Western Mimeticism and Chinese Mimetic Theory

Gu, Ming Dong

doi:10.1007/978-3-030-73730-6_7

Ming Dong Gu^3,4

Part of the book series: Chinese Literature and Culture in the World ((CLCW))

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Abstract

This chapter constructs a Chinese mimetic theory so as to lend further support to the conceptual inquiry into the universality of mimesis in Chap. 6. It does not engage in a conceptual inquiry into the necessary conditions for the rise of mimetic theory, since it has been dealt with in Chap. 6, but offers a complete system of Chinese mimetic theory that covers ideas of mimesis in the major areas of Chinese critical tradition: literary thought, poetry, drama, and fiction. From an evidential perspective, it disconfirms the view that the Chinese tradition does not possess the metaphysical and cultural determinants responsible for the appearance of Western mimetic theory and a mimetic view of literature and art.

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Notes

1.
See Stephen Halliwell’s highly acclaimed book, The Aesthetics of Mimesis: Ancient Texts and Modern Problems (Princeton: Princeton University Press, 2002), especially, pp. 263–286.
2.
James J.Y. Liu, Chinese Theories of Literature (Chicago: University of Chicago Press, 1975), p. 14.
3.
James J.Y. Liu, Chinese Theories of Literature, pp. 47–48.
4.
James J.Y. Liu, Chinese Theories of Literature, pp. 48–49.
5.
Craig Fisk writes in a companion to traditional Chinese literature: “In China there were no concepts comparable to Aristotelian mimesis or Christian figura, both of which are bound to the representation of action in time.” “Literary Criticism,” in William Nienhauser, ed., The Indiana Companion to Traditional Chinese Literature (Bloomington: Indiana University, 1986), p. 49.
6.
Liang Shi, “The Leopardskin of Dao and the Icon of Truth: Natural Birth Versus Mimesis in Chinese and Western Literary Theories,” Comparative Literature Studies, Vol. 31, No. 2, 1994, pp. 162–3.
7.
Stephen Owen, Traditional Chinese Poetry and Poetics: Omen of the World (Madison: University of Wisconsin Press, 1988), pp. 15–16, 57–59.
8.
Pauline Yu, The Reading of Imagery in the Chinese Poetic Tradition, p. 35.
9.
Pauline Yu, The Reading of Imagery in the Chinese Poetic Tradition, p. 82.
10.
Pauline Yu, The Reading of Imagery in the Chinese Poetic Tradition, p. 35.
11.
Michale Fuller, “Pursuing the Complete Bamboo in the Breast: Reflections on a Chinese Image for Immediacy,” Harvard Journal of Asiatic Studies 53 (1993), p. 21.
12.
Haun Saussy, Great Walls of Discourse and Other Adventures in Cultural China (Cambridge, MA: Harvard University Asia Center, 2001), p. 59.
13.
Pauline Yu, The Reading of Imagery in the Chinese Poetic Tradition, p. 6.
14.
Pauline Yu, The Reading of Imagery in the Chinese Poetic Tradition, pp. 5–6.
15.
Plato, Republic, Book X, in Hazard Adams, ed. Critical Theory Since Plato (San Diego: HBJ, 1971), pp. 33–37.
16.
Aristotle, Poetics, in Hazard Adams, ed. Critical Theory Since Plato, pp. 48–52.
17.
Zhongguo hualun leibian [Classified Collection of Chinese Theories of Painting], p. 355.
18.
Jing Hao, “Bifa ji” (Records of Painting Methods), in Zhongguo hualun leibian, p. 605.
