The paradox of anti-urban culture modernization

The city is a product of modernization and a symbol of modernization. Urban symbols such as high-rise buildings, business centers, huge advertisements, modern girls, stock exchanges, etc., express the understanding of modern society in modern society. Or it can be said that the modernization process of human society is in fact the process of urbanization and commercialization. But the bustling city itself is a huge paradox: on the one hand, its various symbols - including city maps, neighborhood distribution, various signs of the place: shops, restaurants, theaters, coffee shops, hotels and dealing with public things. Government departments, these different city symbols seem to be inviting and suggesting to you; on the one hand, these symbols of the city are a kind of indifference, it is a "defamiliarized" environment - the built environment, the language environment, the communication environment I refused all the "others of the city". Therefore, the city has shaped it into an awkward and unclear place with its own "rules."
For Chinese socialists with strong peasant cultural memories, the perception of the city was very complicated from the beginning. The city is not only a commercial and cultural center, but also an administrative management center. It is a symbol of modernization. At the same time, it is the place where lure pleasure, sensuality, corruption, and scent. The occupation of the city is a symbol of the final victory of the revolution, but the vehement and rejection of the city is lingering. Therefore, the leadership of socialist culture in the city has become an important issue after the revolution. Before entering the city in March 1949, Mao Zedong announced: "The focus of the party's work has moved from the village to the city." "We must use great efforts to learn to manage the city and build the city." At the same time, he warned the whole party: "Because Victory, the pride of the party, and the emotions of the heroes, the emotions that stop to rise, do not seek progress, the emotions that are willing to live a hard life, may grow. Because of the victory, the people thank us and the bourgeoisie will come out to join. The enemy’s force cannot conquer us, and this has already been proven. The bourgeoisie’s support may conquer the weak-minded people in our ranks. There may be such communists who have not been conquered by the enemy of guns. They are not worthy of the title of hero in front of these enemies; but they can't stand the attack of shells wrapped in sugar coats, they have to defeat the bombs in front of the sugar bombs. We must prevent this." 1 This kind of alert to Mao Zedong and Admonish, Morris Messner?? 鞴 缦 觯 觯? Although the leaders of the Communist Party of China were originally intellectuals from the city, However, most of the leaders who have survived the severe test of the long-term revolution have lived and fought in the rural backcountry for more than 20 years. Moreover, for those peasant cadres, the city is a strange place that is completely unfamiliar. ... In addition, unfamiliar with it is distrust. A revolutionary strategy based on the practice of bringing together rural revolutionary forces and overwhelming non-revolutionary cities naturally breeds and strengthens the strong feelings that exclude cities. Before 1949, those revolutionaries regarded the city as a bastion of conservatism, a fortress of the Kuomintang, the center of foreign imperialist power, and a place that breeds social inequality, degeneration, and moral corruption. In 1949, they entered the city both as liberators and as occupiers, and for urban residents who contributed little to the victory of the revolution, sympathy and great doubts were intertwined. This idea of ​​splitting the revolutionary countryside and the conservative city into two is the result of all revolutionary experiences. This idea has become a deeply rooted concept in the Maoist thinking. The remnants of this thought left over from the revolution later played a role in the way and method when the new governors dealt with a major issue in the history of the People’s Republic. "2
For the ruling party, on the one hand, we must modernize and use the "five-year plan" to set a timetable for China's modernization process. On the other hand, based on the experience of revolutionary history, they believe that only by maintaining a "non-urbanized" lifestyle--the hard and plain style of the revolutionary war can preserve the true qualities of the proletariat and socialists and the life of the bourgeoisie. The way to keep the necessary distance. This is a typical way of thinking in pre-modern society. Before modernizing, portraying the future and striving to practice, showing ambition is a major feature of this era. Just like ordinary peasants, a slogan of "getting rich and getting rich" can be The enthusiasm and struggle of the whole family and even a class. Therefore, the anti-city tendency in the field of ideology and culture and ideology is a kind of nervous reflection of Chinese peasant culture in the early stage of socialism. This "conservative" urban attitude, as part of mainstream thinking and ruling thoughts, eased the process of bureaucracy and power corruption and improved the efficiency of socialist modernization; on the other hand, it also delayed and hindered urbanization. process. Commercialization is one of the main characteristics of modern cities. It has the function of organizing consumption, leading fashion, promoting circulation, and accelerating the production cycle. At the same time, it also has the socialist ideology to resist, and Mao Zedong has warned that it must be noticed. "Soften" function. The thinking and practice of "socialist modernization" have a clear content of moral idealism. To this point, the socialist media, including literature and art, not only maintained it, but their imagery also inadvertently magnified and exaggerated the passion and ethical significance of this moral ideal.

