1 Chapel Hill Conference 2 Motif

2. Questions and Answers (12X5=60 points)

1. How to understand that comparative literature is not literary comparison?

2. Try to describe the similarities and differences between interpretive research and hermeneutics.

3. From the perspective of "media science", talk about the role and contribution of Lin's translated novels to modern Chinese literature.

4. Take "literature and psychology" as an example and talk about your understanding of "interdisciplinary research" in comparative literature.

3. Essay question (20 points)

Try to describe the basic development trend and main characteristics of Sino-foreign literary relations in the twentieth century.

2004 Nanjing Normal University Comparative Literature and World Literature Postgraduate Entrance Examination Preliminary Examination Questions

Subject Comparative Literature Basics

Explanation of a term (5X8=40 points)

1 "Mold" theory 2 Baroque 3 Chia 4 "Total Literature" 5 "American School"

Two questions (60 points)

1, try This article describes the basic academic elements and definitions contained in the "comparative perspective".

2. Let’s discuss the similarities and differences between “impact research” and “reception research”.

3. What are the main characteristics of the development of Chinese comparative literature before and after the "May Fourth Movement".

4. Try to describe the basic theoretical elements of "elaborative research" and its formation process.

Three Essay Questions (50 points)

1. Use the iterative method of comparative literature imagery to select appropriate works and images, and conduct detailed analysis and discussion in sequence.

2. How to understand that comparative literature is a cross-ethnic, cross-language, cross-cultural, and cross-disciplinary literary research?

2005 Nanjing Normal University Comparative Literature and World Literature Postgraduate Entrance Examination Preliminary Exam Questions

Subject Comparative Literature Basics

1. Explanation of terms:

1 "Linear origin" 2 "Returning influence" 3 Carré, Brothers Grimm

2. Short answer questions:

1. The similarities and differences between influence research and parallel research.

2. Talk about the literary nature of comparative literature.

3. What challenges and opportunities has comparative literature faced since the second half of the 20th century?

3. Essay questions:

1. Talk about the prospects of comparative literature?

2. From the perspective of interdisciplinary research, talk about the relationship between literature and natural science.

A well-known university in Nanjing recommended a postgraduate examination review (2007-05-22 09:38:41)

1. Talk about a European and American literary masterpiece you like. artistic characteristics.

2. Let’s talk about the achievements of ancient Greek tragedy.

3. Talk about the genres, periods, and characteristics of European and American literature in the nineteenth century.

4. Let’s talk about the advantages and disadvantages of the literary history compiled by Zhu Weizhi in the Nankai edition.

5. Let’s talk about the differences in psychological description techniques in the works of Dostoyevsky and Leo Tolstoy.

6. Talk about the relationship between comparative literature and world literature.

Nanjing University Master’s Examination Questions

2001 Comparative Literature and World Literature Major

Subject: European and American Literary History

1. Explanation (20)

1. "Pandora's Box"

2. Chivalry Literature

3. Classicism

4. Psychological Analysis Novel

2. Briefly talk about your deepest experience of the following works (20)

1. "The Decameron"

2. "Whistling" Villa"

3. "The Brothers Karamazov"

4. "Uncle Vanya"

Three, (choose 3 from 4, 60)

1. Pushkin is revered as the "Father of Russian Literature". Please talk about his contribution to Russian literature in the sense of "founding" and "pioneering". (20)

2. Both Maupassant and Chekhov are masters of short stories. Let’s analyze the different characteristics of their creations and briefly describe their contributions to the development of Western short story art. (20)

3. In the history of Western literature, "utopian" literature has formed a tradition, please give an example

Central China Normal University 2005 Graduate Entrance Examination Examination Subject: Literary Theory (2007-03-24 10:48:27)

Explanation of terms (20 points)

