Zhang Ning

· The other novels of the 2004 Nobel Prize winner Elfred Jelinek have not yet been translated into Chinese, but the famous novel "Piano Teacher", which was published in 1983 and adapted into a film, has long been a slap in the face. According to the translator, the novel was translated into Chinese a few years ago, but it has not been published. If the author did not win the Nobel Prize in Literature, the novel is estimated to be difficult to meet with Chinese readers. I don't think it was completely unreasonable for the publisher to publish this book. This novel is more difficult to read. It belongs to a typical modern European-style novel. The narrative is not based on the traditional storyline, but on the author's psychological association. It can also be said to be a "stream of consciousness novel" or "inner monologue novel". The narrative is complicated and lengthy. Compared with the short sentences of Chinese novels, this kind of novel can be said to be Luo Wei, which is not in line with the reading habits of Chinese readers. In the process of narrative, the author is very subjective or conceptual. The whole novel is full of the author's "power of thinking". This power makes readers almost breathless. However, dyslexia does not constitute all the reasons for evaluating a book. The key is whether this disorder can lead your thinking out of "secular life obsessive-compulsive disorder".

· Russian formalism poetics takes the "literature" of language as the research object of literary science, and establishes several important principles for "literature", such as the principle of difference, the principle of defamiliarization, the principle of formalization and so on. These principles are premised on the language as a special and self-sufficient system. They emphasize that language can refer to its own sensibility.

· In the process of realizing his desire, Bakhtin first gave linguistics a very important position. Because he built his polyphonic novel theory on the basis of "meta-linguistics." This kind of "meta-linguistic research can not ignore linguistics, but should use linguistic results. Whether linguistics or linguistics, the study is the same concrete, very complex and multi-faceted phenomenon - language."

· Formalists are concerned with how the language of poetry evokes a new feeling of life in order to penetrate the consciousness that obscures the truth. Therefore, they pay attention to the signifier of words, and use the "arbitrary" characteristics of words to achieve the effect of "defamiliarization" in poetry. For example, a burst of praise and prayer, a scream of excitement, a thrilling exclamation... These must be asked to listen and cause shocking results.

· Bakhtin's book "The Problem of Dostoevsky's Poetics", based on "Dialogue Theory", has carried out extensive and thorough research on Dostoevsky's polyphonic novels. The monograph analyzes the dialogue language style of the Tuo's novels. The analysis of these language styles starts from the perspective of the dialogue type of "meta-linguistics", and has not yet touched on the relationship between "meta-linguistics" and linguistics.

· The theory of polyphonic novels has aroused great concern in China and has some discussions. However, some of the discussion articles did not start a "dialogue" from the perspective of common concerns; or, these discussions were terminated at the entrance to the dialogue. ——Zhang Ning famous sentence

· What is a conversation? From the perspective of general language, as long as there is an external form in which both the suggestion and the narrative talk to each other, it is dialogue, and self-talk is not a dialogue. From the perspective of poetics, whether it is dialogue or not depends on whether there is an intuitive form of advice, and some monologues can also be a kind of dialogue.

· From the perspective of general linguistics, the first example is a question-and-answer dialogue with an intuitive form of dialogue. From the perspective of poetics, the situation is exactly the opposite; the first case is not dialogue, the second is dialogue. Because dialogue can only arise from the full presentation of self-consciousness, which arises from the process in which the value of consciousness itself is not self-sufficient and leads to interrogative words.

· From the perspective of poetics, no matter whether the discourse has the intuitive form of dialogue, as long as the discourse itself is not self-sufficient and in doubt, it constantly decomposes itself and constantly interprets itself. Such a discourse has the meaning of dialogue. We also need to The topic is a little bit more open, and it has to start with the material of the conversation, the language.

· We see the emergence of language as the beginning of human history. Previously, human consciousness was chaotic and dark, and human language was a natural sound that was vague and meaningless. In the words of Saussure, the signifier and the finger at this time are in a state of separation, that is, the "infinite plane of the vague concept" and the "plane of uncertainty of the sound" belong to two fields. Only when the above two states are intertwined under the guidance of the principles of "arbitrariness" and "differentiation" can consciousness be produced, which means the emergence of speech.

· Faced with the light of the sun, someone suddenly burst out of "light." On the one hand, the appearance of the "light" voice is arbitrary; on the other hand, the concept of "light" is produced in the difference from "non-light". The state of secludedness of the person who first took out the "light" became clear at the moment. He will use the words he has initially obtained to face the sacred light, to give praise, prayer, and marvel; and, this praise does not pay attention to the concept of "light", but to regard "light" as only "light". Directly face it. - Zhang Nian Quotations

· In a dialogue about issues such as “what is light”, no matter whether the two sides agree or not, even if someone insists on monologue and refuses to talk, the situation will always be better. Because "light" is still light, it will always shine. If we turn the problem into another situation: Who am I? Am I happy? Why does he laugh or cry? Why are there deaths and pains? Then, the results will be very different, and the dialogue will be fierce.

