My era, 1979!

Chapter 65 What is national is also international (Seeking monthly votes)

Most importantly, whether in the future or now, the research center for comparative literature is not located in China.

therefore,

The "dialogue across civilizations" that comparative literature touts often degenerates into "gentle colonization by cultural hegemony" in practice.

Early Western centrism has not yet been eradicated, and contemporary research has fallen into extremes of "reverse inferiority complex" or "deliberate pursuit of conformity".

Treating non-Western literature as "footnotes to Western theories".

For example, Aristotle's "theory of tragedy" was applied to "The Injustice to Dou E," and it was criticized for "lacking the spirit of tragedy."

However, it overlooked the aesthetic tradition of "bitterness and joy intertwined" in Chinese opera.

Alternatively, one could use the standards of "realism" to judge Latin American magical realism and consider it "non-mainstream."

Culture can interact with the world, but the most important prerequisite is equal exchange.

Only by achieving harmony and shared beauty can we achieve a world of great unity.

In plain terms,
Comparative literature that focuses on Western theories is not good!
Comparative literature with a focus on Chinese theory is good!

We must establish a theoretical research system centered on Chinese culture, tell China's story well, and export Chinese culture to the world.

The core of Chinese culture can be used to explain the whole world, but the world cannot be simply explained by materialistic interpretations of Chinese culture.

Sometimes you have to apply double standards.

Why?

Everyone knows how powerful cultural hegemony is.

Korean Wave, Japanese Anime, and American Movies.
Xu Chengjun remained silent for a long time before slowly speaking: "Professor Jia, in 1979, the cultural rift had not yet been healed, the literary world had just broken free from 'false, grandiose, and empty' writings, and scar literature was becoming a trend, while Western theories were quietly gaining popularity."

"But I think the professors are more aware of the potential dangers than I am."

"It can be said that we need to study traditional culture more than ever before. If we do not study it and do not safeguard the roots of our culture, our spiritual dam will be breached, and our generation will be 'spitted' by future generations."

The opening was a thunderbolt, leaving the professors in a state of near ecstasy.

Several professors, all top figures in their fields, had also considered similar questions and potential risks.

But no one had the ability to see the future.

Who dares to draw a conclusion?
It is undeniably bold of someone to draw such an "arbitrary" conclusion in this day and age.

But you have to be bold.

Which era do you think produced the most "public intellectuals"?
Crush them!

And how can you skip undergraduate to graduate school if you're not bold enough?
Xu Chengjun paused, his voice becoming clearer: "How do we study traditional culture? First, we must find our roots. Our nation's five thousand years of civilization is not just bronze artifacts in museums, but cultural genes flowing in our blood. From the 'Airs, Elegance, and Hymns' of the Book of Songs to the interpersonal relationships in Ming and Qing novels, these texts contain our way of thinking and values. If we lose our roots, we become like water without a source."

"Our understanding of national thought patterns and value standards from a cultural perspective demonstrates that traditional culture is the foundation of literary creation. Without it, how can we talk about 'literature with a truly national style'?"

Seeing Zhu Dongrun nod approvingly,

Xu Chengjun felt a little relieved.

Being bold doesn't mean you have to be reckless.

While emphasizing "freedom on the podium," it's important to maintain a proper balance.

Xu Chengjun continued, "More importantly, we need to find the soul. Confucius said, 'The benevolent love others,' and Lao Tzu said, 'The Way follows nature.' These are not feudal dross; they are the keys to solving current problems. In modern construction, we need to emphasize harmony, and in handling international relations, we need to emphasize moderation. Aren't these the core concepts of traditional culture?"

"Attempting to reconstruct the spirit of national culture as the foundation of literature is to find the 'soul' for our creations and our society, so that the excellent elements in our cultural traditions can nourish the present."

"In the long run, the spirit of the Chinese nation is the soul of socialist literature! Only by cultivating a great national spirit can our nation once again stand tall among the nations of the world!"

That's a much higher level of thinking.

It is a set of mature experiences summarized over the next forty years.
Xu Chengjun was eager for them to meet the world as soon as possible.

Balanced development of material and spiritual well-being.

They are the very essence that this turbulent era and golden age desperately lacked!

Material confidence does not equate to spiritual or cultural confidence.

Only when Chinese people have cultural confidence can they view the world as an equal.

The atmosphere in the meeting room was a bit somber.

The professors seemed lost in thought; both of their generations had lived through an era filled with thorns and hardships.

They would instinctively hesitate.
Because they dared not imagine such a magnificent sight, or rather, they had thought about it for far too long.
But at least, they saw "light" in this young man.