1. Typical characters 2. Naturalism 3. Implied reader 4. Poetry without Daxuan

2. Connection questions (20 points)

1. Imitation of Schiller

2. Marxism based on fate

3. Educational and entertaining Bai Juyi

4. Childlike Innocence on Luji

5. "Twenty-Four Poems" by Susan Lange

6 , "Nine Books of the Yuan Dynasty" Horace

7. "Canglang Poetry" Li Zhi

8. "On Simple Poetry and Sentimental Poetry" Yan Yu

9. "Economic and Philosophical Manuscripts of 1844" Sikong Tu

10. "Emotion and Form" Aristotle

3. Short Answer Questions

1. The aesthetic function of literary language level

2. The aesthetic characteristics of popular literature

4. Analysis questions

1. Liu Xie: Theory of Sense of Things ( Therefore, the poet feels things... and lingers with his heart)

2. Hegel: "The content is not other, that is, the transformation of form into content; the form is not other, that is, the transformation of content." For form.

”

5. Essay questions (50 points)

1. Is there a contradiction between literary aesthetic sentiment and using ugliness as the object of expression, and why?

2. Literature Relationship with politics

Central China Normal University 2005 Graduate Entrance Examination Questions

Test Subject: Chinese and Foreign Literature History Paper Code: 449

1. Fill in the blanks

1. The most mythological value among ancient Chinese classics is ( )

2. The earliest compiler of Chu Ci ( ), the first annotator was ( ) in ( ) period , the title of the book ( )

3. Who is called Qu Zhuangyuan ( )

4. Jin Suhen is a novel ( )

2004 Jida World Literature and Comparative Literature test questions p1 (2007-03-24 10:47:59)

Name explanation: ib{ukm

The dispute between ancient and modern times LnO_?Au"R

Four Seven Society Xq|4.

Crazy Rush Movement! Short answer: 9|gt;#_3DBR

Comparison of ancient Greek literature and Roman literature h9 O2]Ef

Singer’s narrative theory Px/_Hb.eVV

Discussion: BKG8"$9]Hs

Combined with Sherwood Anderson's lt; Small Town Freak gt; Talk about his creative characteristics pXZTzVcJD

Tolstoy's exploration of the human soul The significance of

2006 Peking University Comparative Literature Postgraduate Entrance Examination Questions (2007-03-24 10:47:01)

2006 Peking University Comparative Literature Postgraduate Entrance Examination Questions [Recommended]

Chinese and foreign literature

(1) Briefly describe the main content of Dadaism 10 points

(2) Write Li Shangyin’s "A Night Rain Sends to the North" silently and discuss the time and space consciousness in it 20 Points

(3) From the literary perspective of the "East Asian Chinese Character Cultural Circle", talk about the difference between "Chinese Literature" and "Chinese Literature" in ancient China 15 points

(4) Talk about the exotic imagination and significance of "Flowers Through the Looking Glass" 25 points

(5) Analyze the artistic characteristics of Gothic novels with examples 30 points

(6) Start from specific works , analyze Lin Yutang’s views on Chinese culture 50 points

Chinese and foreign literary theory

(1) Try to describe the rhetorical connotation of "Spring and Autumn Brushwork" 10 points

(2) The difference between the "Imitation Theory" of ancient Greece and the "Expression Theory" of Romanticism 20 points

(3) Punctuate the following paragraph and evaluate it 25 points

The best part of poetry The beauty is that it is implicit and boundless, and its thoughts are subtle. It rests between the wordable and the ineffable, and its reference lies in the incomprehensible and incomprehensible meeting.

The words are here but the intention is there. There is no clue and no image, no discussion and no conclusion. Thinking leads people to a state of trance in the desert, so it is the best ("Original Poetry").

(4) Please briefly describe the Western discussion of tragedy (tragedy) for 30 points

(5) Please briefly describe the characteristics of "beauty consciousness" in "The Tale of Genji" for 15 points

(6) Talk about your understanding of literariness 50 points

Northeast Normal University "Comparative Literature and World Literature" postgraduate entrance examination questions from 2004 to 2006 (2007-03-24 10: 46:16)

History of Foreign Literature 2004 Volume

1. Explain the Concept (5 points for each question, ***55 points)

1 Weiser Marx's novels: Thomas Hardy (1840-1928) was a British critical realist novelist and poet at the end of the 19th century. His native Dowset was his lifelong residence and provided an external blueprint for most of his novels.

