The use of 「Models」 in East-West Comparative Literature(William Yip) --- by Vickey
I. What is 「Model?」
A.Different history, culture form different models. (不同歷史、文化造就不同模子，模子是由文化創造)
B. All conceptions proceed from some kind of model. (Ex: the fish story)
C. A model is a structuring activity through with materials at hand can be fitted into a form which can be best seen in a genre works.
D.Glaudio Gillen 「 A genre is an invitation to form. The genre is a structural model, and invitation to the actual construction of the work of art.
E. Yip emphasizes that it is important to get outside the limitations of one's own model and point of view.
II. Literary works are derived form a human model. (culture)
A. However, the structuring activities or cultural models often differ with different people in different geographical environment. (model/culture因時地而異) ; different culture models, different liter ary models(不同文化模子, 不同文學模子；所以要尊重文化差異，各個模子都是平等)
B. Ex: Chinese ideograms(象形文字: presents a system of thought, composite image) vs. Western abstract alphabets( abstract ideas). Each has its advantage and unique charm.
(So, Johnson lacks a root understanding of the differences in systems of communication that has led to distorted perceptions.)
III.Translator
A.Translators of Chinese poetry all ignore the special mode of presentation of reality constituted or made possible by certain syntactical structures in the Chinese lines. (以西方傳統語言結構重新顯現而忽略了傳統東方美學型態)
B. Black culture vs. White culture( some blacks have been immersed in white cultural consciousness for too long, haven't been able to liberate themselves from it so as to see their own image form an indigenous point of view黑人被白人文化洗滌)； Model A may not work for model B.
IV. Model forms and the 「ideal forms」
A. Model Forms:
1. Conceptual models(world views, concepts of nature)
2. Aesthetic & linguistic models. 3. Functional models(genre, form,
prototypes of character…)
B. How to obtain the essentials shared by both models, the so-called universality, the 「ideal forms」?
1. Problem:
a. Levi-Strauss: scientificall charts out his myth studies, but fails in 「chance elements(sudden and unexpected elements)」 which is the danger of the method of Levi-Strauss.
b. Time issue: 「Space and time」 and 「 the threefold division, past, present and future」 can't contain the Hopi cosmology. (so as Chinese)
c. 以自己立場看別人都是一種本位主義的行為
2. Solution: How to arrive at a universal basis for discussion and understanding?
a. It is dangerous to proceed from only one model; we must begin simultaneously with two or three models, comparing and contrasting them with full respect and attention to the indigenous 「 peculiarities」 and cultural 「anomalies.」
b. See the figure: cultural convergences and divergences. A & B are the divergences; C is perhaps the basis for establishing a fundamental model. )
c. Example: metaphoric structure in Chinese and western poetry
Chinese: secondary or even absent; view things as things view themselves. 以物觀物
Western: emphasize 「metaphoric structure」
V. Models aren't remain unchanged.
A. The model constantly grows, changes and stretches to fit new experiential demands.(A poet: begin with a model – modification/transformation—a countermodel)
B.Historical formation of the model should also be regarded.
C. Models weren't the problem in the early stage of Europe-centered comparative literary studies because of the one common intellectual source ( systems of thought, linguistic structures, rhetorical procedures).
D. Cultural exchange is not for the mode but to arrive at a full understanding of both modes through mutual respect.
E. The comparison and contrast of models can solve the problems between the two schools because a model must necessarily include both the historical morphology of the model and its aesthetic structuring activities.
1. New critics: offers the aesthetic structure; shut out all the historical elements/structure.
2French School(historical approach): Wellek(New critic) thinks French School ignored the literariness of a poem, the self-sufficient aesthetic core that rises above historical time
I. What is 「Model?」
A.Different history, culture form different models. (不同歷史、文化造就不同模子，模子是由文化創造)
B. All conceptions proceed from some kind of model. (Ex: the fish story)
C. A model is a structuring activity through with materials at hand can be fitted into a form which can be best seen in a genre works.
D.Glaudio Gillen 「 A genre is an invitation to form. The genre is a structural model, and invitation to the actual construction of the work of art.
E. Yip emphasizes that it is important to get outside the limitations of one's own model and point of view.
II. Literary works are derived form a human model. (culture)
A. However, the structuring activities or cultural models often differ with different people in different geographical environment. (model/culture因時地而異) ; different culture models, different liter ary models(不同文化模子, 不同文學模子；所以要尊重文化差異，各個模子都是平等)
B. Ex: Chinese ideograms(象形文字: presents a system of thought, composite image) vs. Western abstract alphabets( abstract ideas). Each has its advantage and unique charm.
(So, Johnson lacks a root understanding of the differences in systems of communication that has led to distorted perceptions.)
III.Translator
A.Translators of Chinese poetry all ignore the special mode of presentation of reality constituted or made possible by certain syntactical structures in the Chinese lines. (以西方傳統語言結構重新顯現而忽略了傳統東方美學型態)
B. Black culture vs. White culture( some blacks have been immersed in white cultural consciousness for too long, haven't been able to liberate themselves from it so as to see their own image form an indigenous point of view黑人被白人文化洗滌)； Model A may not work for model B.
IV. Model forms and the 「ideal forms」
A. Model Forms:
1. Conceptual models(world views, concepts of nature)
2. Aesthetic & linguistic models. 3. Functional models(genre, form,
prototypes of character…)
B. How to obtain the essentials shared by both models, the so-called universality, the 「ideal forms」?
1. Problem:
a. Levi-Strauss: scientificall charts out his myth studies, but fails in 「chance elements(sudden and unexpected elements)」 which is the danger of the method of Levi-Strauss.
b. Time issue: 「Space and time」 and 「 the threefold division, past, present and future」 can't contain the Hopi cosmology. (so as Chinese)
c. 以自己立場看別人都是一種本位主義的行為
2. Solution: How to arrive at a universal basis for discussion and understanding?
a. It is dangerous to proceed from only one model; we must begin simultaneously with two or three models, comparing and contrasting them with full respect and attention to the indigenous 「 peculiarities」 and cultural 「anomalies.」
b. See the figure: cultural convergences and divergences. A & B are the divergences; C is perhaps the basis for establishing a fundamental model. )
c. Example: metaphoric structure in Chinese and western poetry
Chinese: secondary or even absent; view things as things view themselves. 以物觀物
Western: emphasize 「metaphoric structure」
V. Models aren't remain unchanged.
A. The model constantly grows, changes and stretches to fit new experiential demands.(A poet: begin with a model – modification/transformation—a countermodel)
B.Historical formation of the model should also be regarded.
C. Models weren't the problem in the early stage of Europe-centered comparative literary studies because of the one common intellectual source ( systems of thought, linguistic structures, rhetorical procedures).
D. Cultural exchange is not for the mode but to arrive at a full understanding of both modes through mutual respect.
E. The comparison and contrast of models can solve the problems between the two schools because a model must necessarily include both the historical morphology of the model and its aesthetic structuring activities.
1. New critics: offers the aesthetic structure; shut out all the historical elements/structure.
2French School(historical approach): Wellek(New critic) thinks French School ignored the literariness of a poem, the self-sufficient aesthetic core that rises above historical time
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