Just like his book, "Walking Towards the Light".

Flowers will bloom in succession throughout the world.

Magnificent and immortal things will follow one after another.

This land has endured countless hardships and setbacks over the past century.
The flowers should be blooming by now.

Old Zhu's eyes were a little moist.

Wang Shuizhao glanced at Old Zhu, then gently put down his teacup, as if afraid of startling something: "But nowadays we're all about modernization, can these old principles keep up?"

"It's not about letting tradition race against modernity, but about letting tradition guide modernity."

Xu Chengjun said firmly, "The flying apsaras in the Dunhuang murals have no wings but are still agile and graceful. How much modern art has this romantic imagination inspired? The cosmology contained in Zhang Heng's armillary sphere is still nourishing astronomical research today."

"Traditional culture is never a dead specimen, but a living tree that can grow."

We've finished discussing traditional literature, and now we've added our own interpretations of the Chinese spirit.

It's time to talk about comparative literature; I can't be too harsh with criticism.

"Professor Jia studies comparative literature. The core of comparative literature is to find resonance in differences and to see differences in resonance."

"It is not simply about putting Chinese and foreign works side by side to compare their strengths and weaknesses, nor is it about forcibly applying Western theories to Chinese literature. Rather, it is about building a bridge that allows for genuine dialogue between different cultures. However, we must be wary of comparative literature becoming a 'floating logic' without any theoretical basis."

Jia Zhifang frowned. Although the boy didn't say it directly, she could sense the "yin and yang" implications of comparative literature in his words.

The old man, despite his age, still maintained his composure; the corner of his mouth twitched slightly.

Forget it, I'll give you a piece of my mind later.

Su Liancheng nodded secretly to the side. He studied traditional literary theory, which was much more singular than Zhang Peiheng's.

You've all gone to study Western theories and comparative literature.

What's so special about my research?

Well said, lad!
If I hit you later, I'll be gentler.

No need to kill him, he's half-dead enough.

Xu Chengjun didn't know what these professors were thinking, but seeing Jia Zhifang's increasingly impatient expression and her hesitant manner, he stopped talking about comparative literature.

Knowing when to stop and leaving room for interpretation is a Chinese wisdom!

Judge for yourselves!
"By using the lens of world literature to explore the vitality of Chinese culture and to connect the national with the global, this is the way to modernize traditional culture. It's not about abandoning ourselves to learn from others, but about using our own treasures to engage in dialogue with the world."

He got so excited that he stood up from his seat, and the professors didn't mind.

He continued, “When I was working in the countryside, I saw many folk customs such as Fengyang Flower Drum. These folk customs contain the most vivid cultural codes. Studying them is not for the sake of retrogression, but to know where we come from so that we can better understand where we should go.”

"Literature should promote what is good and eliminate what is bad, and be inclusive. By drawing on traditional culture, we can reflect on how our nation should move forward while discarding its dross and selecting its essence. This is consistent with the significance of studying traditional culture."

A glint flashed in Su Liancheng's eyes, and he finally couldn't help but ask, "Compared to the outside world, what weight does our traditional culture hold?"

"Only what is national is more qualified to become global."

Upon hearing this, Zhang Peiheng, Zhu Rundong, and Su Liancheng slammed their fists on the table.

That's so well said!
The quotes are insightful and make a lot of sense; they really resonate with these professors who study ancient literary theory!
This could be the subject of a thesis.

No, from beginning to end, every answer given by these educated youths was original, insightful, and substantial.

They are certain that,

Although I don't know how he developed it,
But this young man has his own methodology for studying literature!

Xu Chengjun: How did you learn that? You'd know how to do it if you took a selection exam.

Jia Zhifang's brows remained furrowed, while Wang Shuizhao listened attentively.

Looking at the encouraging eyes of the professors, Xu Chengjun straightened his expression and said with a burning gaze, "Just like the singing, recitation, acting and acrobatics of Peking Opera, and the subtle and ethereal sounds of the guqin, these cultural treasures that bear the imprint of our nation are able to stand out on the world stage."

"Only by thoroughly understanding and exploring our own national culture can we truly connect with world literature. If we ourselves don't know how to cherish and study it, how can we expect others to respect and recognize it?"

"At the same time, I personally believe that the current 'scar literature' is not sustainable. As our thinking becomes more open and reforms deepen, we may develop various themes such as 'reform literature' and 'reflective literature,' but the final result will definitely be 'seeking roots,' searching for the roots of our culture."

What a view!
You should just go straight to a PhD!

(End of this chapter)