The Discrimination Of Style Category In Carving A Dragon At The Core Of Literature

Carving a Dragon at the Core of Literature, which written by Liu Xie, was always described as rigorous logic and giant scale. It has discussed numerous phenomena, ideas and modes of thinking about literature by graceful language. As an essential matter in this work, style has become a hot point in research of Carving a Dragon at the Core of Literature. However, there is no determinate answer about the definition of category of style. In the research of stylistics in Carving a Dragon at the Core of Literature, the definition of style was onefold before, it turns polybasic gradually. Nevertheless the ultramodern style category comes back to unity, it becomes more grandiose and complete. This tendency may bring about the absurd conclusion that style is the heart of literature. This paper rethinks the prosper position of style in literature theory, and analyses a lot of modes in the history of Carving a Dragon at the Core of Literature research. It pays a lot of attention about the grand style concept up to date. Additionally, this essay explains the meanings of style in Carving a Dragon at the Core of Literature again. After absorbing the achievements of predecessors, it puts forward the establishment of style category. In other words, this category experiences two turns-from cosmos to human being, and from human to literature. When we discuss the style category in literary meaning, it has four secondary categories-form, the length of an article, lingual style and artistic style. These four elements are correlative and flowing, they make up the style category together in Carving a Dragon at the Core of Literature. At last, this paper puts an end to rethink profoundly about the ancient Chinese stylistic theory, and appraises it from the objective facts. All in all, this essay analyses past stylistic theory and cleans up mistakes in predecessors’research.