· If the discovery and praise of light is only an individual, then there will be silence and peace of mind between people. The problem is that this discovery must be notified to others. When some people begin to narrate "light" to others, it will inevitably lead to many diaphragms and misunderstandings.

· Faced with the nature of human beings, the value of life, the ideals of society, etc., literature, philosophy, many people will cut into dialogue from different angles; and this dialogue can only be "polyphony", not "monologue" ", can only be mutual subject, but not an arbitrary conclusion.

· People are constantly talking, arguing, and talking in this polyphony to constantly approach the more authentic situation of life. In fact, this situation is like the "light" that originally met people. People once met it, once owned it, and now it is lost but lost. People can only keep approaching in the dialogue. The manifestation of the meaning of life is also in the process of this endless process.

· We seem to have broken into relativism. However, relativism can't end the conversation. Instead of ending, it reminds us that the more relating things are, the more vigilance the monologues here are. It is precisely because of the difference in the meaning of the words that the dialogue has an indefinite character, which makes the control of the monologues impossible. - Zhang Nian Quotations

· Russian formalism has the color of "language ontology", and its artistic practice finally points to people's shock in defamiliar poetry.

· It is inevitable that human beings will live in the "I-he" world. In this world, the communication between people requires that things that are to be praised be told and told through others.

· Dostoevsky uses his own unique artistic techniques to raise people's concerns and lead to the desire for dialogue to begin a dialogue. Through analysis, we find that as an art of practical dialogue, it is a kind of "polyphony"; as a means of practical dialogue, it has something in common with Russian formalism and has principled differences with monologue novels.

· The theoretical basis is based on Western traditional metaphysics. This metaphysically puts all ideas about truth on a transcendental assumption. It gives people a definition, an order to the world, and a meaning to life.

· "Resurrection" describes the process of resurrection and moral self-improvement of the humanity of Dnekhludoff and Maslova. It seems to show humanity a "rescue" path. This description and indication is only a display of the author's self-sufficient value system. Dialogues and arguments caused by doubts in self-awareness caused by self-sufficiency can only be a kind of "polyphony", not "monologue." ——Zhang Ning famous sayings

· Poetic language is the human truth to existence, the praise of the original beauty, the pursuit of lost and forgotten. It does not undertake the task of retelling and notifying, so it does not have the function of dialogue.

· When “polyphony” is a structural principle of fiction, it is not only contradictory to the “peculiar plot” of Russian formalistic poetics as an artistic technique, and even in the polyphonic novels of dialogue, the “fantastic plot” is often used. "as a background or intermediary that causes the "dialogue" to unfold.

· Traditional novels are often described in an omnipotent perspective. The author calmly observes, describes, and judges outside the character, and his narrative structure gives a complete order of life and events by means of linear one physical time. This linear time has an idealized structure and an idealized uniform rhythm. This linear structure enters the daily consciousness of the public and is recognized by transforming the plot as a series of events into a novel into a written language structure.

· Dostoevsky's novels often use the "fancy" approach to break the linear time structure when turning a series of "events" into "plots." It aims to restore people's true feelings about time and life, and to arouse people's desire to listen to the voices of existence and to cause the desire for dialogue.

· Polyphonic novels use the special plot to disrupt the uniform rhythm of the narrative, "delay" the speed of the narrative, and "fix" at two points. This kind of delay shows that if the purpose is unknown or false, what is the point of rushing forward? “Plaza” is the zone of public life. There are many people who have "lost without looking for, forgetting, and not reminiscing." They performed a variety of farce on the "Plaza." The events on the "square" described in the polyphonic novel often result in a "carnivalization" effect. Here, the "fancy of the plot" breaks the structure of daily life that people are accustomed to, and many laughter factors also dissolve the power of power in daily life. ——Zhang Ning famous sayings

· Among the many types of dialogues, the most shocking is the “edge dialogue” mentioned above that has moved into the “square” carnival scene. This type of dialogue in Dostoevsky's works can be said to be a wonderful collection of world literature.

· Dostoevsky's aesthetic ideals are intrinsically linked to ancient Russian aesthetic ideals. He placed morality, ideals, and beauty in a juxtaposed position. His moral paradigm is the spirit of Christ. The highest ideal is to make the "land of love" a reality.

