我很怀疑纯诗和纯文学这样的概念。文学和文字的分野在哪里?为什么韩愈、柳宗元、苏轼、郑板桥的 书札是文学作品,而我们随手写的信就是浮云?诗和文的分野又在哪里?诗歌,并非非讲究声韵平仄不可。 戴望舒说:"诗的韵律不在字的抑扬顿挫上,而在诗的情绪的抑扬顿挫上,即在诗情的程度上。"我们读《世 说新语》,每每感觉诗意盎然,而对于一些今人所修文学史的名篇琢磨不出多少好处来。诗歌,并不是所谓 语言的华美,也不是风花雪月,而是一种召唤,是人类的处境和想象在语言中的复活。这不单单是技巧的,而 是通过诗意的桥梁,引领我们去认识自己,去思索人的生老病死。 所有对诗的界定都会很苍白,甚至"诗言志"或者"诗缘情"都无法解决问题。那诗意是什么?帕斯卡说:"人 应该诗意地活在这片土地上,这是人类的一种追求、一种理想。" 正是按照诗意的标准,《有诗如故:会心古诗200首》这本书的选取范围很广,打破体裁限制,不仅把歌谣和 汉赋,甚至诸子和一些经典文章都纳入进来。希望读者流连在这些诗意蓊郁的作品里,能够但得"浮生一日 闲",奢侈地想一想太阳、星空,想一想大地的美,还有人性之美。 本书赏读诗歌时,特别尊重中国古代诗话的品鉴方法,他们诸多言简意赅的 ...

【编者按】 生活中的我们，难免习焉不察。环境、密切接触的人群、社会风气，乃至不同的行业，都可以让人沾染 上习气。有一次我们研究所想招一个人。我们招人的条件比较严格，标准是人品第一、学问第一。有人 问我，两个第一谁在前面？我回答，学问好的人品在前面，人品好的学问在前面。那一次想招的这个 人，成果很多，也很有影响。大家见面多次，实在看不出有什么不好。后来明白，原来他是文学出身， 身上有文学习气。有文学习气，距离学问境界，就差了那么一点点。真正进入学问境界的人，连文学习 气都需要刊落。社会上有各种行业，各种专业，行业和专业本身，时间长了，也会滋生特有的习气。在 一界长了，就有一界的习气。不是俗气，是习气。俗气不必说了，连习气都需要刊落，才能成为所期待 的不一样的人。如何刊落？读书是重要途径。 读书还有助于确立人生的自我认知，就是弄明白自己。通过读书，会意识到自己是立身于从古至今的历 史河流里，在这条河流里反照自己，可明白自己的身份和角色。当然书读得好，具有高华的气质，对找 一份合意的工作，会有帮助，慢慢获得事业上的成就感。我小的时候发蒙，那是在1940年代初，念《三 字经》《百家姓》《千字文》《唐诗三百首》《古文观 ...

Core Viewpoint - The article emphasizes the importance of preserving, inheriting, and utilizing traditional Chinese culture, particularly focusing on the rich cultural heritage of Hebei province, which is integral to the Chinese civilization and national spirit [1]. Group 1: Cultural Heritage - Hebei is one of the important birthplaces of Chinese civilization, with a history that spans over two million years, showcasing a deep cultural lineage [2]. - The region's geographical position has allowed it to become a cultural corridor, fostering the integration of diverse cultural elements throughout history [2][3]. - The Great Wall and the Grand Canal are significant cultural symbols that have facilitated interaction and cultural exchange between agricultural and nomadic civilizations [3]. Group 2: Artistic Expression - The artistic and architectural imprints of Hebei reflect a blend of various cultural influences, showcasing the region's unique artistic style [4]. - Non-material cultural heritage, such as paper-cutting and traditional crafts, embodies the fusion of agricultural and nomadic artistic elements [4]. Group 3: Revolutionary Spirit - Hebei is recognized as a revolutionary land, having played a crucial role in the history of the Communist Party of China and the development of revolutionary culture [13]. - The region's revolutionary spirit is characterized by resilience and a commitment to the collective struggle for national independence and social justice [14][19]. Group 4: Cultural Development Initiatives - Hebei aims to strengthen its cultural identity by implementing various initiatives, including the protection of cultural heritage sites and the promotion of traditional arts [20][21]. - The province plans to enhance cultural tourism by integrating cultural elements into tourism development, thereby fostering a deeper connection between culture and economic growth [23].

