Table of Content

01 April 2007, Volume 26 Issue 2

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Orignal Article

Different Poesy Attitudes of “Anthologies”to “3rd Generation Poems”

YANG Qing-xiang

2007, 26(2):  20-24. 

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Identification of Loaned Antithesis

LUO Ji-yong

2007, 26(2):  60-64. 

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In dealing with the identification of loaned antithesis in ancient poems, the present paper, taking into consideration of language and literature, and starting from the general principle of language communication, comes to the following 4 points: 1. In forming a perfect antithesis by adopting the sense of a homophone in the sentence, one of the premises was that the loaned sense was not to be in conflict with the true sense and context of the original couplet; if it occurred in the structure of a certain term or expression, it should be able to be combined at least with the term or expression in sense. 2. Loaned antithesis did not happen to emphatic words and terms and the frequently-used set structures. 3. Neither did it happen to the naturally matchable things, senses, artistic conceptions, etc. which people at that time were willing to accept. 4. Since its aim was to achieve the perfection of antithesis, the true loaned ones could be verified by reversed inference.

Rhetoric History Research

ZONG Ting-hu,CHEN Guang-lei

2007, 26(2):  65-68. 

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The tasks of rhetoric history research are to look into, describe, deal with the development and change of rhetorical phenomena and sum up the laws of their gradual progress. The research meets the needs of improving the linguistic and cultural accomplishments of the nationals, for the Chinese linguistic culture to go globewide, as well as of constructing the subject of rhetoric and of its new start. But in recent a hundred years the research proceeds slowly, so the process of exploration should be accelerated.

Pragmatics Investigation IntoA Type of Successive Copy Format and Its Relative Format

ZHANG Zhi

2007, 26(2):  69-73. 

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Cultural Connotations and Aesthetic Idea of Chinese Classic Dance

CHEN Miao

2007, 26(2):  110-115. 

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The artistic acme of the Chinese classic dance is the unity of form and spirit. Such is the well-known state of possessing both form and spirit, containing spirit in form, converting spirit into form and focusing on demonstrating spirit. The Chinese classic dance contains extremely rich cultural connotations and profound aesthetic idea.