I. The imaginary relationship between the city and the bourgeoisie

In the anti-urbanization tendency, the right to speak of the media plays an important role in organizing the production of literature and art, guiding the trend of literature and art, and launching new works for new people. In the field of literature and art, the important media that publishes literary and artistic works are almost exclusively controlled by the Chinese Writers Association and the provincial writers associations. The editor-in-chief of the literary magazine is a revolutionary literary artist with a certain degree of revolutionary qualifications. These people's literary practices and accepted artistic tastes have a natural connection with anti-urban tendencies. Even the writers and literary theorists from the city, after the revolutionary culture and return to the city, are not returning to the fun and life they once knew. They appear in the city as cultural managers and leaders. of. Therefore, in the literary media they mastered, the published works still continue the tradition of the revolutionary period, and their understanding of the functions of literature and art in the new era is still beyond the war period.
In the early 1950s, although the writers in the Liberated Areas had entered the city, their unfamiliarity with the urban life and their natural vigilance made them naturally alienated from the writing of the city. The writers in the Kuomintang area were familiar with urban life, but for the new era. Confused and confused, they decided to be cautious in their writings. Therefore, urban literature in the early 1950s was almost blank. Even if some works are written in the city, it is only a replacement of rural life scenes. The interest and purpose appeals remain unchanged, so there is no urban literature. The first novel with the meaning of urban life is Xiao Youmu's "Between Our Couples." This is a novel with a gentle life and personal taste. Li Ke, a male protagonist from the intellectuals, expressed a very different spiritual aspirations from the war. He hoped that life would have some personal taste and try to cultivate the working people. His wife, Zhang Ying, can also experience the atmosphere of urban life like herself. They have created contradictions. This contradiction is both family and social. The heroes and heroines have returned to their homes after their respective adjustments. The narrator carefully recites the plot in her husband's tone, pays attention to reviewing the "I" petty bourgeois sentiment, and writes about the wife's new changes. It should be said that this is not a good short story. Its simplicity and triviality are even naive in today's eyes. But it is worth noting that Xiao Youmu was the first writer to try to express the feelings of urban life in the new era, and the first writer to try new subjects. He is keenly aware of the relationship between changes in the living environment and the requirements of people's spiritual life. For writers who have lived in war for a long time, urban life is undoubtedly a new challenge. However, for an ideology full of inner tension, the city's suspiciousness is almost everywhere, and it is full of bourgeois traps. Therefore, the "sentiment" of urban life demanded by Xiao Youmu has placed him in a situation where all eyes are in danger.
The critique of Xiao Yemu is a spontaneous critique movement in the literary and art circles. Important figures in the literary and art circles such as Chen Yong, Feng Xuefeng, Ding Ling and Kang Yu have written severely criticized articles. They refer to "Between Us and Couples" as a novel "observing life and expressing life based on petty bourgeois views and tastes." 3 is a "no sincere love and enthusiasm for our people." The work, for the author, "can simply count him as a hostile class." 4 and Ding Ling mentioned another height: "between our couples" as a tendency. 5 Finally, Xiao Youmu had to write a review of the "I must correct the mistakes" publicly. 6 It is worth noting that while criticizing "Between Our Couples", People's Daily recommended Ma Rong's short story "Marriage" and published "Editor's Note." I believe that this novel by Comrade Ma Rong, through the vivid and concise description of the marriage of two young men and women in rural areas, shows the rural youth of New China. Under the leadership and education of the Communist Party of China, how to actively participate in social activities, how to correct The relationship between the individual and the collective, and the relationship between life and politics. The novel is full of new, optimistic atmosphere. The language of the novel is also the healthy language of the Chinese people. This is the result of the literary and art workers faithfully implementing the Mao Zedong literary line. One of the excellent short stories of educational significance. "7 This is not a simple critique or recommendation for two novels, but a slapstick? 斓 ǖ ǖ ǖ 硪 硪 硪 硪 硪 汀 汀 汀 蛘咚 蛘咚 蛘咚 蛘咚 蛘咚 蛘咚 蛘咚 蛘咚Sheathing machine curtains? 斓 ǖ ǖ 欤 褪 褪 褪 褪 褪 褪 褪 褪 褪 褪 褪 褪 褪 褪 褪 褪 褪 褪 褪 962 962 962 962 962 962 962 962 962 962 962 962 962 962 962 962 962 962 962 962 Xiao Youmu took off the "Rightist" hat. After he returned to the literary world and re-created his qualifications, he also wrote novels for rural subjects, such as "Xiaolan and her partners" and "Dayu". New personage". This transformation is in fact the result of unconditional recognition of the "social leadership of socialism." The critique of Xiao Yemu’s critique has the potential effect that the writer’s understanding of urban life forms a constant pattern, that is, the city is the arena of the proletariat and the bourgeoisie, and the omnipresentity of urban life is full of hints of class struggle. . Therefore, the urban literature and art that has been conjectured and carefully explored, the struggle with the bourgeoisie has become the only feasible mode of writing.