Hardy's most accomplished work is a series of novels called "The Wessex Novels".

Wessex is the ancient name for the county of Dowset and its surrounding areas. These novels of his show the tranquil scenes of the British countryside.

"The Wessex Novels" is the general title of Hardy's series of novels, including 14 novels. Wessex is the ancient place name of Hardy's hometown. Hardy uses the same background of Wessex to connect multiple novels into one. All works are divided into three major categories, "Romance and Fantasy", "Love Conspiracy Novels", and "Character and Environmental Novels". The main content is to describe the decline of the British patriarchal rural society in the second half of the 19th century and show the tragic fate of the lower class people. The representative work is "Tess of the d'Urbervilles". 2. Polyphonic novel: Polyphonic novel is a concept created by the former Soviet scholar Bakhtin. "Polyphony" is also called "polyphony", which is originally a musical term. Bakhtin borrowed this term to summarize the poetic characteristics of Tostoevsky's novels, distinguishing them from "the stereotyped European novel model that is basically a monologue (single melody)". Bakhtin believes that a prominent feature of "monologue" novels is that numerous characters and destinies form a unified objective world, which unfolds layer by layer under the control of the author's unified will. In this type of novel, all events are expressed as objects, and the protagonists are all objective characters, and they are all objects of the author's consciousness. Although these protagonists are also speaking and have their own voices, their voices are "filtered" by the author's will before being broadcast. They can only have limited universality to depict characters and develop plots, but cannot create a variety of different characters. The sound does not form its own independent "voice", it sounds like a chorus of voices. The protagonist's will is actually unified with the author's consciousness, losing the possibility of his own independent existence.

Aiming at Tolstoy’s “monologue novel”. The general idea is: The people in Tuo's works are broken and complete. There are many independent and unintegrated voices and consciousnesses in the work. Each voice and consciousness has an equally important status and value. These multiple tones do not unfold layer by layer under the unified consciousness of the author, but express their own opinions equally. Every voice is a subject, and discussion is not limited to the function of describing characters or developing plots. It is also regarded as the consciousness of another person, that is, the consciousness of others, but it is not objectified, not limited to oneself, and does not become the author. The mere object of consciousness. Tuo's world is fundamentally a personal world. The novel is conversational. 3 The Lost Generation: The Lost Generation

A literary genre that emerged in the United States after World War I. It is not an organized group with a unified program. This term comes from Gertrude Stein, an American female writer living in Paris. She once pointed at Hemingway and others and said: "You are all a lost generation." Hemingway used this sentence as an epigraph for his novel "The Sun Also Rises", so the "lost generation" became a The name of a literary genre. The most common thing the writers of the "Lost Generation" have in common is that they hate imperialist wars, but they can't find a way out. When the First World War broke out, most of them were young people in their 20s. Inspired by the U.S. government's slogan of "Save World Democracy," they rushed to the European battlefield with democratic ideals in mind. They witnessed the unprecedented massacre of mankind and discovered that war was far from the heroic cause they originally imagined. The so-called "democracy", "glory" and "sacrifice" were all lies. They experienced various hardships during the war and learned about the anti-war sentiment among ordinary soldiers. This left incurable wounds in their psyches. Their works reflect these thoughts and feelings. For example, "Three Soldiers" by John Dos Passos, "The Great Room" by Ed Cummings, "A Soldier's Pay" and "Satoris" by William Faulkner. Ernest. Hemingway is the representative writer of the "Lost Generation". He fought in Europe and was seriously injured. Hemingway's attitude towards war at that time, like other anti-war writers, was limited to disgust, avoidance and curse. He also has no hope for a peaceful life after the war, so his works are full of confusion and pessimism.