· The utopian ideals of human society generally fall into three categories: first, the Utopia of the Jewish Prophet and Revelation; second, Christian Utopia; and third, the modern utopia since the 16th and 18th centuries. The first two are ethics - religious utopia, the latter is ethics - social utopia. The first and the third utopia have one thing in common, that is, to conceive a secular kingdom and to try to implement it with the power of the individual. They all ignore the contradiction between the individuality of the utopian kingdom and the utopian ideal. Christian Utopia believes that this kingdom should not be established by the intervention of external forces, but by the gradual "hollow holiness" of human individuals. This is both an aesthetic state of mind and a social ideal.

· It is also the concern for the destiny of the human being, the sympathy for the little ones, the praise for the good souls of the poor, and the ultimate direction behind the aesthetic ideals is not necessarily the same. The creation of “naturalists” is based on rational humanism. Their hopes for the "ideal kingdom", "eternal justice" and "good humanity" are based on social criticism and transformation. People are a kind of social existence. The evil of human nature and the inferiority and embarrassment caused by the people's self-consciousness are caused by the social environment. Only by transforming society and changing society can we save the poor. Their creations often want to take on the task of enlightenment.

· The years of imprisonment and exile have enabled Dostoevsky to truly understand the forces of conflict in specific life situations. It is this kind of conflict that disillusioned the early utopian ideals of Tuo's, and was in a state of illusory anxiety. ——Zhang Ning famous sentence

· The multicolored suffering life of the inner hope is expressed through a group of different prisoners. What kind of people are these? The tendency of the Tuo's tendencies is evident through the portrayal of the characters. It is hard to imagine that people such as Jayshkin, Goraldkin, and Oldinov will be sent to prison; they are as small as "rags" despite strong self-awareness and psychological painful conflicts. "It's as weak as "worms," ​​and they don't have the courage to break the law.

· "Dead House" is synonymous with suffering. The "dead house" of imprisonment can disappear in time; in the face of the "dead house" of society, according to the view of Toshi, there is actually only such a choice. First, like Nata, tears suffer, forgive others and give love; but, this belief, where is the rational basis for these three love calls? Especially for those who are pure and innocent. Second, like Peter Petrov to "crash the wall", then the ending is: Fall for freedom, and forever lose freedom because of corruption. Third, like a small person, to enter the inner world to live, then, people can only be like "rags", like "worms." It is impossible for Tuo to have a fourth choice. In these conflicts, I hope to lose the foundation in my experience. At this time, he wandered around like a man who lost his home and sang an anxious night song of the wanderer. However, in the "Basement Handbook", the song has not been "tune". The early contradictions were shouted out with shrill screams by the voice of the "basement man."

· For special reasons, our vision of Russian literature in the twentieth century was so narrow, and it has now widened up. I have only known writers such as Gorky, Mayakovsky, Ye Saining, and four Nobel literature. Award winners, today people talk about Mandelstam, Gipius, Akhmatova, Andrei Bieley, M. Bulgakov, Xie Bulgakov, and even Biel Representatives of the outstanding intellectuals of the "Silver Age" by Kayev and Lozhanov.

· The concern for the “Silver Age” culture is undoubtedly not the publisher’s whim or beating, and there must be something inevitable. In our era of no passion, in the era of deception, weakness, blame and blasphemy, the Chinese writers and intellectuals have imitated the Western modernist, creating a large number of terminology, technical authority, and disease-free. The player, the language player, and finally made themselves tired.

· Our intellectual community is full of confusion and desire. However, when we think carefully about what we are craving, we can find out that we are very confused. ——Zhang Ning famous sayings

· In the turbulent years of the turn of the century, the intellectuals of the "Silver Age" as the inheritors of the Russian spirit, they can do nothing but the real utilitarianism of the moment, even at the expense of exile, and obsessed with Exploring issues such as justice and soul salvation in Russia. This is closely related to the spiritual traditions of their 19th century intellectuals.

· Russian intellectuals refuse to cooperate with any form of power. They see their love for people as higher than the so-called social justice. Once those so-called justices violate the principles of love, then no matter how reasonable, meaningful, and dialectical, they will resolutely break with them.

· Of course we can say in general terms that the “Silver Age” intellectuals have inherited the traditions of the above-mentioned intellectuals of the nineteenth century. In fact, this tradition has undergone many changes. What has not changed is that intellectuals still survive under the dual pressure of the power of the Russian Empire and the spontaneous power of the people. The "peoples" here have become citizens who only believe in God as slaves and who only recognize money and "daily life".

· Literature has always been the "barometer" of Russian intellectuals' thinking. Therefore, it is not difficult for us to understand why almost all philosophers and thinkers of the "Silver Age" seek philosophies and ideas directly from the works of writers such as Dostoevsky, Tolstoy, Turgenev. The raw material of the problem.