过度阐释是西方文论带给中国文学批评的又一弊病。古人云："诗无达诂"（董仲舒《春秋繁露·精 华》）、"作者之用心未必然，而读者之用心未必不然"（谭献《复堂词录序》），文学以其丰富的内 涵，具有无限阐释的可能性，也正因此，文学批评才会出现过度阐释的现象。"过度阐释"是指研究者脱 离文本，根据一己之经验推导出并不存在的文本之外的意义。中国古代文论主张以意逆志、知人论世， 但现今的许多学者，在文学评论时往往信马由缰，妄加揣测，对文本进行无限度推衍。如一些学者将 《红楼梦》的意旨无限放大，对小说母题和人物原型的探索由实证走向神秘化，更有论者把贾宝玉 的"痴傻"行为归结为"俄狄浦斯式情结"；或将《孔雀东南飞》焦母驱遣刘兰芝解释为"母恋子"的潜意 识，这些推论令人错愕。朱光潜认为这是"移西方戏剧之目，抉中国抒情诗之心"。跨文化对话，应如陈 寅恪所言"在历史文化脉络中理解之同情"，而不是理论方法的简单移植。 过度阐释与强制阐释的不同之处在于，前者仍是文学场域的释读，而后者则是征用场外理论，依托文 本，证明其前置理论和先在观念的正确性，文本不是核心，只是佐证，文学阐释过程不是审美体验，而 是场外理论的求证实验。二者的共同之处是 ...

即便对于如今生长在城市里的年轻人来说，民间文学也不遥远。我们世世代代就生活在自己创造的民间 文化里面：过这样的节日，贴这样的年画和剪纸，唱这样的民歌，说这样的谚语，听这样的戏。民间文 学是我们民族的心灵形象，文化的身份证，自我教化的工具，审美的载体，节日的核心内容，其他各种 艺术之源之本。 我们民族有着巨大的文学想象力和原创力，数千年间创作出海量和样式纷繁的民间文学。我国第一部诗 歌总集《诗经》保存着丰富的先秦时期的民间文学。大量史诗记录着民族珍贵的生命史，无数神话传说 述说着亘古不变的人间的梦，口口相传的故事传递着我们中国人传统的道德准则与价值观，海量的歌谣 谚语既蕴含着无穷的生活智慧，也包藏着极其丰富的生产经验。 民间文学如同空气一样日用而不觉，是人们见面聊天时张口就来的那种存在。大量民间故事中，保留着 文学的形象、审美的形象。我写《俗世奇人》时，很多人物形象就是跟老百姓聊天时，自然而然"冒"出 来的。然而，这种无形地流动在民众口头中间的文学，本来就是生生灭灭的，在社会转型期很容易被忽 略，从而流失。民间文学的搜集和整理，在任何一个国家做起来都很困难。 过去几十年，在党和国家的大力支持下，在强烈的文化自觉 ...

Core Viewpoint - The recent discovery of a complete version of the "Book of Songs" (Shijing) from the Han Dynasty at the Haihunhou Tomb in Nanchang is a significant archaeological find that could reshape the understanding of Chinese literary history and fill critical historical gaps. Group 1: Discovery Details - The excavation revealed approximately 1,200 bamboo slips related to the "Book of Songs," which is the only complete version from the Qin and Han periods discovered to date [2][4] - The bamboo slips were found in a well-preserved state due to the unique conditions of the tomb, which included water that helped protect the artifacts from decay [7][8] - The "Book of Songs" discovered contains a total of 305 poems, structured into 1,076 sections, indicating a well-organized text [4][5] Group 2: Historical Context - The version of the "Book of Songs" found is from the early to mid-Western Han period, providing a glimpse into the text before it underwent later modifications and interpretations [3][5] - The current widely circulated version of the "Book of Songs" is based on the annotations by scholars from the Eastern Han period, which differ from the newly discovered version [5][6] Group 3: Significance of the Find - This discovery not only highlights the completeness of the text but also suggests that the version may differ significantly from the later versions, as it lacks 66 chapters found in the current editions [5][6] - The find is expected to illuminate previously unknown aspects of Chinese literature and culture, potentially revealing new insights into the era of Liu He, the tomb's occupant [12]

Core Viewpoint - The article explores the concept of the "otherworld" in ancient Chinese thought, particularly during the pre-Qin period, highlighting two main interpretations: one as an idealized, unreachable realm and the other as a terrifying, unknown place [3][5][6]. Group 1: Idealized Otherworld - The first interpretation of the otherworld is a distant, beautiful realm that exists in the imagination, often described in texts like "Shan Hai Jing" and works by Zhuangzi, where divine beings reside and live carefree lives [3][4]. - This idealized otherworld is characterized by its enchanting qualities, representing a place of ultimate beauty and elegance, akin to the modern notion of "poetry and distance" [3][4]. Group 2: Terrifying Otherworld - In contrast, the second interpretation presents the otherworld as a distant, strange, and frightening place, filled with bizarre creatures and landscapes, as depicted in "Shan Hai Jing" and the poetry of Qu Yuan [5][6]. - This fear of the unknown enhances the appreciation for the tangible, beautiful aspects of the real world, creating a juxtaposition between the two realms [5][6]. Group 3: Afterlife Beliefs - Another aspect of the otherworld in pre-Qin thought relates to beliefs about the afterlife, where ancestors are thought to reside in a heavenly realm, continuing to influence the living [6][7]. - Rituals and offerings to ancestors, such as food and wine, reflect the belief that the deceased continue to exist in a manner similar to the living, enjoying comforts in the otherworld [6][7]. Group 4: Philosophical Reflections - The article also discusses the philosophical reflections on death and the otherworld, emphasizing the duality of hope and despair in human contemplation of mortality [7]. - Confucius's teachings advocate for focusing on life and moral integrity rather than the uncertainties of the afterlife, presenting a pragmatic approach to the concept of the otherworld [7].

