Discourse Analysis On Twenty-four Poetic Styles

In various ancient Chinese literary critics, it is Twenty-four Poetic Styles which first makes a most comprehensive selection of poetic types and establishes a concise critical discourse in four-word poetic style. However, the questioning authorship still remains unsolved as well as myriad contradictions existing in the content of the book. Therefore, this paper, drawing on Foucault's discourse analysis, first starts with the analysis of discourse features of Twenty-four Poetic Styles focusing on deferential analysis, then makes efforts on finding the discourse rules hiding in the content through the interpretation on both entire and part of the text. The whole paper covers four chapters, with the first chapter introducing the significance of using Foucault's discourse analysis in interpreting Twenty-four Poetic Styles; With the second chapter making concrete analysis on the discourse features of Twenty-four Poetic Styles, in order to do so, the study is carried on through the analysis of basic formative factors of discourse in Twenty-four Poetic Styles including object, presentation, concept, and finally comes to the variety of expatiation on poetic types in Twenty-four Poetic Styles from various angles such as creative subject, literary form, receptive subject, literature principle and so on; Chapter three, basing on the analysis of Chapter two, continue to discuss the theme of Twenty-four Poetic Styles, discoursing through the theme of"truth", and in the text, we could find that the so-called"truth"mainly relate with admiring the pure, simple realm; After having a basic view of the discourse features of Twenty-four Poetic Styles, in Chapter four, I have taken a further research on the cultural background of the poetic critics, and have reached such conclusion that it is the three-core-cultural fountain as Confucianism, Buddhism and Taoism that constitute the formation of the poetic critics, thus, presenting in manifold stylistic aesthetic characters. In the process of analyzing the formation of discourse in Twenty-four Poetic Styles, no difficulty can be made to deduce that Si Kongtu, in the near end of Tang Dynasty, is the rightful author from the discourse features and the thinking mode behind that discourse.