Wang Hongyan

· Every big city has women like Anne Baby, who are passengers in the city, live under the shadow of prosperity, and are destined to be excluded from the world of strangers. They used the whole life to cry and smile, and tried their best to defend their fantasies and refused to be moderate. But the city only bears their illusions, but never fulfills them. In the madness of the night, the city gradually became a wound in the heart. They are deeply immersed in a kind of free confusion, can not find the way to return home, do not know what they want.

· The only eternal legend in a chaotic city is love, but love has turned into an imaginary in the text field. It is here, I think I can understand Anne's obsession with the text - every writing is the moment with the illusion. Just as those who fall into the water desire the arms, the lost people need direction, and Anne Baby regards fiction as a kind of salvation.

· For many writers born in the 1970s, writing and literature are two concepts. They can think of writing as a way of life, but they don't have a sense of responsibility for literature. After all, writing is just an act, and literature means creating. Writing in a sense is only part of the fun of petty bourgeoisie. As a woman writing, it means freedom and alternativeness, which means extraordinary, or a possibility of spiritual life.

· We are just a waiter - standing in an aesthetic position, and finally mourning all impermanence. We don't know where the road to salvation is. In such an era, being an aestheticist may be an easy task.

· If we open the works of Chinese women writers of the twentieth century, this fact is very clear: in most women's texts, mother and love are themes that often appear. Regarding mothers, she is both the guardian of the daughter and the girl. The opposite.

· In the era of universal lyricism and simplification, Zhang Jie still tried to open a drama of her later years in the splendid curtain of the narrative, the detailed reproduction, the philosophical discourse, the people have been negligent or unwilling to The typical and details of going to business have finally been brought to chase by the atmosphere of Zhang Jie. "No Word" is a master of the continuation of the author's previous works, but it has not opened up more discourse space, which is also regrettable. of. ——Wang Hongyan famous sentence

· Like many of the early years of the century, the literary world in 2006 did not deserve to be a big book. What we saw was nothing more than a famous book from the book market speculation or the 80s, and the strange "popular" popular on the Internet. Poetry, as well as the replacement of the power of literary official institutions, there are very few things that belong to the literature itself that can be precipitated in this era. If people write the literary history of this period in a hundred years, they will probably not fall into the word.

· This is the most important phenomenon in literary creation in recent years. The “bottom writing” is about the underlying writing, not the bottom man's own writing. It is the opposite of the once very lively concept of “female writing”. At this stage, "underlying writing" cannot constitute a large-scale creative trend, but it has undoubtedly become a creative phenomenon.

· The writer's vision suddenly focuses on the bottom. There are many reasons. The most direct reason is the enlightenment brought by the current situation of Chinese society. A large number of laid-off workers, migrant workers, and poor peasants are quickly separated from the social class and become a huge weakness. Compared with the early 1990s, this group has become more and more distinctive, and its situation is becoming more and more cruel. As far as China’s literary development in recent decades is concerned, social and cultural phenomena are very It is easy to evolve into a literary phenomenon, not to mention the economic situation of many authors in the "lower class". Their narratives about the bottom are actually reflections on their own living conditions.

· There are also some problems with the description of the bottom layer, such as the simplification of contradictions, which simply attribute the tragic situation of the bottom people to the corruption or exploitation of the village head or the contractor, and between the rich and the poor, between the urban and rural areas. A simple moral and immoral opposition.

· The underlying writing touches on all aspects of society, but the problem is not all for the novel. The author uses the imagination and narrative to bring the problem to the literary level, thus bringing more reality and aesthetics to the reader through figuration. The revelation, this is important. What the current underlying literature lacks is not only the ability to think deeply, but also the problem of expressiveness in art, and this just determines how far the underlying literature can go. ——Wang Hongyan Quotations

· Although we do not fully agree with the statement that “literature is a clerk of history”, it is indeed a qualified clerk when literature reflects the current state of marriage and love of the Chinese. After reading the whole year's works, there are not many novels with no extramarital affairs, divorce, or affair. The difference is that some novels question whether this behavior is moral, while others do not question, but directly regard these elements as An important clue to the development of the plot of the novel.

· A problem worthy of attention is that the subject matter related to homosexuality has gradually increased in literature in recent years. Gay or as a core content of a novel or as an element of a novel, we have cut into another level and we do not understand The life and the strange land of love.

· The truth of homosexuality as a minority is easy to think of all the “minority” power movements in modern times, such as ethnic issues, feminism, etc., so it also naturally becomes a multi-meaning literary expression object, but true Gay literature should not be at the event level or at the level of occurrence. We are more concerned with the existence of homosexuality - as a kind of human existence, how it evokes our imagination of love and freedom.

· Compared to the lively book publishing market and online literature, literary journals are undoubtedly lonely. Every year, most of the best-selling works of literature go from readers to readers, and a large number of short stories, essays, poems, reportages, etc. published by academic journals are mostly self-defeating, or just affecting in a niche circle. People may remember more about a website's selection of writers or works of the year. Each year, the awards of major journals are only short messages at the corners of newspapers, and there are very few public views.