The "lost generation" not only refers to writers who participated in the European war, but also includes writers in the 1920s who did not participate in the war but felt confused and hesitant about their future, such as Scott Fitzgerald, Thomas F. Eliot and Thomas Wolfe, etc. The "Mysterious Generation" mainly flourished in the 1920s; after the 1930s, their creative tendencies, including Hemingway's, changed. 4 The Methammer Group: The naturalistic literary group in France in the late 19th century, headed by Zola, was named after the short story collection "Nights at the Methammer". In the summer of 1879, the naturalist writers Alexi, Sélar, Einique, Huisman and Maupassant gathered one night at Zola's Villa Medang and agreed to each write an article based on the Franco-Prussian War. The novels with the background were compiled and published under the name of "A Night on the Plum Pond". In April of the following year, "A Night on the Plum Pond" came out. Maupassant, the most unknown of the six at the time, was unanimously praised for his Ballad of Suif. From then on, Zola and six others were known as the "Meitang Group". Art for art's sake Rapp Homeric metaphor

Arthurian legend system The fourth wall: Dramatic terminology. On a picture-frame stage, a generally realistic interior scene has only three walls, and a non-existent wall along the proscenium is regarded as the "fourth wall."

On a picture-frame stage, a "wall" that does not actually exist is located at the stage entrance through people's imagination. It is generated by the physical association of the "three-dimensional" space of the stage and is related to the "three walls" of the box set. Its function is to try to separate the actor from the audience, making the actor forget the existence of the audience and only acknowledge the existence of the "fourth wall" in his imagination.

The concept of the fourth wall was developed to meet the requirements of drama to express the lives of ordinary people and truly express the living environment. During the Renaissance, it was argued that a room lacking a fourth wall would be unrealistic if represented on stage. Diderot, a representative figure of the Enlightenment in the 18th century, also touched upon the concept of the fourth wall. He mentioned in "On Dramatic Art": Imagine that there is a wall at the edge of the stage separating you from the audience in the pool. In the second half of the 19th century, as the "three walls" set form became more and more finalized, the non-existent "wall" at the entrance of the stage became the section of the fourth wall of the box-type set room, thus the "fourth wall" came into being. "Blocking the Wall". The first person to use the term "fourth wall" was the French playwright Jean Roulin. In 1887, he proposed that actors should perform as if they were at home, regardless of the audience's reaction, whether it was applause or disgust. The front edge of the stage should be a fourth wall that is transparent to the audience but opaque to the actors.

Zola believed that art is a true reproduction of life, which is directly related to the emergence of the concept of the fourth wall. But its development and spread are inseparable from critical realism and realist performance practices in the second half of the 19th century. The drama theory formed under the influence of democratic aesthetics in the 19th century believed that art is a reflection of real life, requiring drama to reflect life realistically on the stage, and gradually formed the concept of drama to create the illusion of real life on the stage. The fourth wall is a concrete embodiment of this theatrical concept in performance practice. The drama creations of Ibsen, Chekhov, Gorky, Bernard Shaw and others had an important influence on the development of the concept of the fourth wall on the stage. The "fourth wall" used by Stanislavsky in his theory of acting and directing reflects exactly this concept of theater viewing. In performance practice, in order to help actors create such a strong illusion of real life, props that can evoke the illusion of the fourth wall are sometimes arranged along the stage curtain line in the set, such as tables, chairs, vase stands, etc. placed with their backs facing away. , and use these props as fulcrums to arrange stage arrangements with some actors facing away from the audience, etc. Daybreak Song

2. Short Answer (10 points for each question, maximum 50 points)

1. Oedipus complex; 2. Basic characteristics of educational novels ; 3. The creative ideas proposed by Balzac in "The Human Comedy"; 4. The concept of fate in ancient Greek tragedy; 5. The creative characteristics of the "New Novel School".