· The literature of the nineteenth century is a literature suitable for reading aloud, because it has a general "sadness" tone, which is a romantic, lyrical, and readable tone. Needless to say, even the novels, Turgenev's, Tolstoy, and even some of Dostoevsky's early novels can touch the aristocratic lady in the salon of the upper class. Wang Wang. ——Zhang Ning famous sentence

· It must be correctly recognized that the unique form of the "Silver Age" literature is not a blindly borrowed thing, nor is it the result of a writer's illusion. It has something in common with the 19th century literature and the revolutionary movement at the turn of the century, that is, it is romantic. The difference is that the romance of the 19th century literature is essentially an ethical "sentimentalism"; the romance of the revolutionary movement is a passion for action and the passion of destruction; and the romance of the "silver age" literature is a kind of The deep Dionysus spirit in the spiritual structure.

· The ancient urban structure of the East is a typical power structure. They are distributed in a checkerboard format, and the streets are straight, which is convenient for the royal carriage to pass through, and is also convenient for large-scale detective work. The center of the city is the palace and the central square. This kind of square has nothing to do with free trade. It is not a market or temple fair for free trade, but a place for military parade.

· Traditional values ​​have always restricted the development of Chinese cities. The social structure also influences China's urban structure. This situation has continued into the present.

· Free cities are created by the need for business exchange. The real free city is economic rather than military; it is commercial rather than agricultural; it is the citizen, not the nobility or the peasant; it is the merchant, the street, the stone and the cement, not the grass and the soil.

· Traditional cities in China are such castles. Although it also has commodity exchange facilities, it is affiliated and belongs to the territory of the logistics department and the quartermaster. ——Zhang Ning famous sentence

· Farmers have no history. Their history is the history of the individual, a short cycle of time: from dawn to darkness, from the womb to the grave. They live in a peculiar architectural layout: the cemetery can be seen from the back window of the living room; the front yard is the site of people and livestock, poultry, and the backyard is vegetables, fruit trees and crops. Their history is the history of rice, from birth to death, from sowing to harvesting. This is an unchangeable fate that produces a language unique to agricultural civilization: lyricism. Faced with these mysterious, unpredictable, invisible but ubiquitous objects, they meditate, sing and sigh, and reciprocate.

· The hostility, conflict and entanglement between agricultural civilization and modern urban civilization, as an important cultural theme of contemporary China, is based on the premise of changes in urban functions, or based on the identity changes of traditional farmers. Up.

· Pragmatism was born. The result of pragmatism is that the desire for this self-conscious state of life becomes an object for rational and careful calculation, and further, it is a fair and legal cloak with universality.

· In the process of the transition from contemporary Chinese agricultural civilization to modern industrial civilization, there are still some special cases that need to be accounted for. I am referring to an emergency without a transitional state. The colony of Hong Kong is a representative. On an isolated island of agricultural civilization, modernization and urbanization suddenly began. Its most typical form of expression is to raided the islands, allowing imported industrial products to quickly occupy the market, or turning agricultural and sideline products into commodities, and engraving the name of the broker on each rice.

· The representative of Chinese traditional urban culture is the temple fair, and then the farmer's market evolved from the temple fair. But the temple fair and the farmer's market are not the characteristics of Shanghai. The Chenghuang Temple in Shanghai is just a decoration, a hoe. Representatives of Shanghai's urban culture are Xujiahui and the Bund. Xujiahui is the command center and the Bund is the front position. Xujiahui is a cultural wholesale center and the Bund is a cultural exhibition hall. The culture of these two places has almost no color of Chinese agricultural civilization, but a replica of Western civilization. ——Zhang Ning famous sentence

· The transition from “the temple economy” to the “farmer market economy” is a decisive event in the “modernization” process of contemporary China, which is even full of difficulties and even bloody tastes. Until the 1950s and 1960s, this issue remained the core issue of the political power struggle.

· The shift in trading patterns is nothing more than an external form. Its spiritual core and experience are more complicated than this form.

· The traditional peasant team has experienced unprecedented division and disintegration, resulting in two basic types of peasants, one is the peasants outside the city, who have been lingering between the loss of grief and the joy of counting money. The other is the peasants who enter the city, they have the appearance of the peasants and the hearts of the merchants. Their only happiness is counting money, like a money counter. Their biggest threat comes from industrial products. Only in the face of the cost and profit of industrial products, they feel shy, irritated and anxious.

· When we try to find a typical literary image that represents the peasants in transition, we will find that pure peasants outside the city and fake peasants entering the city are not typical. The most typical representation of Chinese peasants in the process of urbanization is a special case between the two peasants: "shoemaker." This is the discovery of the late Xi'an poet Hu Kuan. The experience of the shoemaker is the typical experience of Chinese farmers in urbanization.