· Even if it is “cultivating in the deep, people are not acquainted”, the literary journal is still an important voice of the following altar. From the perspective of the volume of publication, it at least supports half of the literature. There have been some new changes in the literary journals in 2006. There are more and more journals that tend to be realistic. Some journals themselves are positioned to be realistic and this has been strengthened in this year. Some journals are repositioning attempts. Reality is the core concept of running a magazine. ——Wang Hongyan Quotations

· The better works that we can read in one year are quite pitiful compared with the reading volume. Many problems are obvious at a glance, such as the similarity of the subject matter, about extramarital affairs, crime, and the underlying works occupy almost the majority of the layout. Even in these subject areas, novels are mostly confined to shallow narratives, and most writers are not deeply conscious.

· I think one of the values ​​of literary journals is that it encourages the creation of many new authors. At the same time, it allows the persevering people to persevere, the skeptics leave, and in the literary magnetic field it forms, we are always talking about love and The dream of beauty, freedom, and truth remains its most fascinating part. Its endurance for many poor works is based on the persistence of great works.

· Because of the work relationship, I have read a lot of works in literary journals in the past two years. The joy and disappointment brought by reading more than ten thousand words per year directly makes me reflect on the Chinese literature in progress. At the end of 2005, when I sat down and wanted to carefully comb the year's reading, I found that I couldn't find the excitement of writing. Now that 2006 is over, I think of the words that Lu Xun wrote about nine pounds: a generation is not as good as a generation. . This is either an overly frustrating idea. The best assumption is that the literary world is dying. The generation of writers who became famous in the 1980s slowly retired. New writers are growing and we have expectations.

· Contemporary female prose has experienced a process from silence to embarrassment. The 1950s and 1960s and the Cultural Revolution were the silent periods of female prose, but after the new period, especially in the 1990s, Chinese female prose appeared in a variety of sound choruses - trendy prose, old generation, new generation, little woman, etc. This made the female essays scream for a while, and thus entered the peak period of female prose creation.

· After the founding of the People's Republic until the early 1960s, Chinese prose was still generally successful. In the early days of the founding of the People's Republic of China, the model of Yan'an prose was inherited. Communication and close-up became the main forms of stylistics. Most of its contents were the tradition of hard struggle in the revolutionary period, the great achievements of famous people, and the socialist transformation and construction after the founding of New China. New people, new things, new ideas in the period. As a style closely related to real life, prose is often more easily influenced by various policy guidelines in reality, which was confirmed in the seventeen-year period. ——Wang Hongyan famous words

· In the prose world after the Cultural Revolution, as a kind of spiritual disorder, people began to pay attention to writing truth and telling the truth. The "sacred" lies of the Cultural Revolution for ten years have been exposed, but the lies in people's hearts, even the lies that they have told themselves in the unconscious have not disappeared.

· In the early days of the new period, many female essays were still influenced by the seventeen-year poetic prose, reflecting a delicate poetic and restrained, praising the great changes in China's urban and rural areas after the Cultural Revolution, the eulogy of the party's policies, and the new spirit of the people. The appearance, the good deeds, the capture of truth, goodness and beauty, the combination of lyric narrative and controversy, and the 17-year prose, lack of impact and critical consciousness. Such an article tends to focus on the suspense at the beginning, and it is a person who is full of childlikeness and has no evil thoughts, but lacks insight. It is a personality whose mind is not polluted and also has no sound development.

· In the mid-1980s, Chinese literature entered an unprecedented stage of experimentation and avant-garde. The literary form and the ideology of ideas became a common phenomenon, but even under such an impact, the field of prose was always quiet. The awakening of prose is more to return to the "May 4th" tradition in the vertical sense, but in the process of large-scale westernization of literature in the new era, the prose can not find its own foreign theory that can be borrowed - the West does not exist. Like the Chinese prose, the tradition of more than two thousand years has continued, and it is therefore impossible to provide Chinese essayists with a fashionable and modern discourse experience.

· The 1990s is an era of cultural misconception. For more people, reading is a way to relax. The avant-garde's heavy poetic consciousness and subversiveness, after more than a decade of commitment, became pale and ridiculous, and finally entered the Jedi - an era of popular culture that essentially rejected the vanguard, especially formalism. pioneer.

· When prose returns to the heart and returns to the self, female essayists also begin to write for the self-soul. The intergenerational phenomenon of female prose in this period is more obvious. The works of the old generations such as Bing Xin and Yang Lan are even more brilliant. In particular, Yang Lan’s creation is a profound artistic accomplishment. ——Wang Hongyan famous words

· Yang Yu’s prose combines the roots of Chinese traditional culture with Western cultural literacy. Her prose has both a rich temperament, a calm temperament, and a relatively broad knowledge. She can see the sharpness in peace, and she is thrilled in the quiet. In the Chinese prose world after the new era, Yang Lan’s status is very important. Her many works are classics in the history of Chinese contemporary prose.

