Chen Xiaoming

· Expressway and information network are compared to show the magical picture of China's post-industrial society. A wide range of shopping malls rush to show off China's prosperity. The economic myth is fully shaping the image of a "new China", which makes literature Trying to keep up with this era seems to be powerless.

· It is difficult to understand the writing of Hakka writers without understanding the Hakka culture. The ancestors of the Hakkas migrated from the Central Plains to the South, a branch of the Han nationality in southern China. The Hakkas are known as the "Jews" of the East. They are hard-working and persevering, and they are characterized by their remarkable ethnicity.

· Literature is on its own path. In today's era, no cultural phenomenon can be as suffocating as literature. This makes it difficult for the full-fledged speculators and the media that are calling for the rain to be useful. Literature is so calm now, normal as if it were in the hometown, and returned home. Everything has gone away, and they are all energetic. When they go to the historical scene of globalization, they become self-righteous and want to create miracles.

· But literature, Chinese literature, more and more calm, more and more honest and honest - there is a kind of "homecoming" purity. When people lament that literature no longer has the power to become the torch of the times, literature is walking quietly on the way home. Literature is now really returning to itself, and not returning to itself. It is no longer a tool, just as it can no longer act as a horn or torch.

· Writing, or literature and writing, in this era, make escape to a homecoming, the image of oppression, pursuit, expulsion, into the image of the lonely dance, into the image of the streaking. Literature finally achieved its succumb to the great times and its obedience to destiny. It is now walking calmly at the pace of returning home, which is the infinite extension of transcendence.

· People are expecting and welcoming the new feelings brought by the electronic consumer society to life. This is not only a great improvement in the convenience of people's daily life, but also a spiritual consumption. . Mobile phones were a symbol of money, power and power many years ago, and even migrant workers now have mobile phones. The mobile phone is so vividly sketching the development of the contemporary electronic industry, sketching China's rapid development of communication, and sketching the myth of China's high economy. Mobile phones are the spiritual link of contemporary society. They connect people closely. No matter where they go, as long as the mobile phone is in hand, people's information is linked. This is obviously the illusion of contact. People’s concerns about each other are only concerns about information and concerns about the benefits of information. ——Chen Xiaoming's famous sentence

· Mobile phones can't fix the inner feelings of traditional life, but they can alienate contemporary life. When mobile phones play the role of misplaced and subverted contemporary life, they seem to be so comfortable and calm.

· Return to the source of spiritual life through religion and return to the original state of existence. This reminds us of the “root-seeking” theme that has been forgotten. But here, what is the foundation of survival? Its directness is religious belief. The novel seeks to present an exotic picture of life in the conflict of faith and fully demonstrates the existence of a “ethnic group”. Chinese people lack religion, and literary works involve not many religions. They are difficult to handle and prone to problems.

· Of course, the “returning home” writing is not to write an idealized spiritual utopia, nor is it a quiet and clear world of heaven. What is “returning home”? So many battles, conflicts, killings, it shows the struggle between the communities, and the struggle for the natural environment to characterize the "family."

· Chinese contemporary novels are a special historical product. To be precise, it is the product of super “historicalization”. It is the product of the development of Chinese modernity to a very Utopia period. With its grand structure and extensive content, the novel can summarize more abundant and sufficient reality, express people's deeper desires, and concentrate on the historical needs of modernity.

· Of course, this escape is an orderly escape, but at some stage it can't move forward, it can't see the road ahead. Of course, the road to literature is just the road to writing. The theory is gray. What the theory can do is to see the truth of the history and to show the possibilities for the future. ——Chen Xiaoming’s Quotations

· Such historical potential changes in the mid-1980s have not been effectively illustrated in the study of literary history to date, which has made people feel overwhelmed by the changes that took place in the 1990s. It is these changes in intermediate intermediaries or transitions that are not identified, and people cannot understand the subsequent history or see the original history. In the mid-1980s, "modernism" and "root-seeking literature" appeared. The idea of ​​individual autonomy has grown up in literature, and the writer's independent thinking constitutes the ideological element of novel narrative.