· The so-called "modernity" issue is also inextricably linked to agricultural civilization. We have always thought that the first thing that benefits the urbanization process is the farmers. Because the premise of urbanization is to turn agricultural resources into monetary capital. This is actually not the case. What really benefits, in addition to a part of the power to control resources, is mainly a group of intermediaries engaged in the wholesale of agricultural resources. Their function is to transform the resources of agricultural civilization into an exchange of modern urban commodity markets. ——Zhang Ning famous sayings

The essence of "modernity" is a state of transition of history. This state of transition often manifests itself as a state of double emptiness of the spirit and the flesh. It loses both the former happiness and the embarrassment of future happiness.

· "Modern narrative" from confusion, contradiction, to anxiety, boredom, to madness, showing a trend of more and more rapid. It is corresponding to the rapid rhythm of modern urban civilization, and is getting closer and closer to the state of madness.

· “Looking” focuses on form, a form of voice that is either faith or conversion. “narrative” focuses on content, and it is a story of how the voice gradually becomes hoarse. "narrative asthma" is noise. It has no content or form. There is only a series of calls, calls, and calls from the respiratory tract.

· I noticed that Wang Meng had been very passive in the process of controversy, and finally had to resort to legal means. This is probably the first time in the history of the ruling party to use the modern system as a weapon in literary contends. However, Wang Meng’s defeat is inevitable, because the other party is a “nothing.” The critical articles are all published under a pseudonym, which is a bit like today’s online forum.

· "Humanistic Spiritual Discussion" is the first collective demonstration of the intellectual reality of contemporary Chinese intellectuals in the context of market economy. It is also the first time that intellectuals' independent voices have been widely disseminated by means of the media. - Zhang Nian Quotations

· The daily life of the unified ideology and the detailing make the thing of "ideology" become a scent of scent in every corner of the market. This is the time when the traditional method of criticizing the big guys is helpless.

· In the historical logic of the transition from contemporary Chinese agricultural civilization to modern urban civilization, the “Shaanjun Army” first turned literary events into a commercial event. Under the encouragement of the national media, the aesthetic experience has become a pleasure of consumption, and the spiritual symbol has become a symbol of consumption.

· Classical political economics has discovered the secret behind the goods, that is, the content implied by the form of goods, or the value of use and exchange of goods. Classical economics is intoxicated in the interpretation of the content of goods, to study how much labor is consumed in the production of goods, and then to judge the value of goods. Its criticality disappeared into the course of this research.

· Jia Pingwa has made a hand in the title statement and postscript of the novel. In his statement, he said: "Only the soul is true, let people laugh and comment." In the postscript, he repeatedly tells the reader about the spiritual background of the novel writing, that is, the personal encounter, the emptiness of life, and the sorrow of fate. He tried to distract the reader's attention and let them focus on the "form" of the novel and its implied "content." The fascination with content is the dead end of classical political economy. The result is blindness to the form's own secrets and a critical loss. Its manifestation is the emergence of a universal aesthetic reading illusion. This is the unimpeded source of the "Abandoned City" in the market.

· Literature finally left the land of the country, left the military castle, came to the farmer's market, and came to the streets of the city. It's mixed with the grotesque urban symbols, and it's not inferior. Sometimes it even despise drama, painting and music, and often jealous with movies and TV, eyebrows, vying for the attention of the media, vying for the central position of the symbolic system, and robbing the rest of the public. ——Zhang Ning famous sentence

· In the cultural context of exchange value dominance, all values ​​are trying to move toward “no difference” in order to become the equivalent of general exchange. Thus, all values ​​and their associated vocabulary: freedom, suffering, justice, beauty, have lost their proper semantics. In the process of this semantic logic and market exchange logic, people began to ignore the use value. This is the duality of the value of goods: symbolic democracy and value crisis.

· The seriousness of the problem lies in the fact that many authors and critics are still in an "uninformed state", misunderstanding that they are carrying out a so-called "aesthetic creation" and mistakenly believe that they are still the subject of writing. They thought that the smooth tip of the white paper and the light fingers on the keyboard were running wildly and liberating. In fact, they are dancing in the mud of "unconscious goods."

· Literary works have become a circulation and exchange. As a result, closed literature concepts such as writers and works have become insignificant and have no independent aesthetic significance. This is a new challenge to literary criticism.

· The so-called "cultural criticism" is also based on the reading of the text. Of course, "text reading" is not limited to the textual elements of black and white characters. Image symbols, sound symbols, fashion symbols, and performance art symbols are all objects of reading.

· Here, one must be wary of a blind optimism about “symbolic democracy” while ignoring the criticism of the other side of the duality of commodity exchange. This kind of criticism is self-satisfied in the play of colorful symbols, like a club, and is immersed in the thrill of symbolic consumption. ——Zhang Ning famous sentence

· Direct experience, capture and expression of experience are gradually replaced by “imitation” and “replication”. Especially in the context of contemporary China, the old peasant experience is mixed with the growing citizen experience, local experience and global experience, making the description and evaluation of experience extremely complicated.

