English Abstracts

A Theoretical Reflection on the “Intrusion” of Artificial Intelligence (AI) into Aesthetics

Huang Lizhi

The approaching era of Artificial Intelligence (AI) has even ‘intruded’ into the aesthetic field. The ‘intrusion’ of AI is truly subversive,and we must rethink the anthropological significance of aesthetics and art, in order to prepare for the AI era and build a new type of aesthetic culture. In art, aesthetic emotion is located in an ontological status. In terms of narrative works, the expression of aesthetic emotions is often too complicated for AI to surpass. We cannot ignore the possible future of AI in the expression of aesthetic emotion, but we can cope with AI by virtue of the individualization and complication of emotional expression. In the age of AI, its ability to solve utilitarian problems in the realm of labor practice is unrivaled, and applying Marxist perspective, one can observe that the aesthetic dilemma of AI lays in the difficulty in reaching the full extent of the objectification of the essential human force. Even if the AI creates a great work of art, it only solves the need for human aesthetic appreciation, not the need for human aesthetic expression. Art is precisely the greatest expression of man’s non-utilitarian desires, and it should not be eliminated, for if it is, the freedom of humanity will be compromised.

Red Culture Resources in Shanghai: A Review of the Characteristics,Advantages, and Related Studies

Kong Liang, Gao Fujin

As the birthplace of Communist Party of China, Shanghai is rich in Red Culture resources. Shanghai Red Culture has given unique urban cultural characteristics to the city, which can be characterized by its originality, political nature, compatibility, contemporaneity and regional characteristics, accumulated through a long historical period; these characteristics also reflect the advantageous position for Shanghai nationwide,urging us to promote the spirit home and abroad. There is however a contradiction in the academic studies of Shanghai’s Red Culture resources,which is seriously lagging behind its necessity in reality: firstly, studies conducted from the perspective of protection and inheritance of Red Culture and its resources only begin to emerge gradually in recent years; secondly, when compared with the research on related topics in other parts of China, there are still many shortcomings in the academic research on Shanghai red culture and its resources.

The Content Types and Cultural Characteristics of Shanghai Urban Revolutionary Ballads

Bi Xuling

Shanghai revolutionary ballads are typical of urban revolutionary ballads in China. In terms of the content, Shanghai revolutionary ballads mainly include four categories: revolutionary ballads of praise, revolutionary ballads of satire, revolutionary ballads of exposure, revolutionary ballads of struggle, along with some revolutionary nursery rhymes, and lyric ballads. Born in a modern metropolis, Shanghai revolutionary ballads have strong uniqueness in comparison to the rural revolutionary ballads of the Communist Revolution Base Areas, exemplified by its distinctive Westernized style and Wu dialect characteristics. In conclusion, Shanghai Revolutionary Ballads are precious in Red Culture heritage, embodying the spirit of Shanghai.

Writing from Feminist Personal Experience and Reflections: Answering Shanghai Culture

Jin Renshun

Feminism in ChinAIs very diverse and complex at this stage, as the patriarchal ideAIs deeply rooted in the minds of some people. When female writer Jin Renshun wrote works such asChunxiang, she gave more consideration to the story and characters of the novel and how to write a good story and characters. But when she looked back after the completion of the works, she found that some of them had a distinctive feminist tendency. Once feminism is integrated into the novel, its flesh and blood are actually blended into the characters and story, which is chaotic, ambiguous, contradictory and tangled. Women writers like and enjoy their own gender, are economically independent like many women,have their own views and opinions, express their relationship with the world through their works, and become more and more powerful as their feminine consciousness increases. The strength is different from masculinity, a more gendered and equal relationship.

Sun Li: Unique Imagination in the Vision of Aesthetic Cleanliness

Li Hongxia

As a writer who takes art as his foundation, Sun Li advocated the interest of ‘a(chǎn)esthetics’ in life, pursued and created of ‘ultimate beauty,’which is the core complex that he defended throughout his life. His works reflect the distinct regional particularities, the atmosphere of the time and personalized temperament, and are always filled with the cherishing of ‘slowness,’ the dissection and rendering of ‘the virtue of the weak,’tinting a color of ‘pathos’ in mood, which have left an imprint on the history of literature still to be discovered. The aesthetic world he constructed out of his purity and obsession is still to be explored in terms of its spiritual richness and the variety in forms of experience.

The “Exception” of Traditional Animation: A New Interpretation of Poem Animation and Love Sorrow Sketch in Landscape Emotion

Yang Xiaolin

Putting the poem animationLandscape Emotioninto the grand system of Chinese literati poems, and taking the scriptwriter Wang Shuchen’s life and mental state into consideration, what really enablesLandscape Emotionwith the artistic power to shock and surprise, is not only its ink painting and melodica, but also the ambition of resentment and feelings of the heroes in the animation, and the life powerlessness and disillusionment presented by the works as well.