Core Points - The event aims to enhance cultural exchange between China and South Korea through literature, featuring prominent authors and scholars from both countries [1][2][4] - The APEC meeting serves as a significant opportunity for cultural dialogue, with expectations for deeper collaboration in literature and translation [4][6] - The concept of "cultural roots" is emphasized, highlighting the shared literary heritage and mutual influences between the two nations [4][6][9] Group 1: Event Overview - The event was co-hosted by the Global Times, the Korean Cultural Center in China, and Beijing Language University, featuring speeches from key figures in literature and culture [2][4] - Notable participants included award-winning authors and translators who discussed the impact of Chinese and Korean literature on each other [2][6] Group 2: Cultural Significance - The term "same root and origin" was frequently used to describe the relationship between China and South Korea, emphasizing their geographical and cultural proximity [4][6] - The event highlighted the importance of literature as a medium for cultural understanding and the need for increased translation and publication collaboration [4][6][9] Group 3: Literary Exchange - Recent years have seen a rise in the translation of contemporary Chinese literature into Korean, with works like "To Live" and "The Three-Body Problem" gaining popularity [6][9] - Discussions included the universality of themes in literature, such as family and responsibility, which resonate across cultures [6][7] Group 4: Future Directions - The event called for a renewed focus on reading literature from neighboring countries, suggesting that greater awareness of each other's literary works can foster understanding [9][10] - The role of youth in shaping the future of Sino-Korean relations through literature was emphasized, with hopes for new inspirations and ideas emerging from such exchanges [10]

Core Viewpoint - The article discusses the modern transformation of the Book of Songs (Shijing) from 1901 to 1931, highlighting how it evolved from a Confucian classic to a literary work, influenced by political changes, educational reforms, and modern literary concepts [2][3][6]. Group 1: Historical Context - The transformation of the Book of Songs began with the collapse of the Confucian moral system following the end of the feudal imperial system and the establishment of a republican government in late Qing [3][6]. - The May Fourth Movement emphasized the need to overthrow old morals and establish new ones, leading to a re-evaluation of the Book of Songs to incorporate modern values [2][3]. Group 2: Educational Influence - The Book of Songs was included in modern educational curricula, serving as a foundation for ethical education and the cultivation of patriotic citizens [3][5]. - Educational reforms, such as the 1902 and 1904 school regulations, maintained the Book of Songs as a required subject, emphasizing its role in shaping national morality [5][6]. Group 3: Literary Reinterpretation - Scholars during the May Fourth period sought to detach the Book of Songs from its traditional Confucian interpretations, viewing it instead as a work of early vernacular literature [6][8]. - The emphasis on personal emotion and expression in modern literature aligned with the Book of Songs' themes, leading to its reclassification as a significant literary work [8][11]. Group 4: Cultural Identity and Nationalism - The Book of Songs was positioned as a foundational text in the construction of national identity, reflecting the complexities of Chinese literature's evolution in the context of global literary trends [12][13]. - The integration of folk traditions and the study of popular songs were seen as essential for understanding national consciousness and social dynamics [9][11]. Group 5: Methodological Challenges - The application of scientific methods in interpreting the Book of Songs faced limitations, as scholars often imposed modern values onto ancient texts, complicating the understanding of their original meanings [13][15]. - The challenges of cross-cultural literary analysis highlighted the difficulties in reconciling Western literary frameworks with Chinese literary traditions [15].

Core Insights - The Shanghai International Literary Week serves as a significant platform for cultural exchange and literary discussion, having invited over 300 writers and scholars since its inception in 2011, including four Nobel Prize winners [1] - The theme for this year's forum is "Classics in Flux and Transformation," featuring various international authors and scholars who presented their insights on the relevance of classical literature today [1][2] Group 1 - Sun Yong emphasizes that classical literature remains relevant as it reveals the essence of human nature and desires, suggesting that contemporary literature's longevity depends on its depth in character portrayal [2] - Darina Gallagher discusses the vitality of classics through their continuous reinterpretation, highlighting the transformation of epic narratives into modern contexts, which illustrates the essence of classics being reborn through time and culture [2] - Dai Xiaohua draws parallels between "Dream of the Red Chamber" and modern corporate management, indicating that classical literature can provide practical insights for contemporary issues and serve as a guiding light for societal progress [3] Group 2 - The event will feature nearly 30 guests participating in over 50 literary activities, including poetry nights and discussions at various venues, with live streaming to engage a broader audience [3] - The Shanghai International Literary Week has become a window for Chinese readers to understand world literature, simultaneously serving as a platform for Shanghai and China to connect with the global literary community [3]