3. Briefly describe the following questions (each question is 15 points, ***45 points)

1. On Hamlet's delay in Shakespeare's tragedy "Hamlet";

2. On the social and historical concepts of French writer Stendhal's novel "The Red and the Black";

3. On Ernest Hemingway's "Iceberg Principle"

History of Foreign Literature 2005 Volume

1. Interpretation of Concepts (each question is 5 points, maximum 55 points)

The Gilded Age Romance Novel Sturm und Drang for the sake of art and art epic drama On the genre heroes, flat characters, university gifted students, Dead Sea Scrolls, Kabuki, Akme School

2. Short answers (10 points for each question, ***50 points)

1. Di The relationship between the spirit of Onissus and the spirit of Apollo; 2. Aristotle’s view of tragedy; 3. The difference between legends and modern novels; 4. The basic characteristics of folk epics; 5. Analysis of the ancient Indian poet Kalidasa The artistic ideal of the drama Shakuntala.

3. Briefly describe the following questions (each question is 15 points, ***45 points)

1. On the aesthetic basis of William Shakespeare’s personalized creation;

2. On the theme of Rabindranath Tagore’s poetry;

3. On the function of absurd plots in Franz Kafka’s novels.

Foreign Literature History 2006 Volume

1. Interpretation Concept (5 points for each question, ***55 points)

Animism: the belief that primitive Before people formed religion, the theory of animism first appeared. It was first proposed by the British scholar Taylor, and later the German scholar Wundt supplemented it from a psychological perspective. This theory points out that primitive people developed the concept of non-material independent souls through their understanding of dreams, hallucinations, sleep, diseases, shadows, reflections, echoes, breathing and other phenomena, and felt that the soul would stay and go in objects. It determines whether these objects have life or not. Taylor therefore adopted the Latin word anima (meaning soul, life or breath) to name it. He believed that primitive people believed that anima could exist in all things, so they called all things animistic. However, its theory is based on the theory of religious evolution, which asserts that religion has experienced the evolutionary development of the view of the soul, ghosts and gods, and the view of God. Later, the British scholar Mallet proposed a modification to the animist theory, believing that primitive people already had the concept of believing that the entire material world has life before forming the concept of animism. This theory is also called the theory of animism. Because both animism and pre-animism lack historical corroboration, they are no longer used in religious scholarship. Lord God Odin Robin Hood Ballad "Old Testament" Edda Tragedy Expression Lake Poets

Anti-Heroes Soviet Thaw Literature Magical Realism

2. Short Answers (10 for each question) points, ***50 points)

1. What are the characteristics of the description of love in the Bible's Song of Songs? 2. What is the theme of Aeschylus’ Orestes? 3. What’s so good about the opening of Molière’s “The Hypocrite”? ; 4. What views on women does Ibsen express in "A Doll's House"? 5. What are the differences between the poetic styles of Byron and Shelley?

3. Briefly describe the following questions (each question is 15 points, ***45 points)

1. On the artistic characteristics of the characters in Dickens’ novels;

2. On Theodore Dreiser's realist creative achievements;

3. How to understand Balzac's literary creation thoughts

Schiller style

In his letter "To Phil Lassalle" (April 19, 1859, London), regarding Lassalle's conceptual illustration of the play, Marx said: "In this way, you have to become more Shakespearean, and I think you The biggest shortcoming of "Schiller-style" is to turn individuals into mere mouthpieces for the spirit of the times. "It is clear from Marx's original words that the so-called "Schiller-style" mainly refers to the lack of authenticity in real life in the work and only the pursuit of reality. The abstract spirit of the times, so much so that the characters become mere mouthpieces of this spirit. Here there is not only the revelation of the shortcomings of Schiller's drama, but also the criticism of the vicious development of Lassalle's shortcomings.

What Marx upheld was the law of artistic expression of realism, and what he opposed was the conceptual tendency of idealism.