Problem Consciousness, Spatial Transformation and the Construction of Somaesthetics in China: An Investigation from the Debates between Zhang Yuneng, Zhang Gong and Wang Xiaohua

Jian Shengyu

There is controversy on how to construct somaesthetics in the contemporary context. The School of New Practical Aesthetics emphasizes that it should start from ‘practice’ rather than ‘body,’ but there are actually multiple options for furthering somaesthetics besides the integration of practical aesthetics. In order to advance the systematization, refinement and multi-layering of somaesthetics, it is necessary to integrate spatial consciousness, present consciousness, and everyday aesthetic consciousness into the next discussion of somaesthetics with a sense of problem consciousness, to clarify the theoretical obstacles caused by the aesthetics of the mind with an immediate concern for the origin of the body, and to construct a theory with ontology as the core, surrounded by other subordinary problems to enrich the theoretical spectrum.

Comments on Zhu Zhirong’s Imagery Aesthetics

Wang Zhongdong

Zhu Zhirong puts forward the proposition that ‘beauty is imagery’ on the basis of deeply excavating Chinese traditional aesthetic resources.He thinks that the imagery takes the subject emotion as the core, serves as the concrete presentation of the reciprocal relationship between emotion and image, which embodies the thinking mode of ‘the unity of man and the Heaven.’ Starting from the ontological thought of ancient China, he regarded imagery as the noumenon of beauty, and ‘image, mind and Tao’ as the noumenon structure of imagery. Only by the integration of the mind of the thing and the mind of the self, can he reach the realm of the combination of mind and Tao. Imagery is the result of active creation in aesthetic activities, it is generated, not preformed, which contains the organic unity of perception, judgment and creation, and then breaks through the limitations of substantive theoretical thinking. Zhu Zhirong’s modern interpretation of imagery is an aesthetic innovation and exploration with the contemporary characteristics. He stressed that imagery has always been advancing with the times, constantly enriching and developing, and has strong vitality, which provides a new theoretical vision for the construction of Chinese aesthetic discourse system.

Confucianism or Taoism, Sage or Worthy: Life Choices of Mid-Ancient Literati in Ruan Xiaoxu’s Opinions

Chen Te

Ruan Xiaoxu, a famous recluse in the Liang Dynasty, had a treatise on the relation of Confucianism and Taoism, and this treatise was included inThe Record of Liang. In this treatise, Ruan proposed the term ‘TiEr’ (體二), arguing that Confucianism being the Sage and Taoism the Worthy, implicating that Confucianism is more important than Taoism. Moreover, Ruan’s arguments are mainly based on Wang Bi’s metaphysical theory, though unconscious to Ruan. Besides his argument, Ruan Xiaoxu also acted between Confucianism and Daoism.

The Life of Zhang Chunfan and a New Examination of the Affairs Behind Nine-Tailed Turtle

Ye Zhou

Nine-Tailed Turtleis the most important representative of ‘romance fictions’ of late Qing Dynasty. However, due to the lack of scholarly research on the life of Zhang Chunfan and the deeds behind the story, the overall evaluation and judgement ofNine-Tailed Turtlehas been understated. According to the newly collected information on the life of Zhang Chunfan, it is examined the affairs of certain characters and plots in the story, and is argued thatNine-Tailed Turtlehas created a typical image through the character Zhang Qiugou, who is apparently a talent and a rogue, a wandering soul in the modern city.

Keats’s Image in Shanghai during the Period of Republican China:The Desperate Poet, the Revolutionary Poet, the and Aesthetic Poet

Liu Haiying

During the Republic of China, Shanghai functioned as an important city for the development of modern Chinese literature and the translation of foreign literature. Periodicals published in Shanghai were the first to spread the works of the English Romantic poet Keats. In Shanghai the foreign literature textbooks and monographs made the largest number of reviews on Keats. They presented the image of Keats as a desperate poet,a revolutionary poet, and an aesthetic poet. Based on the periodicals and foreign literature books published in Shanghai during the Republic of China, the paper sorts out Shanghai scholars’ translations, transmissions, receptions of Keats’s works during the three decades in the wake of the New Culture Movement. It finds out that Shanghai scholars worded hard to seek out new approaches for Chinese modern literature by means of spreading Keats’s image and facilitated the historical process of the transformation of modern Chinese society.

The Research Life of Jiang Bin

Cai Fengming

Jiang Bin is a master in his generation of Chinese folk literature and folk culture studies. His research life can be divided into three important stages: 1950s-1980s, when he began to study folk literature; 1980s-1990s, when his research mainly focus on regional folk art and folk beliefs; and from the 1990s, when he began to do researches on regional folk culture. In all his research life, his characteristic objective of the ‘people’ is fully embodied. The theory of regional folklore, the integrated research method of folklore and folk culture, and the academic path of theoretical linkage and emphasis on field investigation, which he pioneered, have been widely valued by both domestic and foreign academic circles, and are still of great importance today.