· The novel is clearly the most conservative and powerful fortress, and it is also a lazy lazy. Other art categories and styles are subject to the pressure of innovation in the times, and all kinds of experiments must be carried out. Only long novels, it must be trapped in its own norms, and its singularity makes it possible to make a difference. . This makes it possible to keep up with the times in a way that makes it happen: it can succeed if it is appropriate to absorb the existing ideas and artistic transformations of the time.

· Modernity carries powerful rational power to dominate literature. In the novels, historical reason finds the most suitable home. The conspiracy of reason and history makes the novels have a gorgeous coat and deep spiritual connotation. This historical rationality is undoubtedly a force that yields literature.

· On the whole, contemporary literature does not find the most appropriate and effective expression in a period of “end of history”. As an adaptation and direct expression, it is effective; and as a more active and effective penetration During this period, and with the creation of a new era of discourse, contemporary literature lacks the vitality of creation. For a novel, it seems even more powerless.

· Despite the development of contemporary novels to this situation, this novel has a good narrative and promotes the development of conventional realism, but its familiarity and sophistication can only show that conventional realism has reached the top. It cannot be said that the narrative of contemporary novels has no way to go. ——Chen Xiaoming’s Quotations

· The changing minds are always hidden in the story of Stefan. In the plain narrative, the heterogeneous factors that entangle the variability of life are always hidden, which creates a tingling tingling sensation.

· If Liang Xiaosheng in the "new era" of the 1980s adhered to a positive historical rationalism, then Liang Xiaosheng was more inclined to stand in the civilians in the 1990s, when he was called the "post-new period" in the narrative of literary history. The stance of the doctrine, a sharp criticism of reality, is hailed as a spokesperson for civilians and vulnerable groups.

· Although Liang Xiaosheng does not pay much attention to the changes and explorations in artistic expressions, sometimes his firm affirmation and fierce criticism will make people doubt, but Liang Xiaosheng's writing undoubtedly has an awe-inspiring Character, this character makes other doubts insignificant. Let's take a look at his writing process, which is so hard and hard. He walked through a different era, testifying for history, defending goodness, working for justice, and taking responsibility for life. His writing therefore has an indestructible power, which makes the combination of literature and truth, goodness and beauty no longer an exaggerated imagination, but a real reality.

· In the field of contemporary literature, there are always some figures there, looming, they are both escapers and some veto. They have nothing to do with the trend, but they must stubbornly resist the trend. With their absolute posture, absolute writing, put pressure on this field, then turned and left.

· The blind person touches the body's touch of the object. This metaphor indicates that I also touch the surface of Liu Wei's text. For text, I often prefer its surface, those smooth, streamlined surfaces, which have a partial aesthetic. ——Chen Xiaoming’s famous words

· Regardless of the aspect, Zhang Yimou is the most outstanding cultural hero of the contemporary era. If China has a cultural hero, it is definitely not Zhang Yimou. "Hero" created the box office miracle of Chinese movies. It was in the scream of criticism, and it was the sorrowful anger of the audience. The sound of Zhang Yimou's banknotes overwhelmed the noise. Zhang Yimou, who can’t stand it, is already a man of the top, and I’m not moving.

· Throughout the 1980s, the avant-garde was seen as a savage beast. People also hoped that the avant-garde would open up a great future for literary creation. The avant-garde in the 1980s and 1990s really reminded contemporary literature of a new historical scene. There, Chinese novels staged the most challenging art exercises. After experiencing the avant-garde formalism experiment, Chinese language novels no longer seem to have any highland needs to be overcome, and there is no place where imagination can't be touched. The avant-garde language shines through those dead ends and desperation.

· What was called literary theory in the past mainly refers to a meta-theory, a standardized theoretical system, which is mainly composed of three major blocks: one is the interpretation of Marxist literary principles, including the classics of Marxist literary theory. The second is the theoretical system of literary theory formed on this basis. The system is repaired and the words and phrases are formed into a huge academic field. The third is to explain the Russian and Soviet literary theories and German classical aesthetics. Openness has added a critical argument for modern European and American literary theory. This is the basic component of our literary theory.