· In the early 1980s, when people were still immersed in recalling scars and reflecting on history, Cao Minghua gave people a narrative about "now." The "revolutionary narrative" of the seventeen years and the "scarred narrative" after the Cultural Revolution were replaced by "personal narratives" here. The "individual" is presented as a state of existence in a daily situation rather than a special mission. The war between ideals and doctrine is over, and the rest is the spiritual journey in real life.

· The new generation of writers have both "new prose" writers who have tried to break through the previous prose mode, and some writers of urban leisure essays. This is the two creative trends in the new era, especially in the field of female prose in the 1990s.

· In the 1990s, with the emergence of the new generation of female essayists and creative genres, coupled with the existing female essayists of the Mesozoic and Mesozoic eras, female prose really presented a screaming situation. On the one hand, it is constantly expanding into the deep space of life, on the other hand, it begins to compromise with the fast food culture of the market. On the one hand, feminist thoughts began to impact the writing of Chinese women. On the other hand, traditional life and classical culture are still the inexhaustible discourse reserves of Chinese female prose. The prose of the old generation continued the purest language and cultural resources of the Chinese tradition, while the writers of the Mesozoic and the new generation began the experiment of the new prose and the "new prose".

· This era is like this. Many vocabulary are experiencing a profound “split movement”. While simplifying some concepts, we have to complicate many vocabulary, just like the decomposition of “love”. same. "Wife" and "lover" have been separated. In the experience of desire, the name and connotation, phenomenon and essence will return to themselves and generate new extension. Everything is changing wildly in an unpredictable direction, the sacred will become ridiculous, and the real will become historical memory. Let the "wife" and "lover" become one ideal. ——Wang Hongyan famous sentence

· Today, our reading needs more than just stories, but more importantly, the precipitation behind the story. Things have happened - pain and death, attachment and abandonment, but these are what we can see, and where are we not hiding?

· Stylistics, also known as genre, literary genre or asana. This does not refer to the narrative and rhetorical ways of literature. According to the traditional classification method, the division method of literary genre can be divided into four major styles, namely poetry, novel, prose and drama. The choice of style in each era is different. For example, most of the time in ancient China, the novel was rejected, and it was considered to be a form of no-inflow, while the Ming and Qing dynasties were the glory days of the novel. The Han Fu, Tang poetry, Song poetry, Yuan Qu, Ming and Qing novels we often say are not only the identification of the creative achievements of a certain style in a certain period, but also the summary of the aesthetic form and cultural spirit of a nation.

· If we look back at the history of Chinese classical prose, we will find that prose is an imperative style of ideology represented by Chinese classical Chinese. In addition to the everyday discourse, the classical Chinese language constructs another way of expression, which excludes the majority from the customer group.

· Prose is a way of recording the official history, and it also represents the intellectual way of thinking of “study” and “situ”. The world of classical prose is the world in which Chinese traditional culture, especially Confucian culture, can be empowered. In this world, women are just in a marginal position, and she is warned to stay away from her voice. It is obvious that women can't really enter a style of creation that rejects her and shapes her. She has been a priori excluded from the official history. Her creativity is suspected, even though this suspicion has no reason or proof. .

· The discourse function of prose in the patriarchal world is opposite to the marginal and marginal emotions of women. The “slightness” of gender is in stark contrast with the “dignity” of stylistics. Classical prose rejects the intervention of female discourse. ——Wang Hongyan famous words

· Until the New Culture Movement, the "integration of words and expressions" of the vernacular has made it possible to discuss the popularization of literature. The vernacular literature should replace the aristocratic spirit, the classical style and the mountain forest of the past literature with the national consciousness, the realistic spirit and the sociality. The isomorphism of language and life, the chaos between Wang Gang's era and the gap between the gaps, the introduction of English and French essays, and the literacy of cultural pioneers have made the vernacular prose ushered in a climax during the development period.

· From urban prose, we can see the existence and writing status of women. It is not modified, it is closer to the daily state of most women's lives, and it also outlines the picture of women's secular life in a more detailed way, but it is also in this kind. In the mediocrity of life experience, we have seen an attempt to transcend mediocrity. In the trivial life of chai oil and salt, in the shackled reality, dreaming of "life elsewhere."

· The voice of following the dream makes the female prose show a pioneering attitude and creative consciousness. Female prose is an aesthetic testimony of women's existence and a poetic statement about women's survival. Aesthetic life itself is a dream life.

· In the late 1980s and early 1990s, women's trendy prose was experimental in stylistic form. Many of the essays began to express the subconscious structure of women. In fact, the depth space of the human mind has always been the field of fiction, and the prose shows more of the human consciousness than the elusive subconscious.

· The “new prose” from the mid to late 1990s to the present shows a “dramatic self”. If the previous prose pays more attention to "I am talking", then the new prose is "saying me", I am the object of expression, and the shaped self with dramatic features. ——Wang Hongyan famous sentence

· All of these, when prose becomes a way for women to stare into the world of life, when prose carries women's expectations for an ideal world and ideal life, we find this powerful guiding force of style and the sensitivity and aesthetic temperament of women themselves. In combination, women return to themselves, return to the triviality of secular life, and return to the great drama of the spiritual world.

