1979: My fiancée is a goddess

Chapter 164 Three Major Themes of Children's Literature
"It's a good thing, but there are very few people in China who are researching children's literature theory. Most scholars are researching scar literature and realistic literature. Oh, and recently there has been a trend towards educated youth literature."

"That is to say, there are very few scholars in China who can give you some reference value. You can only look abroad."

“The research on children’s literature theory originated in the West, and the 20s was an important dividing line in children’s literature research.

At that time, the main context of children's literature research gradually shifted from education and library science to literature and cultural research. This shift fundamentally changed the theoretical and methodological basis of Western children's literature research. "

According to what I know so far, the most cutting-edge research in Western children's literature focuses on the "unknowability" of children's concepts and emphasizes the complexity of "children".

I recommend you to read the American "Journal of Children's Literature", which is an annual publication founded by the American Children's Literature Association and the Children's Literature Branch of the Modern Language Association in 1972 and published by Johns Hopkins University Press.

Children's Literature is mainly composed of articles on basic theoretical research, analyzing and criticizing key issues in children's literature. It is the absolute top journal for academic research on children's literature in the United States and should be helpful to you. "

Jiang Ting explained thoughtfully, holding the chopsticks in her mouth.

In fact, as early as a few years ago when she returned to China, she consciously selected a number of research directions as research topics, including research related to foreign children's literature, but later chose to give up.

Now Cheng Kaiyan suddenly wants to write a paper in this field, which she thinks is a good thing.

Even if there is no groundbreaking research progress, it is necessary to write papers and build up a reputation in the academic world.

It will also be helpful for future postgraduate studies, doctoral studies, or promotion to lecturer, associate professor, etc.

"Journal of Children's Literature... That's a bit confusing. What does this mean, auntie?"

Liu Xiaoli asked curiously.

"Hmm... these foreign words mean children's literature."

Cheng Kaiyan explained with a smile: "But it is precisely because this field is almost blank in China that it is more valuable. Maybe we can research something and become famous."

"That's true, come on."

Jiang Ting encouraged with a smile, thinking that this boy really was just boasting without thinking. Literary creation and literary theory research are completely unrelated.

One is writing novels and the other is writing papers.

She thought about it and said:

"In fact, you don't need to be very innovative. You can just combine the latest foreign research directions with the actual situation in China and do some specialized and targeted research, which will also have academic value."

Then he reminded in a very serious tone: "But you can't plagiarize or copy!"

"of course."

Cheng Kaiyan responded seriously that what Jiang Ting meant by this sentence was simply to ask him to write "a new research direction based on XXX theory", which was considered to be the truth of academic research.

I don’t know how to innovate, but I can do micro-innovation.

It is just like some people in later generations who break down a general topic into many smaller ones, in order to write watered-down papers and muddle through GPA.

You say he has nothing, but he does have something, just a little bit.

However, Cheng Kaiyan already had an idea of ​​what to write.

"If you have any questions, you can ask me. Although I don't know what inspired you to write a paper, it's rare that you have such a motivated mind. Xiaoli and I support you in this regard."

Jiang Ting's expression eased a little. In fact, she had always hoped that Cheng Kaiyan's energy would not be limited to literary creation, and that he could spend his free time on academic research.

Firstly, it was of great help to Cheng Kaiyan's career, because in colleges and universities, all titles and status are closely related to academic achievements.

It’s like a professor whose papers are published in top foreign journals is more powerful than a professor whose papers are published in China.

Even forty years later, this is still the case.

Secondly, Jiang Ting also needs students.

"Uh-huh."

The girl beside him nodded slightly.

"Great! You are my solid backing. As the saying goes, behind every successful man there are several women who silently contribute!"

Cheng Kaiyan touched his chin and suggested, "To be honest, I have to commute to school for 30 to 40 minutes every day, which is very tiring. How about I live with you guys during this period of time?"

"no!"

"what are you thinking!"

Liu Xiaoli tangled her hands together and said shyly.

Obviously, this proposal was verbally rejected by both of them, so doesn't this mean they are living together?

Besides, there are only two rooms. Where can he stay when he comes?
"Is it not possible to sleep on the floor?"

Cheng Kaiyan continued to ask, "Aunt, think about it, if we live together, I can ask you if I don't understand something. This will be of great help to me in writing my thesis and studying."

"..."

Jiang Ting supported her chin at this time, lost in thought, as if she was really thinking about the feasibility.

A few seconds later, the woman glanced at Cheng Kaiyan calmly, shook her head slowly and said:
"No, a real man should be self-reliant. The meal is over, let's go back to our own homes and find our own mothers."

"Let's go, let's go!"

After the three of them finished their meal, they went back to their homes.

Cheng Kaiyan went to the school store, bought a stack of manuscript paper for writing papers, and then rode his bike home.

Passing by the stall again, he bought another can of yogurt.