The imaginary relationship between the city and the bourgeoisie is not only exaggerated in the creation of novels, but also more intuitive in the creation of drama. On March 31, 1964, the Ministry of Culture held a prize-winning conference for the creation and performance of outstanding dramas since 1963 in Beijing. Among the 16 multi-screen dramas that have been awarded, "Sentinel under Neon", "Young Generation", "Don't Forget" are the most representative. These three plays have similarities in the conflict of drama and creative mindset: each play has a pair of character-oriented characters, which represent two different values ​​and moral tendencies. Affirmation or denial of them is in fact the position and judgment of socialist ideology and culture.
All three dramas show tension and anxiety about the details of life, showing the identification, fear and rejection of the city's "things" and "desires" and people's enjoyment tendencies. The details of the sentinel under the neon light reflect the possibility of the quality degradation and the corruption of the characters in front of the city's "fragrance". The "Young Generation" has shown youth through Lin Yusheng's nostalgia for the big city. People are eager to enjoy themselves and deviate from the tendency of hard-working traditions; "Don't forget" shows Ding Shaochun through a "bill" of daily life, such as cigarettes, leather jackets, woolen clothes, three fresh pot stickers, canned food and wine. The pursuit of "things" and the idea of ​​hedonic. Driven by the anxiety and nervousness of the mind, the author clearly expressed the denial of the "thing" itself and its desire to pursue. And every play has a moral model and spiritual master. The moral model is "moving emotions" on the emotional level, and the spiritual masters are "reasonable on the rational level". Together they constitute the spiritual character and moral goals of the times. Chun Ni, Lu Hua, Lu Dacheng in the "Niger" drama; Xiao Jiye in the "Year" drama and the martyred mother who did not appear; Ji Youliang, Ding Haikuan, Ding Grandpa in the "Thousand" drama, is the morality in the above three dramas Model and spiritual master. In the face of these affirmative forces, the object of "contention" is finally being influenced and saved. The most typical of these is the "Don't Forget" by Cong Shen's screenwriter.
When the script was first published, it was a symbolic and life-oriented topic - "I wish you health" 7 after the 1963 Beijing show, changed to "Don't forget." What is the value of the neck 硐 ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?旰鸵δ干?钤谝黄稹Rδ冈?龉?醯甑睦醯甑睦醯甑睦??纳?罘绞奖蝗蝗?哂星苛业淖?准肚阆颍?簿剪源??(18) She is a threat to the "healthy" growth of the younger generation. She is the symbol of the city's desires. Ding Shaochun gradually fell under the influence of Yao Mu, and the desire for the pursuit of "things" gradually expanded, from eager to eat and wear to develop wild ducks to make money after work hours. This fall has led to serious consequences, so that the time of work is not enough to cause major accidents.
In contrast to Ding Shaochun is the advanced young man Ji Youliang. Through this image, the author "answers some problems that are commonly encountered by young people. This is how to treat work, how to treat love, how to treat friendship" 8 so this image is considered to have "thought depth." 9 Compared with Ding Shaochun, the season has almost no personal desire for life and private space. He firmly believes in the popular thinking of society. When he learned that Ding Shaochun was playing wild ducks, he had such a dialogue with Yao’s mother:
Ji Youliang: Yao Auntie, Shaochun, if you play a few wild ducks, you can exchange a lot of money!
Yao Mu: How can I change the money if I play wild ducks less?