· In the ultimate sense, prose is the combination of women's way of life and form of speech. The daily nature of prose makes her a part of women's life and a way of thinking for women. For many writers of the old generation, prose becomes a way of fighting fate. It is the core of aesthetics advocated by Chinese literature for thousands of years. - Artistic conception - irrelevant, it has nothing to do with the aesthetic itself, but becomes a pure record of survival. This is a unique way of prose we see in the female text.

· After the new period, there are many writers who have started writing since the May Fourth Movement and the seventeenth year. At this time, their bodies and creative power are in a weak state because of age or the destruction of sports, etc. Still writing, at this time writing is just a gesture, a declaration of war to a certain power or vitality itself. At this time, the prose style widely used by them is strictly not a literary form, but a form of life. The literary nature is weakened to the utmost extent. In the text, the individual lives are “reported” to the self after the disaster—just like they explained to the “organization” in the Cultural Revolution, now they explain to themselves.

· The aesthetic meaning of literature is replaced by a pure expression of desire. In its highest sense, prose is no longer literature, but life. It does not need gorgeous literary algae, no need for operations and methods, no need for imagination, life. The passion of oneself has made everything.

· The new thinking of Chinese prose has many levels of reference. It should first be based on the understanding of the style itself. Establish a conscious stylistic consciousness, highlight the aesthetic quality of the style itself, and on this basis continue to face prose with an experimental and innovative attitude. Second, it is a huge view of Chinese prose. This is to put the prose under a large background, which is within the Chinese writing, and also in the world literature, giving a position and perspective for the past, present and future of Chinese prose. ——Wang Hongyan famous sentence

· Each style has its own unique aesthetic quality. The establishment of stylistic awareness should first recognize the uniqueness of style. Any experiment on stylistics is to maximize this trait, not to obliterate it. The same is true of prose. Its own traits are both limitations on creation and its advantages.

· The stylistic consciousness of female prose has been initially formed in the late May 4th, but this kind of conscious consciousness has not penetrated into all female writings as a tradition. For many female writers, prose creation is often an accessory other than novels or poetry. It only accepts excess enthusiasm or the helplessness of enthusiasm. The independence of prose as a style is often neglected.

· From engaging in writing with the innate good sense of art, to recognizing the independence and normative nature of the style, and on this basis, finding ways to break through the norms and re-entering the realm of freedom. This is the prose in negation. - Affirmation - Negative re-integration under dialectical thinking is also a necessary link for essayists to enter the higher realm of creation. For prose, it is precisely the "anti-normative" in the case of adhering to certain norms that constitutes a stylistic innovation in the true sense.

· Contemporary essayists lack understanding of the chronological and synchronic states of stylistics, the vertical evolution and horizontal comparison of prose, as well as the historical consciousness and grand view consciousness of stylistics, which directly lead to the comparison of female prose narrow. In fact, as far as Chinese prose is concerned, it is a very big concept. It includes the history of Chinese prose for thousands of years, as well as many groups that use Chinese as a prose writing language, including Hong Kong, Taiwan, and Macau. And many overseas Chinese living places - Singapore, Malaysia, Thailand, the Philippines, Canada, etc., which formed the overall pattern of Chinese prose in the late 20th century "diversified development, symbiosis and complementarity, called the 20th century A unique human landscape in world literature."

· As far as world prose is concerned, it is a vague concept. It is obvious that the homogeneity of prose and national way of thinking determines its different styles in different cultural forms, and it also determines our comparative study of prose. It has become difficult. But even if we do not analyze it from the perspective of comparative literature, we can easily find that the open tradition of Chinese prose established during the May Fourth Movement has become weaker and weaker. At the beginning of modern prose, it is a kind of "bringing" attitude to build its own discourse system. ——Wang Hongyan famous sentence

· From an idealistic point of view, Chinese prose should be a combination of Eastern aesthetic tradition and Western modern spirit. Of course, this is not a matter of stylistics at first, but the extent to which essayists can complete this combination. Feminists believe that women themselves are separated from the mainstream culture of their own nation, and she has no right to interpret as a subject of culture. In this sense, we have reason to believe that female essay writers are more likely to form some kind of open consciousness. In fact, the Chinese female prose draws on Western feminism, and the new prose's experiments on modernist techniques have enabled us to see the enormous creativity and possible broad horizons of female prose.

· After the founding of the People's Republic of China, we have always regarded Mandarin as a standard written form, but in fact, Chinese literary language has more abundant resources and branches. If there are no dialects, classical Chinese and spoken language as a supplement or support force, then Mandarin will be the hegemon in the language level order, the vernacular will lose one of the roots of the Chinese cultural tradition, and the written language will only be dull. The path of Chinese literary language will also become narrower and narrower. Once language loses its existence as an artistic medium, it loses its most important form of existence, and its imagination can be limited. The desert of language often indicates the lack of our own.

