CUHK Series:The Life Philosophy of Cai Gen Tan(Chinese Edition)

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I gained so much during that year. It was wonderful that those experts in history would teach freshmen of other majors. Historical and Comparative Studies: In , I began to edit a textbook "for the twenty-first century", Chinese Literary History , having invited 30 professors from 19 universities to participate. I mention my major opinions on literary history in the general preface to the book. First, I talk about the definition of literary history.

In the past, people identified literary history on a single continuum, such as realism and anti-realism or Legalism and Confucianism. Such identification, I think, is very inappropriate. How can a literary history spanning over years and consisting of numerous genres and styles be confined to a single continuum? The consequence, naturally, is that many ideas are imposed upon original works. Therefore, I propose three principles. The first is "literature-centred", i. The second is "historical thinking". Literary history is, after all, history, so we should explicate historical development.

The third is "cultural perspective", as we should explore literature in light of its broad cultural background. After my opinions were agreed with by others, we worked hard to embody them in the book. As for the periodisation of literary history, I deviate from the conventional division into dynasties. One should divide political history into different dynasties, but literary history does not alter immediately after a change of dynasty.

Hence, I propose division into "three eras and seven periods", i. To take the early modern era as an example, I set the beginning point not as the establishment of the Ming Dynasty, but as the middle period of the Ming Dynasty. During that period, society experienced radical changes, somewhat like the Renaissance of the West.

Citizens thrived as cities bloomed, and the literary centre moved southwards. Moreover, liberalism emerged in the intellectual community, nurturing people such as Li Chi and other leftist advocators of Wang Yang-ming's philosophy, which is why works such as The Golden Lotus and The Peony Pavilion were written. However, I do not reject division into dynasties when developments in literary history are related to changes in dynasties. For instance, the "mid-ancient era" of literary history begins from the establishment of the Sui Dynasty, which ended hundreds of years of conflicts during the Southern and Northern Dynasties and reunited China as a new empire.

The literature then also underwent a revolutionary change — literary works of the Tang Dynasty are indeed very distinct from those of the Southern and Northern Dynasties. Furthermore, to make my proposal more specific, I advocate "three eras, seven periods and double perspectives". That is to say, the general division of literary history should accord with the development of literature per se , and yet we should not go to the extreme of denying the legitimacy of studying literature by dynasties.

There can still be a "literary history of the Tang Dynasty" or a "literary history of the Ming Dynasty". The two perspectives are not incompatible. When I put forward my ideas, they were rather sensational among the community of literary history scholars. Now there is probably little controversy over this issue. We later adopted the same method of division when editing The History of Chinese Civilization , treating the middle period of the Ming Dynasty as the starting point of a new era.

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I am no "titular editor"; I write chapters in any book I edit. I am not merely the chief editor of Chinese Literary History. I wrote the three chapters on the Wei, Tsin, and Southern and Northern Dynasties on my own, in addition to the general preface. During the creation of the book, we frankly shared our opinions.

It is vital to maintain a friendly academic atmosphere when carrying out a group project. The chief editor should tolerate various academic ideas. Professor Huang advocated that drama should not be examined only on the page but should be "materialised" and appreciated when performed on stage, and this idea is expressed in Chinese Literary History. In , Peking University was included in China's "Project " and received funding. The vice principal then in charge of academic research asked for my suggestions for research projects.

At the time, I had just finished editing Chinese Literary History. I continued to adopt the principle of "cultural perspective", and I motivated all the scholars of humanities at the university, including experts in Chinese, history, philosophy and archaeology, and professors of Eastern cultures such as Professor Wang Bang-wei, as well as scholars in the history of science and technology, to compose together a history of Chinese civilisation. Later, the plan was carried out as a project of the Institute of Traditional Chinese Culture.

I was the chief editor and worked along with 36 professors to produce the four-volume The History of Chinese Civilization in six years' time. Although my name comes first in the list of editors, the contributions of the other scholars, including Professor Yan Wen-ming in archaeology, Professor Chang Chuan-hsi in history, and Professor Lou Yu-lie in the history of philosophy, are by no means less important.

We all served as chief editors.

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We held numerous meetings to discuss and revise aspects ranging from the general design to the details of each volume and chapter. The composition of the book is rather like "group calisthenics". Some of us said that it would be hard to organise such a project again in the future. Professor Liu Yong-tsiang, who participated in writing the fourth volume, even said that he felt like he had "studied for a PhD in the history of civilisation". I attended the book launch with him in London in He divided the four volumes of the original work into eight volumes.

Five volumes have already been published, and it is anticipated that the entire series will be published this autumn. Four hundred people attended the press conference in Tokyo last year, including personages from intellectual and political circles and the media industry. There is also a Russian translation by a researcher at the St.

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A Serbian version is in progress, and contracts for Hungarian and Hindi versions have been signed. The book is truly having a global impact. In , I wrote an article about my reflections on my future academic path, and it was then that I noticed the concept of "comparative studies" in On Literature and History Wen Shi Tong Yi by Chang Hsue-cheng. Chang Hsue-cheng does not think highly of comparative studies in that he regards scholars in this field as amateurs who know a little of everything but have a deep understanding of nothing, rather akin to a bookseller's knowledge of books.

However, if we view comparative studies from the new perspective of interdisciplinary research, this method can be quite beneficial. I have written a short article called "Comparative Studies and Historical Studies Heng Tong Yu Zong Tong ", in which I advocate that we should continue to conduct historical studies to provide in-depth investigations of the evolution of certain academic fields while at the same time paying attention to relevant fields. For instance, literary scholars should also explore the histories of philosophy, politics and art. These ideas have been guidelines for my academic career.

There was a great deal of extension from literary history to the history of civilisation, and many more fields of study were concerned. China has a vast territory consisting of dozens of distinct regions, so if one does not know the regional cultures of China, as Professor Tan Tsi-hsiang says, he or she will be unlikely to have a profound comprehension of Chinese civilisation.

Therefore, I took the opportunity as President of the Central Institute of Chinese Culture and History to organise all the regional institutes of literary and historical studies throughout China to compose A Brief Introduction to Regional Cultures in China in 34 volumes. For the sake of convenience, however, we chose to devote each volume to one province, autonomous region, or municipality, including Hong Kong, Macau, and Taiwan. In this way, each region would participate more actively in the project. We invited around scholars, including the members of regional institutes of literary and historical studies and experts in other academic fields.

The volume on Hong Kong is well worth reading. I do not wish Chinese culture to become "all of a piece". On the contrary, Chinese culture is diverse, and we should maintain the richness of its regional characteristics and seek the potential for the cultural development of each region. In , I came up with the idea of selecting and annotating a new Thirteen Classics. Chinese culture is composed of multiple schools of thought, including Confucianism, Legalism, Mohism, Taoism and Strategics.

In addition to the new selections, we should also make new annotations that convey fresh readings based on updated information and global perspectives. We have unearthed more documents and have more reliable ancient texts. Furthermore, China now has more communication with other nations, so we should grasp opportunities to seek unconventional interpretations of the classics.

I have requested the Institute of Traditional Chinese Culture to work on this task without applying for a research project, because I think it should be accomplished when the time is ripe. Thirteen professors at Peking University are responsible for the programme, and my part is the new annotation of The Book of Songs.

I hope that Peking University will be an important foundation for studying, emendating, propagating and eventually reviving the classics. This programme is now in progress. Amazon Advertising Find, attract, and engage customers.

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