· Fictional peasant experience in the city as a weapon of criticism, which is a fashionable thing in contemporary Chinese ideology and culture. We often hear the sighs from the study: "The peasants are very bitter." Solving the problem of peasant suffering is an administrative issue that requires careful social rationality and requires data argumentation, especially the need for real legal intervention.

· I have reason to do this analogy: both urbanism is like Western centralism; rural is like the third world; contemporary Chinese elitism is like Westerners in front of Chinese peasants, even though they are third world in the eyes of Westerners People, this is the same relationship between working migrant workers and rural farming farmers; the migration of peasants to urban areas and the migration of urban people to overseas are essentially the same thing; the fictional rural world is like the fictional Eastern world of Westerners. The East is speaking with the imagination of Western "Oriental Studies" scholars; farmers are speaking with the help of writers' imaginations.

· Urban experience has always been the opposite of rural experience. This opposition is a basic contradiction in modern literary narrative. The artist tells us that this contradiction has turned into the theme of “migration/harm”, not the artificial fictional result, but the life force.

· The irony of contemporary urban art experience is that writers hate cities and cannot live without cities; they love the countryside and escape the countryside. - Zhang Nian Quotations

· The prominent problem in the field of literature and art is certainly not a simple "moral" issue, but a question of "morality of discourse symbols"; in other words, it is also a question of how a "contemporary narrative" is possible. The complexity of the symbols themselves is the result of a multicultural background. It puts higher demands on symbol analysis. Below I will analyze the work of an author who appears as a "farmer experience".

· In the context of the “modernity” of fait accompli, pure rural and pure cities are not the soil of art. Only those junctions, marginal areas, dangerous areas, corners, and corners of sight are the places where students can experience. It is a collection of two experiences, a brawl zone. Bakhtin called this zone of transition a "crisis zone", which Benjamin called "the imagery of the zone." The suburbs are such a typical area of ​​experience and twinning.

· The contradiction between rock and business: "Rebellion" can only be accepted as a "sound symbol". That is to say, "rebellion" must abandon the attributes of verbs, and only become adjectives: rebellious, can be related to business. The reason why rock and roll youth can rebel in the same way, not being abstracted by abstract consciousness, is not descriptive because they add physical and desire factors to form and content. These things are precisely the elements that evoke the desire for consumption. This is exactly what business is looking for.

· The contradiction between art and business is finally expressed in the contradiction of business culture itself. The business order is afraid of rebellion, but the sale of goods requires "rebellion." "Rebel ideology" became a commercial rhetoric. Cultural hackers are "rebel" in wholesale, in order to let more consumers give up rebellion in the pleasure of consumption. Because rock has become a profession, instead of venting anger. This is the result of the refinement of social division of labor. Rock and roll youth, with their own failures and deaths, exposed the secrets of rock being bought and consumed.

· the relationship between land and the street; the intention of the migrant to change his identity; the transformation between the way he or she becomes a part of nature and the sale of himself to the city and from nature; and the various encounters in this process are contemporary New experience that Chinese literature must face. ——Zhang Ning famous sentence

· Look at the urban people, a pair of pale, weak hands, sliding lightly on the banknotes, showing a terrible negative force. But what the city needs is not strength, nor honesty. It needs intelligence. It is this magical wisdom that makes their pale and soft hands seem powerful. With a wave of it, the money-carrying car changed its direction, and all the good things went into their homes. They don't kill, but they can eat meat gracefully; they don't rob, don't steal, but they can make neighbors inexplicably bankrupt; they don't beat people, but they can make people scarred; they transport feces, dirt and garbage to the countryside. They have a quiet appearance that does not eat human fireworks; they do not grow rice, but eat rice; the domestic chickens are worth more when they arrive. This is very similar to the story told by Grandma, full of charm and excitement.

· The wanderer has found a more amazing phenomenon in the city: there are so many people on the street, but no one knows who, no one knows who your surname is; even if you see one in a supermarket every day Familiar with the face, but at the corner, he did not know what to do and disappeared.

· In modern cities, the interaction between people is achieved through various symbolic mediations. When we hand over a currency in the market, we immediately see a smile. This smile is not given directly to you, but to the currency. In other words, money becomes the intermediary for your smile.

· In the city, “the whole person” is worthless. Value comes from the social division of labor, that is, a certain part of the body is surprisingly developed. Only these parts can be converted into "general equivalents of goods", currency. The only thing that can turn the whole body into commodities and currency is the prostitute. Under normal circumstances, money is not the complete person, but the various parts of the body that are broken down by people: limbs, scorpions, and heads. This is the social division of labor. Some people have long eyes, some have long heads, and others have long braids or legs.