· After the May 4th Movement, the tradition of classical Chinese prose was interrupted, and the classical Chinese as a form of language also became the past tense of the Chinese language. The demise of language often has two forms, one is gradual change, the language itself changes constantly with time and various factors; the other is the artificial interruption of the language tradition through the intervention of ideology. The interruption of the tradition of classical Chinese in the "May 4th" period belongs to the latter case.

· As far as the “new prose” experiment is concerned, the factors that may continue to retain vitality in the culture of classical Chinese should be the inherent nourishment of the new genre, otherwise the foundation of prose innovation will be fragile. From this perspective, Taiwan's prose has more traditional relationships with traditional Chinese prose in terms of language form and Chinese culture.

· Objectively speaking, the literary language of the "May 4th" period still finds some possibility of "chemicalization" between classical Chinese and vernacular. "Chemicalization" is a potential escaping behavior of the original discourse under the form variation. Bing Xin once advocated that language should be "chemicalized", that is, "the vernacular Chinese culture" and "Chinese western culture", and that this "chemical" word is very subtle and cannot be said. However, this kind of "transformation" escaping gradually loses its conversion possibility as the vernacular text matures, the folk style continues to deepen, and the language popularization based on political ideology demands. ——Wang Hongyan famous words

· The flexibility of Chinese language itself, the stagnation of the language, the unevenness of the state, and the beauty of the state are not the unfavorable factors of the connection between Chinese and modernity. On the contrary, it is the basis of this modern turn. The current prose language pays too much attention to the standardization and writing of language, and often only converts a book from a book to a book. On the other hand, online writing has placed too much emphasis on foreign vocabulary and fashion words and fully emotional interjections that are closely related to modern technology. Although more and more people are writing through the Internet, fundamentally speaking, this kind of writing emphasizes the feeling of the function far more than the aesthetic feeling. The increasingly complex psychological experience of modern people has become pale in unrestrained catharsis, and online writing, including online prose, has not given us new possibilities.

· We are unable to conduct a study of Foucault’s “knowledge archaeology” in the “mother”, which would be a vast project. A simple approach is to look at the generation process of the mother's concept through the existing mother type in traditional culture. This article mainly uses the image of the mother before the modern Chinese history, including folk opera, literary texts and related materials in oral rhetoric as a reference to cut into this subject research.

· Good wife and good mother type. This is the most common example of a perfect mother image in male writing. It not only gives men the ideal of expecting a mother's image in the field of vision, but also the setting of a female character in a complete family structure. The presence of the father and the son. It is the authority of the father and son that corresponds to the wife and mother.

· Chinese traditional culture upholds a value concept based on harmony. Guided by this concept, the Chinese have formed a way of thinking that emphasizes overall, intuition, heavy relationship, and practicality. In the relationship between man and nature, traditional culture pursues the highest realm of "harmony between man and nature." For women, the "day" here is not directly related to the "day" in the natural sense, or the "day" in the realm of life. "Heaven" directly points to the father, husband, and son.

· Here we find that once in the daily context, a woman with a mother's identity not only recognizes or caters to the role definition given to her by traditional culture, she further assimilates in the majesty of the patriarchal will, and in the mainstream order. At the edge of it is a transcript of the sub-social order of women – it is based on the frame and suppression of the vitality of younger women. This means that women are imitating in the sub-social culture is the mainstream cultural hierarchy and the patriarchal supremacy of the family command, so that the mother is obedient and attached, and now she has added the implicit role of "executor". And this is the "highest realm" of a good wife and a good mother. ——Wang Hongyan Quotations

· In ancient China, a large number of dying poems, memory poems, and poems all described the merits of a woman as a wife and a mother. The mother-in-law tattoo, Mengmu Sanqian, and Sanniang teaching son directly linked her mother’s education to her children’s talents. Mother is still the main value of women in a male perspective. Of course, after the "May 4th", China's modernization process also inspired writers of new literature to link mothers and personal redemptions with national culture.

· The concept of chastity in Chinese feudal culture sets the only intimate object for a mother, especially an widowed mother, to be a son. A son is equal to a loved one and a loved one. However, a deformed regulation that pushes women to the "fear of love", in turn, prohibits and satirizes women's tendency to this mentality.

· When the concept of "mother" is implemented, it is easy to be replaced by self-sacrifice, dedication, and so on. If we say that the past "sacrifice complex" is only an instinct based on maternal love for the mother, now it has become a mother's consciousness through ethics. That is to say, the mother's self-sacrifice spirit is summarized as an ethical model, which transforms the female mother's love nature into a conscious unconditional sense of responsibility.

· When sacrifice and devotion are synonymous with maternal love, “being a mother” is first and foremost a belief in the spirit of a mother. Yes, from the pain of the body to the phoenix nirvana of the spirit, and finally obsessed with a passion similar to religion, the mother recognizes her identity as an object of social regulation. It is also here that the mother has enshrined herself in the altar of the fatherhood, and she has to wait for a liberation and restoration under a new culture.