Schiller was a German romantic poet, playwright and famous esthetician in the 18th century. His plays have great influence. Engels said that his play "The Bandit" "songs a heroic young man who openly declares war on society" and "Conspiracy and Love" is "Germany's first politically inclined drama", both of which have received positive reviews. However, Schiller's plays also have obvious shortcomings. The main ones are that his plays are illogical to varying degrees in life, have characters preach the author's political ideals, lack real character, etc. This is obvious in the two above-mentioned plays, and even more prominent in "Don Carlos". This creative result is the inevitable product of Schiller's aesthetic thought. He believed in "Naive and Sentimental Poetry": "In a civilized state, since this harmonious competition of human nature is nothing more than an idea, the poet's task must be to raise reality to the ideal, or to express Ideal." Schiller focused on expressing conceptual ideals and emphasized writing in a subjective way, which enhanced the lyrical color and emotional effect of his works, but sometimes also affected the social and historical authenticity.

Of course, "Schiller style" does not refer to all the characteristics of all Schiller's works, but only refers to a bias in creation. When coming into contact with Schiller's works, if you don't particularly like this bias, Schiller still has a lot of experience worth learning from. But Lassalle, the author of "Sickingen" criticized by Marx and Engels, was particularly partial to Schiller, and flaunted the shortcomings of his play as "a mere mouthpiece for the spirit of the times" as a successful artistic experience. , and became his guiding principle for writing plays, so that he finally wrote "Sickingen" which is even more Schiller-like than Schiller. Therefore, the "Schiller style" pointed out by Marx is not so much a revelation of Schiller's plays. It is more accurate to say that it is a criticism of Lassalle's conceptual diagramming method. When Lassalle was writing "Sickingen", he regarded Sickingen as the "incarnation" of the "universal spirit" and described this abstract concept. Therefore, the declining reactionary knightly class that was bound to perish was written as "The Age" "Representative of the spirit", and attempted to compare the failure of the knights' uprising in the sixteenth century to the failure of the revolution in 1848-1849, believing that "intellectual errors" led to the failure of the uprising. In fact, he sympathized with the reactionary classes in history and offered support for Defend the real bourgeoisie that betrayed the democratic revolution. In Lassalle's "Schillerian" tendency, his "tragic concept" is the ideological basis of diagrams. Lassalle believed: "The power of revolution lies in revolutionary fanaticism, in the direct trust of ideas in their own power and infinity." According to him, "fanaticism" means "ignoring the limited means of implementation and the intricacies of reality. Difficulty", so the key issue is that in order to achieve the goal of revolution, "fanaticism" "must go deep into the intricacies of reality and must use limited means to turn into action." Lassalle also believes that when "fanaticism" is turned into action, it is easy to get mixed up with "limited means" and commit to such means. At this time, "fanaticism" will be "destroyed." Lassalle regarded "cunning" as a very important factor in "limited means". He concluded: “Most revolutions that have failed—and any true expert on history would agree—have failed against this cunning, or at least have relied exclusively on it. All revolutions have failed." In fact, Lassalle's tragic concept is a tragic model fabricated out of thin air by him, abandoning scientific analysis of historical movements. Its nature is an idealist creative guiding ideology. However, Lassalle's fallacy lies not only in the fact that his guiding ideology on writing is wrong, but also in the fact that he clings to this concept and, in the face of the revolutionary movement of historical reality, tries his best to adapt history and reality to his concept of tragedy. And he sacrifices reality, illustrating his ideas with distorted images - actually interpreting his "precursor" tragic theme. Because of this, Marx affirmed that the contradictions and conflicts in Lassalle's play were tenable, but he denied the theme.