As the weather is getting warmer, the boss puts ice cubes in a foam box and covers it with a quilt to prevent the yogurt from spoiling.

"It's cool and delicious." "If you like it, I'll give you a contact and address. You can ask their yogurt factory to deliver it to your door."

Seeing that he had come many times, the boss handed him a note.

"That's fine. I'll write a letter tomorrow."

Cheng Kaiyan nodded, remembering that there was a special milkman at this time.

I rode my bike home in a flash.

In the yard, Zhan Wenlei was washing clothes in a nightgown.

"Sister Wenlei, has your child been okay these past two days?"

Cheng Kaiyan asked casually.

"All right."

"It's good to go to Guangji Temple to pray for blessings?"

"That's all bullshit, feudal superstition! I went to see Master Yi, hey~ you know what, this old man's character is not very good, but his medical skills are really good."

Zhan Wenlei sneered at Qi Fu, and then told the truth. It turned out that it was Uncle Yi at the entrance of the alley who had chosen it.

"It's true. This old man is not an ordinary person."

When Cheng Kaiyan heard this, she agreed and was about to go into the house but was stopped by Zhan Wenlei.

"Kaiyan! Wait a minute. Jiangcheng Song and Dance Theater is studying at our Beijing Normal University recently. Teacher Jiang asked me to tell your girlfriend Liu Xiaoli to come to her class when she is free. In addition, there is also my mom's class. Your girlfriend really likes watching my mom dance classical dance."

Classical dance?
It seems that this girl became a world-class dancer by shining brightly with a Chinese classical dance called "Chu Yun", right?
Cheng Kaiyan nodded, "Okay, I'll tell her later."

After saying that, he turned around and left.

After finishing my meal and washing up, I watched the news with my mother for a while and then went into the house.

Movie script and essay on "Love Letter".

This is Cheng Kaiyan’s task in recent times.

After arranging the time, Cheng Kaiyan began to write the script. The film script this time was completely different from the drama script written for the Northern Drama Society, both in terms of requirements and nature.

"Love Letter" was going to be adapted for the big screen and could not be sloppy, so Cheng Kaiyan wrote it very slowly, carefully mulling over and considering every sentence.

I kept writing until almost nine o'clock, but didn't write much.

At this time, the leaves in the yard were swaying in the wind, making rustling sounds.

The lights in the four households in the east and west wing rooms were all turned off, and only the occasional sound of a crying child could be heard from the Zhan family next door.

It was very quiet.

The window of Cheng Kaiyan's bedroom was open, and the curtains on both sides were swaying gently.

Cheng Kaiyan sat at her desk, the evening breeze blowing towards her sobering her up a little from feeling dizzy from working for so long.

He stopped writing and rubbed his wrist, "It's about time I think about the paper."

He got up and went outside the door, scooping some cold water to wash his face.

He poured some tea in the main room, gulped it down, and then sat back down.

The title of the paper he was going to write was "Three Major Themes in Children's Literature"

What do the three major themes mean?
The three major themes of children's literature were proposed by Chinese children's literature theorist Liu Xuyuan in 1995, specifically including the following three aspects:

1. The theme of love: This theme reflects the way adults look at children, a look full of love.

2. The theme of naughty children: This theme reflects the children’s own perspective, a perspective that is free and unconstrained towards the world, filled with a childish and unique sense of fantasy and indulgence.

3. The theme of nature: This theme reflects the common gaze of mankind, a relaxed, non-utilitarian gaze, yet also a warm and caring gaze.

Once these three major themes were proposed, they quickly caused a sensation in the Chinese children's literature community. It can be said that they constitute the core content of Chinese children's literature.

It not only outlines the overall picture of children's literature, but also provides an important theoretical framework for people to understand and evaluate children's literary works. Later, it became an important work for studying children's literature and a must-read book for students majoring in children's literature.

Cheng Kaiyan only knew this famous argument, but the actual content, framework, and reasoning still needed to be perfected by himself.

"Hiss...what is the paper format?"

He was just about to start writing down his thoughts when he was suddenly stumped by this question.

In fact, the last time he wrote a paper was when he was in college in his previous life.

But he soon remembered that there was another person in his family who had written a paper, and that was his father.

I stood up and looked at the bookshelf, and found the notes on my father's articles written before his death on the top shelf.

I remember that he wrote a lot of papers. When the manuscripts were sorted out after his death, they were all placed on the bookshelf in Cheng Kaiyan's room, and no one paid attention to them.

"Three new designs for engine turbine blades..."

Cheng Kaiyan casually found a copy and raised an eyebrow at the title of the paper, but ignored it and flipped through it:
"Oh, it turns out to be title, author, abstract, keywords, main text, references..."

After writing a summary according to the framework, Cheng Kaiyan planned to go to bed. He planned to go to the library tomorrow to find some classic works of children's literature from China and the West, and analyze them in a practical and detailed manner according to the three major themes.

When writing a paper, example analysis is always necessary.

(End of this chapter)