· There is a constant discussion about some concepts in the academic world. In fact, in the end, it is often difficult to make a conclusion. Especially in the near future, "pure literature", "literature" and "good works", etc., are not impossible to conclude, nor should they be There is a certain conclusion, because many so-called finalized things tend to bring one-dimensional practice, just as "bottom writing" has appeared frequently in recent years. It has changed from the author's spontaneous writing to the reviewer's concept summary and call. And then returned to the author to become a conscious resounding, and now it has become a swarm of followers and similarities. ——Wang Hongyan famous sentence

· Many people who oppose the definition of literary ontology by "pure literature" are because they believe that the concept of pure literature is biased towards formal experimentation, deviating from realistic criticism, and sticking to the inner world of the subject, which is a typical "introverted" writing. . However, I believe that pure literature has no essential connection with themes, themes, writing styles, and artistic pursuits. You can't say that a novel has a stylistic experiment, it must be pure literature, and it cannot be said that a novel has written the bottom of poverty. Pure literature, the most important thing is the aesthetic transcendence embodied in the works - transcending the secular morality, transcending the religion, transcending history and the present, and finally relying on the direction of the beauty of God.

· Of course, pure literature is bound to be a niche. It may not be recognized at a particular time. It is an artistic creation that few people think about and is a literary pilgrimage with a sense of sublimity. In the literary domain it has opened up, there are almost all the figures in the history of literature.

· Of course, more literary journals still want to find a balance between art and readability, both to keep the magazine alive, but also to consider the dignity of being a pure literary journal. It can be said that for many literary journals, literature is still a sacred cause related to the soul.

· Emphasizing the vocabulary of “sublime” or “sacredness” is a ridiculous thing for a long time. One of the important influences of postmodern philosophy on literary criticism is that everyone realizes that literature does not have our imagination. The importance of the book is that the responsibilities that literature can bear are few and the problems that can be solved are few. The writer should not take himself too seriously. The traditional so-called depth, responsibility and sacredness are suspicious.

· And I think this is a suitable time to construct: Rethinking pure literature, even if we can't strictly define or divide it; it's also a suitable time: returning to the banner of love and beauty and freedom, picking Pick up the sense of mission or sacredness that we once laughed at, letting the writings listen to the inner world, rather than echoing or following the trend. Re-create a writer in an era of murky blindness and return to the sacred hall of literature. ——Wang Hongyan famous sentence

· The study of prose in the 20th century has always been in a marginal position. The category theory and feature theory of prose style have caused critics to debate for a long time. After the 1990s, with the enthusiasm of prose, the criticism of prose has become more and more diverse due to the intervention of the mass media. Every consensus in prose theory is accompanied by controversy and media hype. This kind of debate itself makes the prose studies in the 1990s appear both impetuous and diversified.

· The prose criticism in the 1980s focused on the collation of prose theory in modern literature and the attention to modern prose history and prose art theory. But what makes more sense is the re-recognition and evaluation of the 17-year prose in this period, which directly affects the development of prose and theory in the new era. The research on the 17-year prose is mainly focused on the criticism of some authoritative views such as "Yang-Yang model", "formation scattered and not scattered", "light cavalry theory" and "sea wide sky theory".

· Regarding the “new prose”, the critics have always encouraged it to be summoned with a great enthusiasm. In the 1980s, almost every style—fiction, drama, or poetry—started “exploration.” "," "experiment", "pioneer", "rise" process, but the field of prose alone is quiet, like no one is farming. In the face of this silence, prose theorists began to actively call for the birth of prose with modern consciousness.

· In terms of stylistic aspects, “big prose” and “literary purification” oppose each other. In the 1980s, Lin Fei's essay "generalized narrow sense" was widely accepted, that is, general prose includes prose, narration, narrative and other traits, while narrow essays are lyrics-based essays. It does not rule out intellectual thinking.

· The debate about the purification of large prose and prose is still a difficult topic to be concluded today. One of the direct arguments is that what type of prose should be regarded as authentic prose. Different people have different views on this. In the first "China Prose Forum" organized by Peking University, Lin Fei emphasized the generalized narrow sense of prose, and used Xu Chi's "Tower Tail Foundation" Argumentation of lyric prose should be the apex of prose, while other types of essays constitute a solid tajic of prose. Although this formulation is more moderate, it is also in fact recognized in the "authentic theory of lyric prose." Professor Chen Pingyuan of Peking University believes that intellectual prose can better reflect the superiority of prose style, and the example of Lu Xun and Zhou Zuoren's creation is the authenticity of excellent prose. ——Wang Hongyan Quotations

· The ideal state of development of a style is not that one type becomes authentic, or becomes the main trend, but multiple forms coexist, but the critics should discover the truly outstanding works in this "coexistence". This kind of "excellence" was established at different levels.

· The debate about "little women's prose." The small woman prose mainly refers to the urban female prose that is popular in Shanghai and Guangzhou in the early and mid-1990s. The relationship between women's literature and the city itself is very close, because the awakening of female consciousness is carried out in the process of urban civilization, so many female writers will create works related to urban themes, as well as in the prose world.

