Core Insights - The article discusses the current state of Chinese historical drama, highlighting three main imbalances: uneven representation of historical dynasties, a significant decline in creative output since the early 2000s, and varying quality of productions [1] - The recent series "Tai Ping Nian" is noted as a high-quality historical drama, marking a significant achievement in the genre over the past decade [1] Group 1: Historical Context and Trends - Chinese historical dramas predominantly focus on the Han, Tang, Ming, and Qing dynasties, with a particular emphasis on Qing palace dramas [1] - The peak of historical drama creation occurred from the 1990s to the early 2000s, followed by a notable decline in the subsequent decade [1] - Quality varies widely, with some series like "Da Ming Wang Chao 1566" receiving high ratings (9.8 on Douban), while many others fail to meet basic standards [1] Group 2: Underrepresented Historical Periods - The article identifies the Two Jin and Northern and Southern Dynasties, as well as the Five Dynasties and Ten Kingdoms period, as chaotic yet narratively rich periods in Chinese history that remain underexplored in drama [3] - The lack of well-known heroic figures from these periods contributes to their neglect in historical drama adaptations [3] Group 3: "Tai Ping Nian" as a Case Study - "Tai Ping Nian" uniquely portrays the Five Dynasties and Ten Kingdoms period through the character Qian Hongchi, showcasing governance and societal issues during a time of turmoil [4] - The series emphasizes Qian's personal growth from a reckless prince to a responsible ruler, breaking traditional character molds in historical dramas [4] Group 4: Themes and Philosophical Depth - Unlike typical entertainment-focused dramas, "Tai Ping Nian" serves as a serious historical narrative reflecting on national and ethnic spirit through character choices in dire circumstances [6] - The series respects historical complexity, allowing for nuanced character portrayals rather than binary moral judgments [6] Group 5: Cultural Significance and Audience Engagement - The article argues that the essence of Chinese historical dramas lies in their ability to evoke a sense of duty and moral responsibility, which resonates deeply with audiences [9] - "Tai Ping Nian" encourages viewers to engage with history actively, fostering a culture of historical inquiry and discussion [11]

【改进文风大家谈】 作者：李建中（武汉大学文学院教授、武汉大学通识教育中心主任） [ 责编：袁晴 ] 今人写文章是一定要列出关键词的，发言也一样。我们常常听见发言者说"我今天讲两个关键词"，这就 开宗明义地用关键词的方法（怎么说），概括性地说出言者所要表达的核心要义（说什么）。 刘勰言说文学理论和批评，是很会用关键词的。《文心雕龙》50篇的篇名，就是50个文论关键词，完整 而系统地建构起刘勰文学理论批评的"说什么"。受《周易》的影响，刘勰的关键词是"三有"：一是"有 序"，保证了理论言说的逻辑性和层次感；二是"有象"，赋予理论阐释以生命活力和自然灵趣；三是"有 情"，彰显言说主体的真性情和大志向。这些都属于刘勰文论的"怎么说"。 我们发言或者写文章，一般都会重视"说什么"，但更应该重视"怎么说"。说的东西再重要再有价值，如 果说得无序无象无情无趣，说得听众或读者昏昏欲睡，重要性或价值如何入耳入心？改进文风，其现实 意义就在这里。说到底，文风问题是一个文心问题。文心者，为文之用心也，既包括用心之所在，也包 括心之如何用，故强调关键词的"说什么"与"怎么说"，实质上是要在言说对象和言说方法相交融的层面 重塑文风。 ...