Ji Youliang: You listen to me: If we study this method of hanging the tin, if it succeeds, it can greatly improve the quality of the generator and reduce the number of power outage repairs. A 72,000 kW generator will stop. One day of electricity is equivalent to sending more than 100,000 yuan of electricity, two days is 200,000!
Yao Mu: Can you give me tens of thousands?
Ji Youliang: Don't worry. It's all mine. It is also yours.
Ji Youliang’s thought was also the idea of ​​encouraging millions of people to embrace socialist public ownership in the same year. "It’s both mine and you are." There is no specific reference. It is used or dominated by the consumption of each specific person. No specific contact occurs. But it is very clear here that the "shared" thinking is moral, and the "private" is shameful.
Treating love, the season is also the popular "fool" image of the year. He loves Ding Shaozhen and pursues her. Shaozheng invited him to watch the game. He was very serious about "specially remembered on the book", but his fascination with work forgot the lover's agreement. In order to highlight the nobleness of the character's heart, it also implies the moral intention of diluting the private desire. The script also affirmed the "principle" of Ding Haikuan's shortcomings in reporting Ding Shaochun's shortcomings, and was seen as a quarterly maintenance and cherish friendship.
Through the analysis of the characters in the play, we can find that the struggle for the younger generation is based on the struggle of the large front line based on the workers and peasants alliance against the weak bourgeoisie of the city. It indicates the result of the inevitable victory of the struggle. But the rationality of this presupposed "route struggle" needs to be discussed: First, the author is eager to respond to the requirements of ideology and exaggerates the moral nature of life. In the article about the formation of the theme of the script, Cong Shen said that the theme of his "criticized habitual power" was originally found in the study, and the theme has been deepened. 10 This deepening makes the contradictions and conflicts of drama continue to intensify and escalate, and the relationship between characters becomes more and more complicated. 11 However, this kind of artificial and deliberately created complex relationship has almost completely changed the orientation of character evaluation. Ding Shaochun used wild ducks for working hours. One person has the right to control non-public time belonging to individuals. Ji Youliang is a technology innovation enthusiast. He is busy in the workshop day and night, willing to sacrifice his personal life and have his freedom of choice. But the author here clearly advocates a kind of continuity between people and society, public time and private time, 12 or requires the transparency of personal life. He aims to tell the audience that all personal desires, even in everyday life, are shameful, even terrible and immoral. The desire of people for "things" will inevitably lead to the fall of morality and thus harm society. The gradual evolution of Ding Shaochun’s thoughts eventually led to a major accident, which is precisely the reason.
Ji Youliang looked for insulated mica tape from the waste pile, which was also a fascination with "things", but he was a noble worker for the workshop and the public society, so he refused the subsidy given by the workshop union, indicating that it is precisely It is a rejection of the individual "material desire". The life of the season is completely linked to the public society, and his life can be proudly told to the public society because he is "moral".
In contrast to Ding Shaochun's private life, there is also a set of pictures, that is, the settings of the set. In Ding Shaochun's new house, Yao Yujuan's color head is "bigger than the real head", with a new double bed, a dressing mirror, and a five-drawer cabinet. This is a warm new wedding home. But all this is not for people to come to bless the preset, its "modern" life metaphorizes its owner's yearning for and intoxication of the material world. Here, "warmly" exudes the pursuit of the city's "bourgeois" lifestyle. Therefore, this newly married room is publicized as an ugly place. The author denies the modern pursuit of "things" through the moral criticism of "things". Therefore, this has produced a very difficult explanation. The "five-year plan" formulated by the state is a timetable for the country to achieve modernization. However, in the "thousands" drama, the modernization of the country and personal life are not allowed to occur. of. Personal life must be judged by the position of Ding Grandpa as a farmer.