· After the 1990s, the term “new prose” was often used. Whether in the fields of publishing, creation or criticism, “new prose” appeared frequently. People use "new prose" to refer to or advertise a prose that is different from previous prose, but because there is no clear frame of reference - it is difficult to say whether "new prose" is relative to the prose of the "May 4th" period, or seventeen The prose model of the year, and the prose as a way of individualized speech, there is a huge difference - thus, the naming of "new prose" often brings chaos.

· “New Prose” continues to use the existing discourse resources and narrative methods of prose, and has also carried out more text innovations – experiences and memories of violence, appearances of sexual expressions and sexual discourse, diverse forms of personalization, Emotional structure in textual cohesion, bizarre artistic horizons brought by multiple perceptual methods, and so on.

· Although "you" is always a vague concept, there is no doubt that it is precisely because of the listening posture of "you" that the inner space of prose has some tendency to open outwards, first because of the dialogue posture of the narrative subject. She always felt the gaze of external gaze, her narrative was constantly interrupted by new narratives, and constantly returned to the context of "you", thus making the narrative itself a kind of reflection on narrative. It is also through this dialogue that the narrator jumps out of the harmonious coherent textual context of traditional prose and transforms the perspective and rhythm to rethink the inner relationship between history and the present, the self and the other. ——Wang Hongyan famous sentence

· The rebellious consciousness of “new prose” is also manifested in the presentation of a certain “new feeling”. The “new feeling” mentioned here refers to the completely different orientation from the common emotion and value judgments of previous prose.

· Can the decisiveness, cruelty, and disputes in the depths of the soul enter the prose narrative? Are these all aesthetically pleasing? Isn't prose a past tense, not a peaceful, dilute, elegant memory of past events? Can essays use such a real stroke to write the indifference and depression of the individual's heart? In the new generation, there is nothing wrong with this. The hopelessness and helplessness experienced by life in discipline, prying, noisy, coercive, and chaotic environments is, in a sense, a metaphor for human life, not just a specific scene of adolescence.

· In general, “new prose” rewrites many images of the past, such as childhood, youth, revolution, father, religion, etc. The moderate and reminiscent of “reminiscence” narratives used in previous prose is more emphasized now. Instead of sexual and traumatic narrative gestures, the nostalgic color of memories is replaced by some cruel beauty.

· The black child's prose is more representative. She no longer uses the beautiful lyrical style of traditional prose, and there are many vain and awkward narrative gestures in many chapters. In the space-time structure of narrative, it is characterized by the intersection of Marquez's multi-temporal voice, and the emergence of various strong images makes the intensity, emotional and sensory tendency of language aggravate. Especially in the narrative of childhood, there is a more subjective emotion, which is why she is called the "new feelings."

· The "new" of "new prose" is largely based on the brushwork of the "meta-fiction" of the new wave novel. It regards the narrative process as a conscious text strategy, focusing on the "dissociation" and subjectivity of the narrative voice. ——Wang Hongyan famous sentence

· “New prose” is a change in prose thinking, but it is also facing difficulties. First of all, some "new prose" writers rely too much on the power of thought, which weakens the image of prose and often makes the metaphysical space of prose stretched. After all, relying on ideas to structure prose requires essayists to think deeply and innovate, otherwise it will easily give people a feeling of repetition. Secondly, the narrative nature of the text is enhanced, and there are attractive elements like the novel. However, many writers often deal with the relationship between narrative, reasoning and lyrics, not only making their prose "four unlike" but also more artificial. The sense of doing things, this is also a flaw that damages the vitality of prose. Again, excessive attention to linguistic forms often weakens certain spiritual forces.

· There is no doubt that the writers of "new prose" have not yet seen their own people who can enter the history of prose in terms of their individual creative achievements. In a certain sense, the creation of "new prose" writers fully proves the prose as a feature of "easy to learn and difficult to work". For a prose writer, there are several excellent works that are not easy, but I want each one. Prose is guaranteed to a high standard and is obviously difficult.

· We use "rewrite" to collectively name the writing positions and discourse patterns of Chinese women in the 20th century. This is not only for the patriarchal discourse norms in the historical domain, but also for women's own blind obedience under these norms. With imitation. Rewriting is a kind of negative consciousness, which makes women's writing eventually tend to "anti-interpretation" and self-interpretation; rewriting is also a concrete text practice, female writing is subverted by refutation of the established discourse form in the traditional view. The gender order of patriarchy.

· The mother’s new image is not the vacuum of the words left by the old image. On the contrary, when we introduce the new image of the mother’s image in the modern female text with the new change of the mother’s image, this means that we not only emphasize and history. Different types of original images, such as the image of modern super women and the image of peepers, we also need to pay attention to the modern interpretation of the image of the mother and seek to find common and variability in history and modernity.

