Guo Moruo
He claims that bad books do not stop at novels. Even The Three Character Classic is unhealthy, according to Guo Moruo, and one passage which was supposed to stimulate boys' zeal for virtue by offering models did, in fact, Juicy Couture Diaper Handbags the opposite and aroused their ardor by drawing attention to sexual differences. The offending passage was: Cai Wenji was able to judge from the lute Xie Taoyun was able to compose verses. They were only girls Juicy Couture Sale yet they were quick and clever. You boys ought Juicy Couture Handbags to rouse yourselves. In this case, Giles' translation of jing as 'rouse' is particularly apt. 'Girl' has become a four letter word.
Apart from the factual description of his childhood, Guo Moruo's method of presentation is a product of a later period in Chinese history: the May Fourth Period. He was, after all, writing in retrospect. But his own experiences, like those of his generation, were formative in the later recognition of the special characteristics of childhood and the demand for an indigenous children's literature.
Guo Moruo's narrative differs from the depiction of Baoyu's childhood in Dream of the Red Chamber in several important ways: acknowledgement of childhood as a concept; complete rejection of the Confucian classics as 'immoral'; and recognition of children's separate needs for their own reading material. These were fundamental in building a modern, vernacular children's literature.
First, Guo Juicy Couture Moruo recognizes stages in his childhood development that are not only personal to him, but are also general attributes of childhood and adolescence. While he has, as a touchstone, a vivid, chronological and sensual memory of his own growth, he also claims that these changes are 'physiological' and 'inevitable'. In Baoyu's case, they are personal and Juicy Couture Outlet particular.
He claims that bad books do not stop at novels. Even The Three Character Classic is unhealthy, according to Guo Moruo, and one passage which was supposed to stimulate boys' zeal for virtue by offering models did, in fact, Juicy Couture Diaper Handbags the opposite and aroused their ardor by drawing attention to sexual differences. The offending passage was: Cai Wenji was able to judge from the lute Xie Taoyun was able to compose verses. They were only girls Juicy Couture Sale yet they were quick and clever. You boys ought Juicy Couture Handbags to rouse yourselves. In this case, Giles' translation of jing as 'rouse' is particularly apt. 'Girl' has become a four letter word.
Apart from the factual description of his childhood, Guo Moruo's method of presentation is a product of a later period in Chinese history: the May Fourth Period. He was, after all, writing in retrospect. But his own experiences, like those of his generation, were formative in the later recognition of the special characteristics of childhood and the demand for an indigenous children's literature.
Guo Moruo's narrative differs from the depiction of Baoyu's childhood in Dream of the Red Chamber in several important ways: acknowledgement of childhood as a concept; complete rejection of the Confucian classics as 'immoral'; and recognition of children's separate needs for their own reading material. These were fundamental in building a modern, vernacular children's literature.
First, Guo Juicy Couture Moruo recognizes stages in his childhood development that are not only personal to him, but are also general attributes of childhood and adolescence. While he has, as a touchstone, a vivid, chronological and sensual memory of his own growth, he also claims that these changes are 'physiological' and 'inevitable'. In Baoyu's case, they are personal and Juicy Couture Outlet particular.