The difference between Ding Shaochun’s living room is the room of his father Ding Haikuan, which is the same as the two worlds. As the director of the workshop, Ding Haikuan’s home "The furnishings of Ding Shaochun are very different, and they are simple, applicable, and simple." On the moral level, Ding Haikuan's private living space is affirmed, and the desire for "things" is largely diluted. The audience "peek" here is a non-private "private" space. It has no "modern" spectacle, no object of desire, and it is not essentially the same as the farmhouses or poor workers' families that we used to be in the past. The difference. Therefore, it is also a collective place where the private space is completely eliminated, and it is the origin of the authority. It is also the origin of meaning. 13 Ding Shaochun is here to announce that he wants to 're-live', one no longer has The private property of the interior space replaces his own home, making him a symbolic sense of the father's public space, but also makes this intrinsic family space a paradigm and norm. "14
Second, whispering the truth and understanding the ideological issues from the details of life. The "Thousands" drama does not have dramatic drama conflicts or thrilling storylines. Whether it is Yao Mu or Ding Shaochun, their "problems" are reflected in the details or fun of life. But these details have risen to ideological clues in the "Thousands" drama. Yao’s life taste and lifestyle are closely related to her experiences and habits as a city dweller, but since she has been a small owner, her name changed her identity and she is no longer an ordinary city. Resident, she has a distinct class attribute, she is a "quasi-bourgeoisie." Under such logical delays, she has different qualities in the induction or care of the female Ding Shaochun in her life. She became a representative of the forces or inclinations of the younger generation to compete with the proletariat. Her family relationship with Ding Haikuan suddenly It became a "class" relationship. This purely narrative-like relationship becomes tense and inconsistent in artificially set conflicts. When the writer published the booklet "Don't Forget", he pointed out: "This is a class struggle! This class struggle, without gunshots, without guns, is often carried out between talking and laughing. At the end of the 15th, Ding Haikuan said with deep meaning: "Yes, this is a class struggle that is easy to be forgotten. We must not forget!" 16 thus pointing out the theme of the whole drama.
For a long time, the critics have also interpreted this position. Shortly after the script was published, there was a signed article stating: "In today's fierce class struggle, bourgeois ideology affects and erodes our young generation all the time. Even the descendants of bloodline workers or the children of revolutionary martyrs will inevitably be bourgeoisie. The influence of "17" and even the popular literary history books after the Cultural Revolution did not go beyond this position. It still believes that "the struggle between the proletariat and the bourgeoisie for the younger generation has become a matter of concern", and "Don't Forgetting, "Let the youth see themselves through the stage, and thus receive revelation and education." 18
From these points of view, youth education is not self-fulfilling, they are achieved through the teachings of spiritual teachers. In "Don't Forget", Ding Haikuan and Ding Grandpa are such mentor. When Ding Shaochun put on the "one hundred forty-eight" yuan woolen uniform and saw it behind, Ding Haikuan told Ding Shaochun - and said to all the young people: "Maozi, this is a good thing, it is more than my twill." Strong, stronger than artificial cockroaches. This is something that the former working people could not even think about. Now you not only dare to think about it, but also many people can wear it. This is a very good thing. This is a revolution. And the results of the construction! We will one day be able to put the best clothes on the people of China and the whole world! But now, there are thousands of people in the world, even the worst clothes. Can't wear it!... If you think about your own wool, and lightly play a few more wild ducks, then you will forget to turn off the electric gate, forget to go to work, forget that our country is working hard and forget the world. Revolution!" Ding Haikuan made a commitment to the public in China and the whole world. This commitment has a grand public significance. He denies his personal desires. Therefore, he agrees with the "abstract" wool and denies the "concrete" wool. . In this logical relationship, he saved Ding Shaochun's "individualism" boat to "the other side of publicity. Dante Grandpa - the more authoritative prophetic figure, has long predicted the growth of Ding Shaochun, and It set the path of growth?? At the beginning, I said that I would send the column to the second year and then go to school. You are not happy, I am afraid that he has missed studying, and after finishing the high school, he finished the middle school and read the technical school. You see what this thought has become. "Ding Grandpa’s words cannot be simply understood as his opposition to knowledge or intellectuals as a simple peasant image. This can be said that the writer has been keenly aware of the times. Breath or trend. Ding Shaochun was insulted, but he was lucky after all. Under the teachings of the "fathers", he was relieved of the "sentence to put on two years of pigs", but Ding Grandpa’s appeal was not in vain. Later history proved that On the way of Ding’s prophecy, I walked through the footsteps of countless young people.
We also found that in the choice of the concept of resisting the desire of the city to resist, the image of "father" has absolute authority. The will of the "father" is irresistible. "Father is the subclass" is the core of the family patriarchal system and also the traditional male right. The supreme rule of society, the "class" of "three classes and five permanents" are all marked by men. The will of the "father" has the legitimacy without proof, and violating this will can be regarded as a big rebellion. Therefore, those authoritative images that subvert the "father" are named after the "rebel". In "Don't Forget", the "fathers" have the right to supervise the growth of the "child" and stipulate their way of life. For example, Ding Haikuan’s love letter to peek at his son is originally an immoral act, but because the "father" has the right. Monitoring the growth of "child", this behavior is not only not blamed, but is regarded as "exercising patriarchy" and affirming.