· The reason why the peasant lost his freedom as soon as he left the land was that he had only one “complete body” that had not been dismantled, and the real thing, but lacked the currency as a general exchange equivalent. ——Zhang Ning famous sentence

· Technology has transformed the evolution of the limbs from quantitative to qualitative, and the hands have become airplanes through the imagination of the wings. The eyes have become telescopes, the legs have turned into cars, the ears have become telephones, and the adventure has become "football" and gambling horses. The conspiracy has become a stock market and futures... In urban culture, the specialization of the body, the technical extension of the body, and the consequences it brings are the themes of modernism.

· Numerous experiences have proven that anyone who cannot successfully dismember himself into an organ, whoever tries to maintain the freedom and integrity of the individual, cannot be accepted by the street. When those free organs are sprinting on the street, we will see a complete and free tramp and squatting under the overpass, at the corner of the street, and at the rubbish. This is the cruelty of street experience.

· The pursuit of freedom and human integrity in literature has fundamentally conflicted with street experience from the beginning. This is not an abstract theoretical issue, but a problem that any writer trying to enter the city will face at the outset.

· For the bourgeoisie, “getting lost” means losing time and money; for poetry, getting lost is precisely the starting point. It is necessary to write poetry, and to be terrified and even resentful about getting lost. This is the "waves" in contemporary Chinese poetry.

· A new literature must start from scratch. Must be curious enough about the new urban experience. They must be on the road alone, not in groups; they must be patient with the long journey of the maze; they must cultivate interest in unrecognizable faces, not speed, purpose, logic, speculation; Really love the maze of the city. "We must have no illusions about this era, and at the same time unreservedly agree with this era." - Zhang Ning famous sayings

· The biggest trick of modern literary researchers is that heroes are useless. Take the narrative works, you are faced with a lot of works, your professional knowledge is not used at all, you can not talk about them from the aesthetic point of view, especially from the perspective of narrative poetics, you are Forced to use many terms other than professional: culture, morality, enlightenment, criticism, democracy, science, power, resistance... making the subject identity very suspicious, four levels of literary research: text form, genre history, The history of literature and the history of culture are four concentric circles.

· In the mid-to-late 1980s, the modern literary research community once had a reference to "rewriting the history of literature." The history of literature can of course be rewritten constantly, just as Chinese history is often rewritten. However, the rewriting of the history of Chinese literature in the 20th century must bypass a dead end. This dead end is a kind of literary professional vision that pays attention to formal history, stylistic history, style history, and the history of the poetic meaning of "human". We must reluctantly give up this luxury. It seems that it is a very painful thing to engage in the research work of Chinese modern literature, which is almost impossible to talk about the aesthetic pleasure function. When you read the literary journals of the 1920s and 1930s, you know that they are also called literature!

· Today, the reason why the Chinese literary world is so chaotic, no classic is one of the important reasons, so that impetuous, arrogant winds are everywhere.

· When the break between the tradition of culture and modernity is so great that it is impossible to bridge the break by a writer's personality power alone or in a short period of time, it is naturally impossible to have a classic.

· What I want to say here is: In the modern times, there are classics in the West that are dismantled and rejected. It is not the same thing as China’s pursuit of classics. Moreover, contemporary Western literature, and Mr. Lu Xun’s "not seeking new voices" In the case of foreign countries, the situation has also been swayed. Therefore, we must take into account the specific conditions of contemporary China, and we must not believe in those words that like the new tides. ——Zhang Ning famous sentence

· What kind of "hearts" and "new works" have appeared in our literature as soon as a century is about to pass? Have we heard the "sorrowful voice"? We can only say to Mr. Lu Xun: No! Our parrots followed the Westerners in the same way, and they ran into the mud of postmodernity.

· The Chinese have a subconscious resistance to the scientific, democratic, and free spirits that represent the cultural heritage of the Renaissance, so that a large number of outstanding intellectuals have been promoted for a century without making them deeply rooted in the hearts of the people; Culture has a natural kinship. It is only a few pioneer critics and writers who clamor for a few years, and their works are more "postmodern" than Westerners.

· "Luxun spirit" is not just a criticism, destruction, or even swearing. It is a big chest and atmosphere that is not closed or blind. Lu Xun has extremely precise and accurate judgment on the new and old cultures and Chinese and foreign cultures. He has a keen sense of life and beauty, and also has strong imagination and creativity in artistic expression. In these abilities, the contemporary is nothing more than a "Bing".

· I suddenly had a question in my heart: Is the sacrifice of Lu Xun and other pioneers worth it? I knew this early, he was not as good as Cao Xueqin, and he went into the ivory tower of art to concentrate on his own creation.

