英文摘要
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The function of many anthologies of classical Chinese poetry is to collect numerous works and gather together essentials. In the process of compilation, anthologists can evaluate poetic texts and thus proclaim their aesthetic standards. To judge impartially, anthologists must have broad experience and learning, and be free from individual preconceived evaluations and prejudices. Certainly, readers may understand each anthologist's aesthetic assertions, the position of poet in the anthology, the influences of anthology on readers, and the reason why particular anthology can last forever. It is difficult to anthologize classical Chinese poetry, especially concerning the issues such as why these anthologists collect poetic works, what they usually pick up for their blooms, and how they gather together different texts. Therefore, many anthologists had already dialogued with each other about tremendous poetic oeuvre through varied times. In fact, uncountable poetic anthologies in pre-modern China had shown the canon formation and recapitulate the literary value of different milieu.
Pauline Yu, a leading scholar in North-American Sinological circle, believes that Chinese literary anthologies may help canon formation, particularly the collection and criticism of poetry relates to its canonization. She has written several articles about the problems of anthologizing and evaluating Chinese poetic works, and also presents to us a balanced and mature idea of poetic canon. In this paper, I will discuss the following issues: (1) the principle of Chinese compiler's anthologizing as critique; (2) the anthologizing and criticism of classical Chinese poetry; (3) canon formation in traditional Chinese poetry and reader's response; (4) Pauline Yu's study of collections and canon in classical Chinese poetry.
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