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About Prof. CAI Zongqi

Prof. Cai joined Lingnan as a chair professor in 2013. After he received his doctorate from Princeton University, he taught at the State University of New York at Stony Brook and completed his postdoctoral work at University of Michigan at Ann Arbor before moving to the University of Illinois, Urbana-Champaign in 1993, where he has been teaching ever since.

Prof. Cai’s research and teaching interests are classical Chinese poetry and poetics, literary theory, comparative literature, aesthetics, and philosophy. He is the author of The Matrix of Lyric Transformation: Poetic Modes and Self-Presentation in Early Chinese Pentasyllabic Poetry(Michigan, 1996), Configurations of Comparative Poetics: Three Perspectives on Western and Chinese Literary Criticism (Hawaii, 2002; Chinese edition published by Peking University Press in 2012), and How to Read Chinese Poetry Workbook (co-authored with Jie Cui; Columbia, 2011). He has edited A Chinese Literary Mind: Culture, Creativity, and Rhetoric in Wenxin dialong (Stanford, 2001), Chinese Aesthetics: The Ordering of Literature, the Arts, and the Universe in the Six Dynasties (Hawaii, 2004), and How to Read Chinese Poetry: A Guided Anthology (Columbia, 2008). He has also published numerous articles in both English and Chinese on classical Chinese poetry, literary criticism, comparative literature and philosophy.

Prof. Cai is the co-founding editor-in-chief of Journal of Chinese Literature and Culture (JCLC), a semi-annual journal co-hosted by Peking University and University of Illinois, Urbana-Champaign and published by Duke University Press. This journal, scheduled for launch in 2014, will primarily publish research articles and essays on pre-modern Chinese literature and all aspects of the broader literary culture. It is committed to an international editorial vision and to promoting in-depth exchange and collaboration among scholars working in China, America, and other parts of the world.

At Lingnan, Prof. Cai is working with his colleagues in the Chinese Department to re-launch the Lingnan Journal of Chinese Studies (嶺南學報), once a renowned serial publication known for its cutting edge scholarship on Chinese traditional learning.

Positions

Present Lee Wing Tat Chair Professor of Chinese Literature, Department of Chinese, Lingnan University Department of Chinese
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Present Department of East Asian Languages and Cultures, University of Illinois at Urbana-Champaign
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Present Professor of Chinese and Comparative Literature, University of Illinois at Urbana-Champaign
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Disciplines




Contact Information

Office: HSHG26
Tel: 2616-7869

Email:


Journal Articles (38)

Article
單音漢字與漢詩詩體之内聯性
嶺南學報 Lingnan Journal of Chinese Studies (2016)
Zhongqi CAI
本文首節對西方漢學界中盛行的漢字字形決定漢詩藝術的觀點提出質疑,後續六節則從分析漢字字音對漢詩藝術的影響入手,剥絲抽繭,一層層地尋繹漢詩詩體之内聯性。首先發現的是,漢字每個字的發音是單音節,而絶大多數字又是含有意義的詞或是能與其他字結合的語素,從而使漢詩發展出一種獨一無二的節奏。此節奏的特點是韻律節奏和意義節奏總體是合二爲一,但兩者之間又存有分離的張力。其次,我們又探察到漢詩節奏與句法密不可分的關係。就傳統句法而言,每種詩體獨特的節奏都決定該詩體組詞造句的主要語序以及可以有何種變動的可能。從現代語法學句法的角度來看,每種詩體獨特的節奏決定了該詩體可以承載何種主謂句式,在時空邏輯的框架呈現何種主客觀現象,同時又可以承載何種題評句,超越時空邏輯關係來並列意象和言語,藉以激發讀者的想象活動。最後,我們從句法演繹到章法、篇法,發現三者都是遵循同樣的組織原則。主謂句所遵循的是時空和因果相連的綫性組織原則,而此原則運用在章節和詩篇的層次之上,便構造出連貫一致的綫性章節和詩篇。同樣,題評句所遵循的是時空和因果斷裂的組織原則,而此原則運用在章節和詩篇的層次之上,便構造出各種不同的斷裂章節和詩篇結構。 需要强調的是,漢詩節奏、句法、結構之間的這種内聯不是靜止的關係,而是呈現不斷發展的動態。在近三千年的中國詩史中,爲了開拓新的詩境,詩人孜孜不倦地挖掘漢語自身演變(尤其是雙音化發展)所帶來的機會,借鑒不同的民間音樂曲調以及各類散文,不斷發展出音義皆流轉完美的新節奏,並創造出與之相應的新句式和新結構,爲新詩境的産生提供了所必須的語言空間。新節奏、句式、結構的同時産生通常標誌著一種新詩體的誕生。
Article
《文心雕龍》中“文”的多重含義及劉勰文學理論體系的建立
人文中國學報 (2008)
Zongqi CAI
本文探討劉勰是如何將其文論體系的各個不同層面巧妙地組織到「文」的多重含義中去的。首章《原道》借鑒了《繫辭傳》對卦畫之「文」的評說,將文章的全體歸結為「道」的體現。接著,《徵聖》和《宗經》有意區分開聖人之「文」和先秦以禮為中心的「文」的觀念,並完全以漢代的文字理論來重新解釋後者。通過這種顛倒時代的解釋方式,劉勰試圖為「文」勾畫出一個顯赫的傳承譜系,上可推測至《易經》的神秘卦畫,經由五經確立其原形,一路演變至於孔子身後各種唯美文學和非唯美文體將「文」的發展推至巔峰。劉勰的「文道」關係論決定了《文心雕龍》四至二十五章評述各種文體的大方向。因為他認為文對道的體現作用依賴書寫符號或圖形之「文」,所以很自然地傾向於強調書,輕視言,從而將書面寫作的重要性置於口頭創作之上。在討論三十六種不同文體時,劉勰試圖通過深入探討「文理」關係與「文情」關係來區分兩大文章類型的各自特徵。一方面,他以「明理」為非唯美文體的標誌,另一方面則以「盡情」為唯美文體的特徵。二十六至四十九章集中探討了六個對理解唯美文體至關重要的理論問題,其中涉及了「文、情」之間的動態互動關係。劉勰幾乎是完全基於這種互動關係來看待作者的素質對作品的影響、創作和閱讀的過程,以及文學發展歷史的。 最後,我們可以將《文心雕龍》中「文」多層含義比作一個巨大的蛛網,通過這個語義之網的妙用,劉勰成功地建立起一個龐大的概念系統,以文原道的觀念居中,向四面輻射,衍生出由無數與之相承的理論,涉及文化與文學傳統關係、文體演化、口頭與書面創作關係、唯美文學與非唯美文學的關係,創作與接受過程,作者與讀者素質,及文學史諸方面。雖然劉勰稱不上所有這些理論的首創者,但是在將如此眾多的理論統一,並綜合在一個強調文原道、書勝於言、文理契合及文情交融的文學理論體系中這一點上,劉勰無可置疑是第一人。由於這一份貢獻,劉勰便當之無愧於他在中國文論史上所獲得的崇高地位。