19.
Ibid.
20.
Zhongguo meixueshi ziliao xuan, Vol. 1, p. 175.
21.
Shen Yue, “Xie Lingyun zhuanlun (Biography of Xie Lingyun),” in Song Shu [History of the Song Dynasty] (Beijing: Zhonghua shuju, 1974), Vol. 6, p. 1778.
22.
Zhong Rong, Shipin [Gradations of Poetry], in Lidai shihua [Poetic Talks through the Dynasties], p. 9.
23.
Zhong Rong, Shipin [Gradations of Poetry], in Lidai shihua [Poetic Talks through the Dynasties], p. 14.
24.
Requoted from Min Ze, Zhongguo wenxue lilun piping shi (Beijing: Renmin wenxue chubanshe, 1981), p. 129.
25.
Vincent Shi’s translation, p. 350.
26.
Chen Liangyun, Zhongguo shixue tixi lun [The Chinese System of Poetics], p. 183.
27.
Liu Xie, Wenxin diaolong [Literary Mind and The Carving of Dragons], p. 168.
28.
Adapted from Vincent Shih’s translation, p. 64.
29.
Li Xin, Gujin shihua [Poetic Talks Ancient and Modern], in Song shihua jiyi [Compilation of Lost Poetic Talks of the Song Dynasty] (Beijing: Zhonghua shuju, 1980), Vol. 1, p. 260.
30.
Zhouyi zhengyi [The Correct Meaning of the Zhouyi], annotated by Kong Yingda (Shanghai: Zhonghua shuju, n.d.), ce 3, juan 7, 19a.
31.
Chen Liangyun, Zhongguo shixue tixi lun [The Chinese System of Poetics] (Beijing: Zhongguo shehui kexue chubanshe, 1988), p. 170.
32.
Shisanjing zhushu [Thirteen Classics Annotated] (Beijing: Zhonghua shuju, 1980), Vol. 2, p. 1869.
33.
Shangshu [The Book of Documents], in Shisanjing zhushu, p. 174b-c.
34.
See Chen Liangyun’s Zhongguo shixue tixilun, pp. 173–5.
35.
Lu Ji, Wenfu [Rhyme-Prose on Literature], in Wenxuan [Selections of Refined Literature] (Taipei: Qiming shuju, 1960), p. 225. The English version is adapted from Shih-hsiang Chen’s translation in Cyril Birch, ed., Anthology of Chinese Literature (New York: Grove Press, 1965), pp. 207–8.
36.
Vincent Shih, trans., Literary Mind and the Carving of Dragons (Taipei: Zhonghua shuju, 1975), p. 349.
37.
Chen Liangyun, Zhongguo shixue tixi lun [The Chinese System of Poetics], p. 202.
38.
Slightly adapted from Vincent Shih’s translation, p. 351.
39.
Slightly modified from Vincent Shih’s translation, p. 352.
40.
Vincent Shih’s translation, p. 352.
41.
Slightly adapted from Vincent Shih’s translation, p. 10.
42.
Vincent Shih’s translation, p. 11.
43.
Vincent Shih’s translation, p. 12.
44.
Slightly adapted from Vincent Shih’s translation, p. 13.
45.
Adapted from Vincent Shih’s translation, p. 21.
46.
Slightly adapted from Vincent Shih’s translation, p. 29.
47.
Liu Xie, Wenxin diaolong [Literary Mind and the Carving of Dragons], annotated by Lu Kanru and Mu Shijin, p. 452
48.
Ye Xie, Yuanshi [Origin of Poetry] (Beijing: renmin wenxue chubanshe, 1979), p. 25.
49.
Ye Xie, Yuanshi [The Origin of Poetry], p. 21.
50.
Aristotle, Poetics, in Critical Theory Since Plato, p. 48.
51.
A narrative poem by Du Fu, known for its moving story of how a poor family suffered from forced conscription during the war years.
52.
Zhongguo meixue shi ziliao xuanbian, p. 286.
53.
Andrew Plaks, “Towards a Critical Theory of Chinese Narrative,” in Chinese Narrative: Critical and Theoretical Essays (Princeton: Princeton University Press, 1977), p. 314.
54.
Liu Zhiji, Shitong [General Principles of History] (Shanghai: Guji chubanshe, 1978), Vol. 1, p. 219.