· The formation of Chinese literary theory has its special historical background. Therefore, the concept of "literary theory" has its special fixed meaning. It is a theoretical metadiscourse system. It is extremely important to distinguish this point. The specific literary theory distinguishes the premise.

· Criticism has been under the pressure of theory. For a long time, criticism has been plagued by the universality of theory. It cannot face the text and cannot give a live explanation to literature. But in comparison, the adjustment and change of criticism is easy, because criticism can have its own logical starting point, and it is enough to criticize the literary text. ——Chen Xiaoming’s famous words

· In fact, in contrast to Western modern literary theory, reality is only the theorization or historicalization of modern criticism. Books in Western universities called "theory of literary theory" are mainly a general analysis of the various schools of criticism, more like "critic history." The objects explained by "literary theory" are just some criticism schools.

· Chinese literary theory or literary theory is a giant fable based on the nation-state. It plays an extremely important role in the historical process of modernity. Under its strong norms, Chinese literary theory puts literature in the front of the revolutionary cause, and has established a set of representation systems for the creation of a grand nation-state imagination. In a considerable period of time, literary criticism belongs to literary theory, and they both maintain the order of literary practice.

· Once as a normative literary theory, it is not currently able to regulate literary criticism, let alone standardize current creative practice. It can explain the history of China's special period to a certain extent, but it cannot effectively explain the current practice of Chinese literary creation. Contemporary criticism and old literary theories are divided, and what is important is the variability of the times.

· Obviously, Western literary criticism once struggled in the conceptual field for a while. In the era when the left was popular, it was also the golden age of theory. The position of the ideology of the big ideology needs theory to support it. In the post-Cold War period, the power of the Western Left has increased, but it has to be displaced in a more academic direction. The left is certainly not willing to say "the end of theory" - this is exactly the same as the "end of history."

· China's mainstream literary theory has always been shrouded in grand ideas, confusing by the mindset of the essence of law, thinking that this is the closest to the truth, so that the most meaningful meaning of literature. This holistic and purposeful meta-theoretical way of thinking has dominated people until today, so that people have been calling for the establishment of the Chinese literary theory school. This appeal is still an essentialistic meta-theoretical appeal. The concept of "Chinese literature" is only related to the historical context. It has an emphasis on the relationship with the rhetoric of Chinese language. In more cases, people talk about literature as "literature." ——Chen Xiaoming's famous sentence

· The discipline of literary theory—if it still exists and is strong, it should develop more toward specific criticism. In fact, contemporary literary criticism still does not form an imposing manner, which is mainly due to the disconnection between the literary research of the college and literary criticism.

· The shift of contemporary literary theory will inevitably lead to the development of cultural criticism. The concept of cultural studies is obviously a bit boring, and its hegemonic characteristics also make people in the dilemma of literary theory dissatisfied. If it is replaced by "cultural criticism", it will always ease, which also reflects the idea of ​​the theory to the transformation of criticism.

· In such a situation, theory is no longer a monolithic concept, nor is it exhaustion of the essential laws, but is resolved into countless specific and vivid literary texts, resolved into cultural phenomena, and resolved into images and any symbols. In the feelings and experiences of all things, this is the moment of theoretical death and rapid resurrection. This is the moment when theory is omnipresent without theory. This is the moment when the theoretical field of criticism of the theory is open.

· Modernity discourse replaces postmodern discourse without knowing it, which is really confusing. Why is the modernity that has been crossed by post-modernism revived, and sweeping out the post-modern discourse? The mystery and mystery inside are not clear at a glance.

