This book systematically depicts the theory of textual patterns (chengshi) of the eight-part essays and logic in ancient Chinese texts. With the rare materials, it covers all the basic and important aspects of the whole process and values of chengshi, such as the transformation of different parts and the coherent expression of the doctrines, the planning of writing, and the application to the aesthetic and pedagogic fields. It also explores the similarities and disparities of logical patterns between ancient Chinese and Western texts. Though entirely fresh and tentative, the contrastive studies get new insights into the logic and philosophical concepts hidden in the writings for better understanding of the uniqueness and richness implied in Chinese culture.

This book systematically depicts the theory of chengshi (textual patterns) of the eight-part essays and logic in ancient Chinese texts. With the rare materials, it covers all the basic and important aspects of the whole process and values of chengshi, such as the transformation of different parts and the coherent expression of the doctrines, the planning of writing, and the application to the logical and pedagogic fields. It also explores the similarities and disparities of logical patterns between ancient Chinese and Western texts. Though entirely fresh and tentative, the contrastive studies get new insights into the logic and philosophical concepts hidden in the writings for better understanding of the uniqueness and richness implied in Chinese culture.

The Columbia History of Chinese Literature is a comprehensive yet portable guide to China's vast literary traditions. Stretching from earliest times to the present, the text features original contributions by leading specialists working in all genres and periods. Chapters cover poetry, prose, fiction, and drama, and consider such contextual subjects as popular culture, the impact of religion, the role of women, and China's relationship with non-Sinitic languages and peoples. Opening with a major section on the linguistic and intellectual foundations of Chinese literature, the anthology traces the development of forms and movements over time, along with critical trends, and pays particular attention to the premodern canon.

This book addresses the transfer of rhetorical knowledge from a first language (L1) to a second language (L1-to-L2 rhetorical transfer), a common cognitive phenomenon in the L2 writing of students in foreign language learning environments. It investigates L1-to-L2 rhetorical transfer from a cognitive perspective and examines a specific component of L2 writers’ agency in this transfer, namely metacognition. The book’s ultimate goal is to enhance our understanding of the cognitive mechanism of rhetorical transfer across languages. This goal is in turn connected to the need to determine how L1 rhetorical knowledge can be steered and oriented toward successful L2 writing. To this end, this book proposes a theoretical framework for transfer studies, encompassing the dimensions of text, transfer agency, and L2 essay raters. It facilitates an in-depth exploration of the intricacies involved in L1-to-L2 rhetorical transfer. It then presents empirical studies on this transfer. Embracing a dynamic perspective, this book furthers our understanding of interlingual rhetorical transfer as a conscious or intuitive process for making meaning, one that can be monitored and steered. Moreover, it discusses the pedagogical implications for L2 writing instruction that guides students to use metacognition to transfer L1 rhetorical knowledge during L2 writing.

Goldin thus begins the book by asking the basic question "What are we reading?" while also considering why it has been so rarely asked. Yet far from denigrating Chinese philosophy, he argues that liberating these texts from the mythic idea that they are the product of a single great mind only improves our understanding and appreciation. By no means does a text require single and undisputed authorship to be meaningful; nor is historicism the only legitimate interpretive stance. The first chapter takes up a hallmark of Chinese philosophy that demands a Western reader's cognizance: its preference for non-deductive argumentation. Chinese philosophy is an art (hence the title) he demonstrates, more than it is a rigorous logical method. Then comes the core of the book, eight chapters devoted to the eight philosophical texts divided into three parts: Philosophy of Heaven, Philosophy of the Way, and Two Titans at the End of an Age. .

A biographical record of contemporary achievement together with a key to the location of the original biographical notes.