· Freud's contradiction is that he wants to satisfy the secret pleasure of physical desire through free association, and he wants to achieve the purpose of sublimation by means of the power of “super-ego” beyond the “self”. He used a very typical example to express the basic structure of the story of desire. This example is about a child's game: "Hey!" - "Da!" This "噢--达" story is the potential of the traumatic memory of the desire object to leave the child. This is a typical fairytale narrative structure that does not fit the adult situation. Because children's desires can be replaced by whatever senses. The situation in adults is much more complicated. - Zhang Nian Quotations

· No matter how difficult the problem of desire poetry is, the dualistic way of thinking can't help us. I think that there is a great "physical dialectics" in Chinese Taoist theory. It dissolves the problem of life and death into the whole process of physical operation. It must satisfy the desire of the senses and achieve the purpose of sublimation.

· I don't think Ge Fei's "The Banner of Desire" is the most appropriate analytical text of Desire Poetry, but rather that it provides more analysis for the new poetic question of "Desire" in the creation of Chinese contemporary novels. Possibility testimony.

· Whether it is noble or despicable emotions, it comes from this mysterious body. The negative power of the flesh is the rebellion against the abstraction of the senses, and the root of the abyss that breaks into the instinct.

· The desire of the senses does provide many amazing details for the expression of art, but it also introduces us into the maze of the body and cannot find a way back. Some people often advertise a "feminine" feeling, in fact, the succumb to the mystery of the flesh; at the same time, the swaying in the maze of the body, not thinking about returning home. The way to feel "feminine" is a physical memory.

· Since the flesh is a mysterious maze, since the story of desire cannot end, then the desire to be the structural center of the novel is definitely a matter of gain. Ge Fei first turned the story of desire into a "story of the meeting." The novel has always hinted that this academic conference will try to solve some major value problems, suggesting that there are a large number of Chinese philosophers such as Christian theologian Tang Peter, Buddhist scholars Hui Neng, and Jia Lanpo. In fact, this meeting is synonymous with a discussion of some ultimate value. - Zhang Nian Quotations

· The Taoist Nei Dan sorcerer has the sublimation path of physical involvement from beginning to end: from the process of “refining refinement” to “cultivating the god of gas”, it is a process of recombining Yin and Yang, Anima and A The process of Nimes is also a sublimation process that is contrary to the cosmological model.

· Poetry and songs do not know when it is divided into two, and also divided into the poets and people who are admired by people. That is to say, the combination of poetry and spirit, which is one and the same, is decomposed into spiritual and physical.

· Any real theory should be anti-conventional. The theories of Marx, Freud, Foucault, and Deleuze are based on the premise of anti-convention. “Imagination” has always been an important criterion for measuring the level of literary and artistic works. It is considered to be a key element in making the work “meaning”, which has become common sense.

· The "mythological era" of civilization is the most imaginative era of mankind, which is roughly what Molgen called "the era of obscurity." If we don't praise the past for criticizing the present, then the original and imaginative state of human beings and nature is not a thankless thing.

· During the Spring and Autumn Period and the Warring States Period, it was a period of transition from "king" to "hegemony". At this time, "imagination" has begun to show a trend of specialization. Such highly imaginative high-ranking people like "Laozhuang" have completely separated from the state power system. Only Confucius tried to intervene in the power system, but he at the expense of giving up "imagination." ——Zhang Ning famous sentence

· As “imagination” became more and more specialized, it gradually became a profession, but it did not promote the development of “scientific imagination” closely related to true individual free imagination, but gave birth to “professional”. The emergence of the writers' group also gave birth to the prosperity of Tang poetry and Song poetry. The imagination of Li Bai, Li He, Li Shangyin, Li Wei and Li Qingzhao has reached a point where they cannot be added.

· "Overbearing" and "Poetry" are also developing in parallel, eyebrows, and peace of mind. It was not until the mid-nineteenth century that the hegemony of the Chinese Empire was hit by guns and opium, and the situation began to change.

· “The loss of imagination” is not so much a personal error as it is a huge historical irony. Restoring the dream of imagination, it is no use to rely on the source of imagination to stroll. The purpose of those who often go to the folks is not to learn from traditional folks how to integrate with nature, or to establish a "synonym" relationship between the body and nature; but to be faster and more thorough. The ground is out of nature.

· Folk imagination has become a tool for some people to acquire various powers. This is the root of the false prosperity of imagination.

· "Imagination" as the basic element of traditional "literature", its aesthetic self-sufficiency has collapsed. This is exactly the issue of contemporary theory. There is no fundamental contradiction between cultural studies and criticism and traditional literary studies and criticisms. It is only that the objects and scope of excavation and archaeology have changed. ——Zhang Ning famous sayings

· Historical narratives or historical imaginations, with narrow literary narratives or literary imaginations, are essentially isomorphic. Therefore, cultural studies apply the methods of literary research to the analysis of other cultural materials. In other words, literary studies focus on the symbolic system of literary language, and cultural studies focus on the general symbolic system.