· The female writer is in the corresponding poetics construction of female collective memory and reality remodeling. It describes the mother from the feast of the feast to the "rebellious", from the good wife and the mother to the Nora, from the classical lady to the super The historical evolution of women, from knowing the book to the image of the peeper, thus completing the dual observation of the mother's tradition and the current situation. ——Wang Hongyan famous words

· As the saying goes: The master's tools can never destroy the owner's house. The value of the form in the female text is not limited to the meaning of the tool of neutralization. In fact, in the past historical writing, the ultimate attribute of the discourse mode affirmed in the name of neutral or even human is masculine. Therefore, rewriting the mother means that women must establish a discourse mode on the experience of self-survival, reading and writing. This method does not mean or seek to dominate the discourse mode of human beings, but it must be The enlightenment spirit of gender poetics is recognized, because this is the maximum degree of freedom and truth in the allowed category that women can obtain through the gender narrative revolution under the cultural inertia of the patriarchal tradition. The patriarchy cannot ridicule. This is not yet complete poetic quality, because this is the first group of flying performances of the "Shakespeare's sisters" who have been buried for thousands of years in the state of self-discourse vacuum. She has reason to get internal and external from female gender. Recognition and approval.

· Compared with the perspective of the daughter, the mother's perspective and the woman's perspective have changed qualitatively. The mother's perspective refers to the narrator itself as the mother, and the subjective reflection of the mother's role. The significance of this perspective is that she goes deep into the mother's subconscious field and directly reflects the inner truth of the woman as a mother.

· Under the traditional poetics of shaping a typical image, characters become one of the indispensable elements in the novel. The true rounding of the characters is an important aesthetic standard for the success of the novel, but from the sacred narrative to the aesthetic change of intuition and desire narrative This makes this classic theory have no place to stand up - the character image is placed on the edge of the discourse strategy of the pioneering literary experiment.

· It is true that we cannot define a perfect discourse model to compare the gains and losses of female narratives, but the diminishing thinking routines – this is one of the common ways of thinking about feminist self-definition – telling us that women are While constructing a narrative strategy, it should also be constantly dispelled and reconstructed, because perfection is only a process of continuous improvement. Abandoning self-transcendence from within means giving up the motivation and possibility of this trend.

· "Bottom-level writing" is the most important literary phenomenon in Chinese literary circles in recent years. The writers' persistent attention to the bottom public in China is admirable. But as an editor of a literary selection, I have a lot of doubts in the daily reading of a large number of original works. ——Wang Hongyan famous sentence

· From stylistic experiments to re-emphasizing the importance of narrative stories, pure literature, main melody, popular literature, the bottom layer is either a vague concept, or a symbol of figurative or propaganda function. The symbolized bottom layer is sometimes the wishful thinking of the intellectuals. Sometimes it is the conscious guidance of the propaganda organization. In this kind of guidance, the people are often the image of the spokesperson with a very high consciousness, which we see in real life. The living "this one" is absent.

· "Bottom-level writing" reflects the living conditions of the impoverished class in China during the times and special periods. The complex mentality changes of Chinese workers and peasants from the ownership of the masters to the weaker groups have achieved their due achievements. Many writers have their main attitudes. It is worthy of respect, they give the characters great sympathy and compassion.

· “Bottom-level writing” and its critical spirit of reality are inspiring and increasingly valued. But unfortunately, when the "bottom writing" is getting louder and louder, there are fewer and fewer good works. From the author's spontaneous writing, to the reviewer's concept summary and call, to the fashion of the journal issue, and finally back to the author to become a conscious resound, until a swarm of followers and similarities.

· Good works are not necessarily related to the theme. You can't say that a novel that writes the bottom of poverty must be a great work. It can't be said that a novel has a pure style in its stylistic experiments. The most important thing is that it is in the works. Reflecting the transcendence of aesthetics - transcending secular morality, transcending religion, transcending history and the present, and finally relying on the love and freedom guided by the beauty.

· The term “literature” often leads to some kind of authoritative orientation, bringing boring literary creation reality, and it is not easy to sigh “harmony and difference”. Whether literature is divided into subject matter, doctrine or stylistic form, there should be diversified orientation and creative achievements. ——Wang Hongyan Quotations

· I think that a good literary ecological environment allows for a multi-dimensional writing and interpretation space, both to promote diversity and a sense of responsibility - to enjoy the concept of freedom and equality after the dissolution center, while taking on the depth and value pursue.

· A large number of memories of childhood and locality are often about adult desire to return to innocence and integrity. The homesickness of every literati has a similar tone, which is created by their common cultural traditions.

· Since the modern times, the characteristics of the “home-integration” unique to the homesickness have emerged. This is a form of nostalgia under the influence of Confucian culture and specific social trends. "Huaiguo Xiangxiang" is a kind of wandering mentality, which seeks a sense of belonging in the context of foreign culture.

· Part of the female essay centered on urban life avoids the homeland of the country and avoids the question of the ultimate value. The joy of the present world has become the destination of life. No matter whether it is the hometown or the cultural hometown, they will not arouse their strong embarrassment and loss. melancholy. The city has become a temporary place for matter and soul. Some urban essays with leisure and entertainment tend to appear in large numbers, which became an important phenomenon in the field of prose in the end of the century.