Because the uprising of the lower aristocracy led by the knight Sickingen in the 16th century and the great peasant war at that time were two "national movements". The former was anti-church and anti-princes, and the latter was comprehensively opposed to the feudal system, forming a conflict with the feudal class. Extensive social contradictions, and the results of these two struggles are as Engels said: "Both uprisings failed, mainly due to the indecision of the most interested group, that is, the urban citizens." Although Marx affirmed the "tragic conflict" of the play, he believed that the author's "chosen theme" was not suitable for expressing this conflict. In other words, Lassalle described the complex contradictions of feudal society in the sixteenth century. Although the plot setting of the struggle is beyond reproach, the problem is that the script does not extract the thematic meaning of the situation from this actual social contradiction, but uses his tragic concept of super-historical and super-realistic logic as the leading idea. Lalezijzingen illustrates: "Revolutionary fanaticism" surrenders to "cunning", "fanaticism is shattered", "the dialectical contradiction between the infinite purpose of ideas and the limited cunning of compromise" is everything The central point of revolution calls people to recognize the idealistic purpose of the play. In Marx's view, this is not only not a theme contained in the social conflicts and conflicts of the sixteenth century that the play touches on, nor is it a theme that can be unearthed from the history of the failed German revolution from 1848 to 1849, it is entirely Lassalle's. "fantasy". Marx criticized Lassalle's "theme" that went against the logic of history and pointed out that Lassalle used the characters in the play to trigger the theme, thinking that if Sickingen did not stage a rebellion in the form of knightly disputes, but instead fought against the imperial power and openly challenged the princes, If he raises the flag to start the war, he will definitely win. This is an illusion that does not conform to the laws of history. In fact, it is a more conceptual manifestation of Schiller's tendency to express ideals.

Kyoto University 2003 Comparative Literature Major Postgraduate Entrance Exam Questions (2007-03-24 10:44:23)

Chinese and Foreign Literature:

Fill in the blanks: "The Book of Songs" What's your name again?

What parts does the "biography" consist of?

Three Asian Nobel Prize-winning writers and their award-winning works.

Short answer: Based on a poem by Wang Wei (Hibiscus blossoms bloom at the end of the wood, red calyxes bloom in the mountains. There is no one in the stream, they bloom and fall one after another) to talk about the language aesthetic characteristics of Chinese poetry.

The symbolic meaning of "The Wilderness".

Discussion: Lu Xun’s evaluation of traditional literature.

The influence of "Faustian spirit" on modern and contemporary Chinese literature.

How to understand Flaubert when he said: "I am Madame Bovary."

Chinese and foreign literary theory:

Fill in the blanks: Give several writers and talk about their representative works. Benjamin, Bakhtin, Foucault, Wang Jide,,,,

Explanation of terms: the law of three unities

Short answer: Briefly describe a passage by Aristotle (that is, In history and poetry, one section describes what has happened, and the other section describes what may happen)

Translate a passage from classical Chinese into modern Chinese and explain it. (It is the Han Confucian understanding of "thinking without evil".)

Discussion: The influence of foreign literary theory on modern and contemporary Chinese literary theory.

Peking University 2004 Postgraduate Entrance Examination Questions for Comparative Literature (2007-03-24 10:43:32)

Chinese and Foreign Literature:

1. By analyzing China The ancient legend of Fuxi and Nuwa, the Japanese creation myth and the Korean "Tangun" myth, analyze the characteristics (formation?) of East Asian civilization myths. (You can choose any starting point for discussion from mythological anthropology... and many other aspects)

2. Describe the theme of "Gulliver's Travels"

3. Analyze happiness through Shakespeare's plays Staff's character

4. Analyze the characters in "Fortress Besieged"

5. Analyze the images in "Spring River Flowers and Moonlight Night", and use this to discuss time in traditional Chinese poetry consciousness.

Chinese and Foreign Literary Theory

1. A paragraph in the preface of the poem ("Poetry has three meanings..."), punctuation, translation, brief description

2 , gave the original text of a preface to Mao's poems and a preface to the collection of ancient and modern Japanese poems. Through the above quotations, the similarities and differences in the "beauty consciousness" of Chinese and Japanese classical poetry are discussed.

3. Analyze the meaning (category?) of "poetry" in Aristotle's "Poetics"

4. On Wang Guowei's realm of self and selflessness Contact

5. Combining the historical facts of Chinese and foreign literary theory, talk about the understanding of the category of "certainty of understanding"

Sichuan University Comparative Literature and World Literature Major Exam Questions (2007-03 -24 10:39:28)