· The essential intention of modernity can be said to be manifested in two aspects: first, to carry out an in-depth and comprehensive criticism of modernity; second, to use cultural differences in political science to construct a diversified scheme of modernity. These two perspectives and methods are typical post-modern strategies, but the problem is that post-modernism is really dragged into the modern swamp in this discourse. After the post-modern contemporary vitality is dispelled, the rest is the huge skeleton of modernity. ——Chen Xiaoming’s famous words

· Today's modernity discourse reveals the richness and profoundness of the connotation of modernity; on the other hand, it regards modernity as a dangerous historical process and social thinking. The latter is of course in line with postmodern criticism of modernity. Its essence is a deepening of postmodern anti-modernity supported by Marxist critical theory. But the former shows a kind of ambiguity, and because of this, there is still a difference between modernity and past postmodern discourse.

· Of course, the key to the problem must go back to theory. Is modernity diverse? This is the problem facing the universality of modernity. If modernity is diverse, then the basic values ​​of modernity created by the West are placed in suspicion. There is no need for developing countries to hold on to the values ​​created by the West since the Age of Enlightenment, such as freedom, democracy, equality, and universal value. Obviously, this is not a problem of theoretical understanding, but a question of practice.

· The diversity of modernity is a very popular topic in recent years. Needless to say, influenced by postcolonial theory, more specifically, influenced by differential cultural politics, the diversity of modernity has become subversive of Europeanist centralism and anti An effective tool for global transnational capitalism. This is undoubtedly the eager theme of the nation-state that seeks to reposition itself and seek self-identity in the global trend of globalization.

· But in any case, these historical arguments can question the past modernity of the West, but how to solve the value of modernity creation is not necessarily universal, it is still a theoretical problem. After all, the civilization of modern society exists and develops under the concept of liberal democracy. People must reach a consensus on these universal values ​​in order to build a common society.

· Since traditionalism always plays a role in various cultures, no matter what method or degree of “criticism and breakage” is adopted, tradition is always an undead soul. Sometimes, the more radical the break, the stronger the traditional magic. ——Chen Xiaoming's famous sentence

· For a developing country like China, modernity is indeed an unfinished business. And the very preliminary modernity quickly moves towards its own unique historical path. The history of the development of modernity in China is radical and deformed. The violent revolution and authoritarian politics constitute the dominant content of its modernity. It goes without saying that the basic concepts of Western modernity have not been constructed yet. It was not until the 1990s that China's modernity construction began to show its effectiveness.

· The biggest trouble and difficulty in the construction of modernity in China is that the modern Western identity is difficult to get rid of, which makes China's national traditional identity always constitute a huge barrier to constructing modernity. How can Western modernity cross this barrier? People are happy to imagine this barrier as a huge resource that can be integrated with the modernity of the West.

· The postmodern narrative itself clearly contains contradictions between homogenization and heterogeneity. Without homogenization, there is no strong demand for heterogeneity; without heterogeneity, there is no basis for homogenization.

· While preserving the basic concept of modernity, we should lower the modernity's grand narrative about the nation-state and the traditional standard, and implement the concept of modernity into the construction of human beings. That is to say, the basic concept of modernity is in the modern stage, focusing on the grand construction of the nation-state. In the post-modern stage, the concepts of modernity mainly focus on the construction of the people themselves. Return to the subjectivity of the individual, the internality of the individual.

· The idea of ​​modernity itself has been rewritten by post-modern, constructing a new value system of post-modernism, and the most important thing is to construct post-modern human studies. In the future, modern people will be the basis of learning, and the contradictions and predicaments contained in all the externalized themes can be resolved. Postmodern human studies is a new starting point for humanity values ​​that lead mankind to the future. ——Chen Xiaoming's famous sentence

· For contemporary ideology and culture, deconstruction is a robber-like father, whose blood flows through the blood of the children, but does not want to publicly acknowledge their blood relationship. Of course, contemporary ideology and culture are only a matter of scale and depravity from deconstruction. It really does not deserve to be the son of deconstruction. The rebellious idea of ​​deconstruction is doomed to have no direct children. This is right. History always writes its own fatalism in a betrayal way. In most cases, the history of thought relies on inertia and mediocrity to maintain a decent form of inheritance. Deconstruction is just an uninvited guest, and his generosity is nothing but a cheapness in contemporary thought and culture. But this is ultimately a debt, which makes contemporary ideology and culture always sneaky and timid when using deconstruction.

