point, namely "independence, freedom, criticism, and creation". This is also what he understands as the "Peking University spirit (tradition)". He strives for "truth". Even if he cannot express what is in his heart, he must try his best to "disregard other people's wishes, do not look at other people's eyes, and speak to himself: say what he wants to say and is willing to say." All of his writing was aimed at "transforming a century of suffering (of himself, his family, society, and nation) into spiritual resources." Therefore, his academic work must have a strong color of criticism (introspection and reflection). He has repeatedly expressed his expectation that "more imaginative research that is not limited by 'trends' or 'trends' will lead to unexpected topics, ideas, angles and methods. It cannot be standardized and cannot be classified. People may It cannot be accepted because of its "wild" approach and inevitable omissions and flaws; however, this type of research often brings new possibilities and injects new vitality into academic development, even if it is not repeatable in some aspects. , but it still shows the charm of creative life and truly embodies the individual nature of academic research --- Although I cannot reach this state, I yearn for it.