Ding Shaochun is the son of modernity and the son of the city. He tried to transcend and escape the cultural category of "father" and re-establish the modern way of "personality". He deviated from the will of "father". His conflict with Ding Haikuan was "corroded" and "anti-corrosion" in the script. "The conflict, but its cultural semantics is the conflict between tradition and modernity. The ending of this conflict is not difficult to predict at first. The "modernity" of Ding Shaochun's way of life is extremely fragile. He not only faces the insurmountable barrier formed by Ding Haikuan, Ding Grandpa and his successors. What is important is that Ding Shaochun's deviation from tradition does not have "legality." In the shadow of powerful traditional discourse symbols, Ding Shaochun not only has incomprehensible confusion, but also in the siege of the four sides at the beginning, his fate of being "saved" is only a matter of time. Ding Shaochun's personal pursuit of "modernity" finally aborted, and he rejoined the embrace of "father", thus realizing the writer's true will of "socialism will eventually defeat capitalism."
The contradiction between city and country is a variant of the contradiction between tradition and modernity. The difference is that the contradiction between city and country is carried out on the moral level. The simple, simple, and true nature of the country is the ideographic form of virtue; and the city's sentiment, comfort, personalization, etc., is seen as a reflection of the boundless desire of man. In the play, the original rural morality has a class and ethical meaning. It has to be so helpless because of the constraints of economic conditions such as suppression of desire and tolerance to poverty. Here, it is exaggerated and imagined as A natural "preservative" that resists the corrosion of "modern" life. Grandpa Ding regrets that Ding Shaochun did not go to school for two years and then went to school. This is precisely the "level" relationship between the country and the city. As Tang Xiaobing analyzed, history has proved: "Don't forget" and a large number of similar works form a castrated modernism, because in these works, modernity and its profound anxiety are triggered. Everywhere involved, but they are quickly replaced and replaced, have become an excuse to further affirm the traditional value. 'Modern' in this discussion of tradition is not and can not become a real problem, but often just a background , a historical concept that has not been experienced but has been limited by overhead."19

Second, the popularity of rural cultural interest

In its initial stage, China's socialist culture is constantly inclined to the peasant culture. This cultural interest is related to the nature of China's agricultural society on the one hand, to the cultural traditions and acceptance requirements of the people; on the other hand, it is also related to the long-term guidance and mobilization of cultural ideology. Since 1942, the issue of "serving workers, peasants and soldiers" and, above all, "universalization" has been a long-standing literary policy. However, as far as China's specific conditions are concerned, peasants account for the vast majority of the social population. The real industrial workers have not formed their own unique cultural appreciation because of the short history. Chinese soldiers are mostly peasant-born, and their taste is actually The taste of farmers. Therefore, in the initial stage of its formation, socialist culture was based on peasant culture. The "red classics" created after 1942 not only have the theme of the countryside, but also the characters, the plot, the structure and the endings are all set by the peasants' appreciation. "Brothers and sisters pioneering", "husband and wife literacy", "Liu Shunqing", etc., are representative works of this interest. And this foundation has continued until after 1949.
Film and drama were the most popular media of the 1950s. An interesting phenomenon is that the planning economy of the 1950s has fostered the marketization of movies and dramas. Traditional dramas and new forms and new content of film and drama have been widely accepted by the public. "Little Two Black Marriage", "Liu Qiao Er Er" and "White Hair Girl", "Honghu Red Guard", "Liu Hulan" and "Red Coral" which represent the peasant revolution have been widely welcomed. These works have not only continued to be staged in rural areas, but also attracted thousands of rural farmers in open performance venues such as fields and venues. Moreover, in the city's major theaters, they have created performances that are difficult to surpass. However, it is worth noting that these repertoires are very different from the commercial performances of Shanghai's "Shiliyangchang" in the 1930s. Although these performances have also created a lot of box office value, its final appeal is not commercial, but Under the premise that the public is willing to accept, it promotes the ideological culture of socialism and the superiority of the new society. It replaces the consumption function of urban commercial culture, and also transforms the urban people with the appreciation of farmers.