55.
Pope , “An Essay on Criticism,” in Critical Theory Since Plato, p. 279.
56.
Liu Zhiji, Shitong, p. 219 and p. 224.
57.
Edward Young, “Conjectures on Original Composition,” in Critical Theory Since Plato, p. 341.
58.
Liu Zhiji, Shitong, pp. 221–222.
59.
Wang Jide, Qulü, Juan 4, p. 4b, in Guangcang xuequn congshu.
60.
Wang Jide, Qulü, Juan 2, p. 21b, in Guangcang xuequn congshu.
61.
Requoted from Zhongguo wenxue lilun shi, Vol. 3, pp. 307–8.
62.
Zang Moxun, “Second Preface” to Yuan qu xuan [Selected Yuan Plays] (Beijing: Zhonghua shuju, 1958), p. 4.
63.
See Sima Qian, Shiji [Records of the Grand Historian], Juan 126, p.
64.
Tang Xianzu ji [Collected Writings of Tang Xianzu] (Shanghai: Shanghai renmin chubanshe, 1973), p. 1540.
65.
Liang Tingdan, Tenghua ting quhua [Drama Talks of Tenghua Pavilion] (Suzhou: Jingyi tang, 1830), Juan 3, p. 1b.
66.
Liang Tingdan, Tenghua ting quhua [Drama Talks of Tenghua Pavilion], Juan 3, p. 11a.
67.
Shuihu pinglun ziliao [Source Materials on the Water Margin], p. 94.
68.
“Preface” to Jingu qiguan [Spectaclar Stories Anicent and Modern] (Shanghai: Yadong tushuguan, 1935), pp. 1–2.
69.
Requoted from Cai Zongxiang, et al. Zhongguo wenxue lilun shi [History of Chinese Literary Theories], vol. 4, p. 629.
70.
Shuihu pinglun ziliao [Source Materials on the Water Margin] (Shanghai: Shanghai renmin chubanshe, 1975), p. 102.
71.
D. H. Lawrence, “Why The Novel Matters,” in Phoenix: The Posthumous Papers of D.H. Lawrence (New York: Viking Press, 1968), p. 535.
72.
Ming Rongyutang ke Shuihuzhuan [Ming Rongyutang Carved Edition of the Water Margin] (Shanghai: Shanghai renmin chubanshe, 1975), comment at the end of Ch. 1.
73.
Ming Rongyutang ke Shuihuzhuan, comment at the end of Ch. 24.
74.
Ming Rongyutang ke Shuihuzhuan, comment at the end of Ch. 21.
75.
Feng Menglong, “Preface” to Jingshi tongyan [Cautionary Stories] (Taipei: Dingwen shuju, 1974), p. 1a.
76.
Ye Lang, Zhongguo meixueshi dagang [Outline of Chinese Aesthetic History] (Shanghai: Shanghai renmin chubanshe, 1985), p. 366.
77.
Ming Rongyutang ke Shuihuzhuan, comment at the end of Ch. 10.
78.
Earl Miner, “On the Genesis and Development of Literary Systems,” Part I, in Critical Inquiry, 5.2 (Winter 1978), p. 350.
79.
Robert Scholes, “Language, Narrative, and Anti-Narrative,” in On Narrative (Chicago: University of Chicago Press, 1980), p. 205.

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School of Foreign Languages, Shenzhen University, Shenzhen, China
Ming Dong Gu
School of Arts and Humanities, The University of Texas at Dallas, Richardson, TX, USA
Ming Dong Gu

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Gu, M.D. (2021). Western Mimeticism and Chinese Mimetic Theory. In: Fusion of Critical Horizons in Chinese and Western Language, Poetics, Aesthetics. Chinese Literature and Culture in the World. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-73730-6_7

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DOI: https://doi.org/10.1007/978-3-030-73730-6_7
Published: 08 July 2021
Publisher Name: Palgrave Macmillan, Cham
Print ISBN: 978-3-030-73729-0
Online ISBN: 978-3-030-73730-6
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