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INFORMATION to USERS This Manuscript Has Been Reproduced INFORMATION TO USERS This manuscript has been reproduced frommicrofilm the master. UMI films the text directly firom the original or copy submitted. Thus, some thesis and dissertation copies are in Qrpewriter face, while others may be from anytype of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of die book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9412056 Mind and manifestation: The intuitive art(miaowu) of traditional Chinese poetry and poetics Tang, Yanfang, Ph.D. The Ohio State University, 1993 UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106 MIND AND MANIFESTATION: THE INTUITIVE ART {MIAOWU) OF TRADITIONAL CHINESE POETRY AND POETICS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University by Yanfang Tang, B.A., M.A. ***** The Ohio State University 1993 Dissertation Committee: Approved by David Y. Ch'en Xiaomei Chen Adviser Yan-shuan Lao Department of East Asian Galal Walker Languages and Literatures Copyright By Yanfang Tang 1993 To Zhaozhao 11 ACKNOWLEDGMENTS I would like to express my sincere thanks and gratitude to my adviser David Y. Ch'en and other members of the dissertation committee, Professors Yan-shuan Lao, Gaiai Walker and Xiaomei Chen. My thanks and gratitude are not only for their advice on the writing of this dissertation but also for their guidance and support throughout my graduate study at the Ohio State. For past several years, I have been benefited from my adviser Prof. Ch'en's profound knowledge in Chinese literature. He inspired my interest in classical Chinese poetry and, most importantly, my choice of critical methodology. Many of the ideas in this dissertation were shaped in the classes I took under him and our personal talks. I am particularly grateful to him for his critical advice on the presentation of this study and his painstaking reading of the drafts that has saved me from many embarrassing mistakes. I also wish to express my deep appreciation to Prof. Yan-shuan Lao. Prof. Lao's years of instruction in traditional Chinese learning, both in classroom and during our personal contacts, has not only made this dissertation possible but also enabled me to become a competent professional in the field. To Prof. Galal Walker I am particularly indebted for the direction under which my present research is proceeding. This dissertation would certainly be different without his insights that have put it within a larger and more significant framework. Thanks are also extended to Prof. Xiaomei Chen, whose extensive knowledge in modern Western literary theory and experience in East-West comparative literature have helped me produce a meaningful comparative discourse. I especially want to thank her and Prof. Walker for their 111 constant encouragement and support during the difficult time of my life when I was writing this dissertation. I would also like to express my thanks to Prof. Timothy Wong. Though he was not directly involved with the instruction of this dissertation, his insights on Chinese literary study and, especially, his rigorous training of the intellectual minds of his students have contributed crucially to the accomplishment of this project. Finally, I want to thank my son, Zhaozhao, for his understanding of mother's preoccupation with work that took away almost all the precious time playing with him. He may not understand it at present or for a while in his life, but words are inadequate to explain Zhaozhao's contribution to the establishment of my career as well as the completion of this dissertation. IV VITA July 21,1957.........................................................Born - Beijing, China 1982 ....................................................................... B.A., Hebei Teachers' College, Shijiazhuang, China 1982-1986 ............................................................. Instructor, English Department, Hebei Teachers' University, Shijiazhuang, China 1988 .......................................................................M.A., The Ohio State University, Columbus, Ohio 1991-199 2 ............................................................. Instructor, Dept, of Linguistics, Michigan State University, East Lansing, Michigan 1992-presen t ......................................................... Instructor, Dept, of East Asian and Near Eastern Languages, Brigham Young University, Provo, Utah FIELDS OF STUDY Major Field: East Asian Languages and Literatures TABLE OF CONTENTS DEDICATION.................................................................................................................ii ACKNOWLEDGMENTS...............................................................................................iii VITA...............................................................................................................................iv TABLE OF CONTENTS............................................................................................... v INTRODUCTION...........................................................................................................1 CHAPTER PAGE I. SETTING THE TERMS..............................................................................24 The Term "Intuition" in Western Philosophy.....................................25 The Term Miaowu in Chinese Literary Criticism ................. 30 The Historical Development of Miaowu.....................................31 The Aesthetic Characteristics of Miaowu..................................47 II. MIAOWU AND TRADITIONAL CHINESE THOUGHT............................61 The Cosmology of tian ren he — ..................................... 61 The Mechanisms of Analogical Thinking in Yi ji n g ^ ^ .................69 The Intuitionalistic Attributes of the Chinese Language ..................75 Arguments from Philosophers........................................................... 82 III. MIAOWU IN POETIC WRITING............................................................... 99 Lyric Writing, Discursive or Evocative Expression ? .......................99 Miaowu as Hanxu in Traditional Chinese Poetics 105 Techniques of Hanxu in Classical Chinese Poetry. ...................... 114 The Comparative Mode .............................................................118 The Associative Mode ...............................................................122 The Pictorial Mode .................................................................... 126 “False Impressions” in Classical ChinesePoetry ............................129 IV. MIAOWU IN POETIC READING............................................................ 140 Reading, Interpretatim or Aesthetic Experience? ......................... 140 "Reading Poetry is Like Communing in Chan"............................. 152 Modes of "Communing with Poetry" {can shi ...................... 160 interpretative Piuraiism or can h u o ju ^ i^ é Q................................170 V. MIAOWU iN LiTERARY CRiTiCiSM................................................... 177 Literary Criticism, Science or Art? ................................................... 177 The Lyric Tendency of Chinese Literary Criticism ......................... 185 The imagistic Procedures of Chinese Literary Criticism ................189 images Coined by the Critic ("Metaphor" or "Simiie") ........... 190 images Coined by the Poet {zhaiJu^ ^ )........................... 199 CONCLUSiON..........................................................................................................212 WORKS CiTED.........................................................................................................214 Vll INTRODUCTION As we all know, the question of how to transmit understanding across cultures lies at the forefront of Asian Studies. Surveying the field, David D. Buck has identified two "most commonly used" paradigms, those of cultural relativism and evaluative universalism, and stated that relativist interpretations "are advanced with much more frequency among Asianists.""* Correct as it may be when applied to other sub-fields of Asian Studies, Buck's statement does not hold true to the study of Chinese literature. Indeed, I would argue that in Chinese literature, a major component of Asian Studies, the dominating paradigm has been, and, is still, that of evaluative universalism.^ The word "evaluative" is crucial. Relative or universalistic,
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