"Small Black Black Marriage" is Zhao Shuli's famous work. It was published in May 1943. On August 26, 1946, "The Liberation Daily" published Zhou Yang's "On Zhao Shuli's Creation", which praised "Secondary". "Black Marriage" is a victory in the new society of Yangko, sing the victory of the peasants, eulogizing the peasants' enlightened and progressive factors to the ignorance of backwardness, superstition and other factors, and finally the most important, sing the peasants' victory over the bully forces." 20 weeks Yang affirmed the "Small Black Black Marriage" and said, "The author uses the language of the people in any narrative description, and these languages ​​are full of charm! This kind of charm is only from life, from the people. Only in the middle can be obtained. "The "population" used by 21-week Yang is actually a farmer. After meticulously reading such works, we found that in terms of artistic expression, they all follow the structural model of the "Gifts and Beautiful Scholars" of Chinese classical drama. The difference is that the plot background of the nobles or the scholars is replaced by ordinary farmhouses. In the small courtyard, the young lady was replaced by a lively Langjian rural youth. The original book "Small Black Black Marriage" has such a description of the protagonist: "Small two black, is the second son of the two Zhuge, once against the 'sweeping' killed two enemies, has been rewarded by the special shooter. Speaking of his Beautiful, it is not only famous in Liujiatun, but also in the first month of the month, the women’s eyes follow him. "22 and Xiaoqin is such an image:" Xiaoqin is 18 this year, the village The frivolous person said that it was much better than when she was young. Young boys, there is nothing to do, always want to say something to Xiaoqin. Xiaoqin goes to wash clothes, and the young people also go to wash; Xiaoqin goes up the mountain to pick wild vegetables. Immediately, the young people also went to pick. "23 This is the "Gifts and Beautifuls" of the new era. Xiaoqin and Xiao Erhei are both chasers and envious of their gender objects. Although Xiao Erhei is not an old-style talented man with poetry, his talents are embodied in the name of "special shooter"; the image of Xiaoqin as "beautiful" Zhao Shuli has already appeared on paper. In the 1950s, the opera adapted from the novel of the same name by Tian Chuan, this "Gifts and Gifts" model is more clear, a song "The clear water of the blue sky Yingying Ying", the "beauty" to the "genius" The desire to express it to the fullest. A pair of lovers will eventually become a genus, achieving a traditional happy ending.
Compared with "Small Black Black", "Liu Qiaoer" is exactly the same. The two dramas named after the male and female protagonists are not only the marriage and love stories that took place in the Liberated Areas, but also the structure, endings, character setting, conflicts and so on. The singer that cleverly reveals the heart is basically the repetition of Xiaoqin’s "clear water to the blue sky." Zhao Zhenhua is also a model, so "Liu Qiaoer" is also the traditional mode of "hero beauty." These two plays show a beautiful and pre-modern rural scenery: pure women, lyrical tunes rich in folk songs, simple contradictory clues and rulings similar to the tribal "chief" style, reunion The ending, etc., are suitable for the acceptance of the taste of farmers. But it is worth noting the following two points: First, the rewriting and commitment to the fate of women. Whether it is Xiaoqin or Qiaoer, they are no longer the traditional image of women who are sad and desperate, and they are no longer obeying the words of the matchmakers and the lives of their parents. Even when they fall in love with the opposite sex youth, they are free from dating. I don’t think about the grievances of tea, but I am active and strive to fully express the openness and awakening of the liberated women. This commitment mobilized the imagination of the audience and the youth's embarrassment for the future marriage of the individual, and gained another promise in the actual marriage relationship. And this promise fulfills the psychological expectations of the audience. In particular, young women have realized their inner aspirations and aspirations in the folk love of Xiaoqin and Qiaoer. This is the deep appreciation of these two plays that are popular with the public.至於這一承諾是否能夠實現，作家的這些想像具有多大程度的真實性和合理性，並沒有人發出質疑，它甚至在觀眾熱情投入的觀賞和想像中完全被忽略了。作家對女性命運的改寫與承諾不僅投合了大眾的審美趣味，同時也控制誘導了大眾的審美取向，實現了"寓教於樂"的藝術策略。
第二，無論是小芹還是巧兒，她們命運的改變和願望的實現，最重要的並非取決於她們個人的願望，事實上她們個人的意願都遭到了強大的對抗性力量，如果僅憑她們勢單力薄的個人意願顯然是無從實現的。重要的是，她們的個人意願有了政治保障，她們的背後有一個強大的人民政權。《小兒黑結婚》中的區長、《劉巧兒》中的馬專員，作為權力的象徵不僅具有絕對的權威性，同時也是正義和公理的化身。傳統的"清官"意識在這裡又一次得到了宣揚。劉巧兒再想嫁給趙柱兒，她仍然無能為力，但政權的介入使她實現了這一願望，從而也實現了"人民政府為人民做主"的主題需要。
這些作品進入城市，不僅讓城市市民目睹了鄉村的新風尚，目睹了中國農村新的"奇觀"，事實上它們也帶來了關於社會主義的文化思想：依靠人民政府是解決日常生活問題唯一的保證。經過"五四"新文化運動和現代都市文化薰陶的城市市民，對小芹和巧兒的婚姻故事，雖然不免感到簡單，但那裡蘊涵的新的生活和生動健康的生活情調，畢竟是新鮮感人的，它對所有的人都可以構成想像和憧憬，是不難理解的。也正是基於這樣的心理接受，社會主義的思想文化不動聲色地占領了城市十分有限的文化市場。
這樣一種文化形態，使社會主義的現代化追求，一開始就面臨著一個難解的悖論：無論是"五年計畫"、建設社會主義的"總路線"、"大躍進"、"超英趕美"等等，事實上要求的都是迅速地積累起社會主義的物資大廈，改變落後貧困的國家狀況，不僅能夠與帝國主義的威脅相對抗，而且能夠自立於世界民族之林。但是，傳媒所表達的社會主義思想文化，恰恰是反對作為現代化表征的城市文化的，它不僅把城市與資產階級想像為一種天然關係，而且致力於農村文化對城市的移植，努力培育城市市民鄉村的文化趣味。這一矛盾、悖反的現象，不僅限制了城市文化的發展，而且也無意中造就了國民虛假的鄉村崇拜的思想趨向和文化趣味。這一狀況事實上至今仍以不易察覺的方式延續著，中央電視檯曆年的"春節聯歡晚會"，大量的、久盛不衰的小品，就是典型的農民文化代表，它表現出的調侃、熱鬧、風趣、小機智乃至滑稽，蘊涵的恰恰是農民文化中最不值得張揚的東西。另一方面，當城市文化久被壓抑之後，一旦有了時機，它便以無規則的方式訴諸以瘋狂的報復。90年代之後，大量的文化垃圾在"文化多元論"的遮護下，在市場上大行其道，就是城市文化久被壓抑後"瘋狂報復"的一種。


注釋：
1、毛澤東：《在中國共產黨第七屆中央委員會第二次全體會議上的報告》，《毛澤東著作選讀》，人民出版社1986年8月版666--667頁。
2、莫里斯.梅斯納：《毛澤東的中國及其發展--中華人民共和國史》，社會科學文獻出版社1992年版96--97頁。
3、陳涌：《蕭也牧創作的一些傾向》，載《人民日報》1951年6月10日。
4、李定中：《反對玩弄人民的態度，反對新的低級趣味》，載《文藝報》1951年四卷五期。
5、丁玲：《作為一種傾向來看--給蕭也牧的一封信》，載《文藝報》1951年四卷八期。
6、《我一定要切實地改正錯誤》，載《文藝報》1951 年五卷一期。
7 、《祝你健康》最初發表於《劇本》1963年11--12月合刊號。
8、9、《當代文學概觀》，北京大學出版社1980年7月版207頁。
10、叢深在《〈千萬不要忘記〉主題的形成》一文中說，他當時通過學習列寧的《共產主義運動中"左派"幼稚病》和八屆十中全會公報，心頭"豁然開朗"，發現了用"階級和階級鬥爭的顯微鏡來分析工廠日常生活"的新途徑。
11、12、13、14、唐小兵：《〈千萬不要忘記〉的歷史意義》，見《再解讀》，牛津大學出版社1994年版185頁、189頁、188頁。
15、16、叢深：《千萬不要忘記》，中國戲劇出版社1964年版128頁、129頁。
17、賈霽：《新人新事新主題--談1963年話劇創作幾點收穫》，載《戲劇報》1964年2期。
18、《當代文學概觀》207--210頁。
19、唐小兵：《〈千萬不要忘記〉的歷史意義》，同注11，195頁。
20、21、周揚：《論趙樹理的創作》，載《解放日報》1946年8月26日。
22、23、趙樹理：《小二黑結婚》，見《李有才板話》，人民文學出版社1949年版8頁、15頁。