· The oldest metaphysical base is the final land of our self-rescue, because this territory is combined with language, grammar, and category. In this sense, it is indispensable. It seems that we reject this metaphysics. Stop thinking, philosophers are prepared to be freed from this belief system but suffer the most difficulties, because the basic concepts and theoretical categories of this belief system belong to the real field of metaphysical authenticity, and belief is a piece of the metaphysical world itself. This retrograde belief as a whole - the reversal of power has always appeared in philosophical writings.

· It is precisely the setting of “existence” as a transcendental category that wraps anything, and the categories of language and thought can be exchanged. The “existence” itself has no concept of meaning, but can indicate various kinds of beings. The premise of all categories of "existence", the category of this category, the category of transcendence, which itself is absent or "absent", is a no.

· If supplementation is a filling of the lack of origin and is an alternative to irreplaceable things, then the substitution triggered by this supplement will be an endless process of divergence. Therefore, the concept of “supplementation” does not only indicate the origin of the “presence”, but also predicts the deconstructive effect of strategic use in discourse practice.

· In fact, the discussion of academic norms has been conducted at least three times in the contemporary ideological atmosphere after the Cultural Revolution. The first time was a methodology discussion on the "new three arguments." The literary theory community began to seek systematic theory, cybernetics, and information theory from the natural sciences to establish theoretical models. In fact, under the historical situation at the time, Marxist theory dominated the dominance, and academic research was based on dialectical materialism and historical materialism. ——Chen Xiaoming's famous sentence

· The academic style of the New Left has undoubtedly affected the field of modern and contemporary literary studies. Traditional literary studies have been underestimated, and literature has once again become a material for the support of the history of thought. In more cases, the materials are not worthy. The territory of literary sociological research has been broadened to the field of political criticism, where attitudes and positions often play a decisive role.

· Now, it is impossible to establish a unified norm and establish strict rules of the discipline system. The renewal of knowledge and the loss of authority make the strict norms seem extremely fragile. However, in the face of strong challenges in the subject of modern and contemporary literary studies, it is necessary to gain new vitality with an open attitude. The problem is that practitioners keep an eye on the literature while completing the knowledge update. Cultural studies are not a natural contradiction with literary studies. The fundamental problem lies in the final settlement.

· Today, such a hope is a ridiculous expectation, like the desperate request of the loser. I know that we have been unable to issue the appeal or pray for “establishing academic norms.” People have their own aspirations. People can only choose one kind of life according to their own understanding, choose a professional way; just for the obviously absurd literary territory, expectation There are more fellows.

· The "late generation" also had to face the avant-garde art heritage, the experience created by contemporary Chinese language novels, how the late generations emphasized their artistic expression in the narrative of returning to reality and stories and characters. To construct its own literary quality, this is still an unsolved problem. Throughout the writings of the "late generations" in recent years, quite a number of writers have not avoided the problem. Their hard work and exploration are effectively filling the historical rift left by the avant-garde. Now, the younger generation of "late generations" writers have also matured, and their artistic work has to be dazzling. Perhaps it can be said that the "late generation" group is brewing the second shock wave.

· In fact, the so-called personalized writing is biased towards expressing the inner feelings of the individual, or in the literary narrative biased to describe the individual's living state. Forcing individuals to be separated from the social and historical background may have positive significance in literary innovation during a specific transitional period. However, how to further reveal the fate of characters in individual narratives is still the connotation that literature cannot avoid. ——Chen Xiaoming’s famous words

· Only when life is pushed to the extreme will the fate “stand out”. Obviously, pushing the extreme results will inevitably lead to a paranoid tendency. In the narrative of the novel, fate has a sense of direction. It only forms a strong tragic emotional flow when life develops and changes in a certain direction. Happiness and happiness cannot constitute fate. All happiness and happiness are similar, and they are all stagnant. Happiness and happiness are the existences without a sense of history.

· Characterizing the character of the character, this is the aesthetic proposition of modernity. Such a person bears the burden of history or heavy responsibility. He has a combination of history and condenses all the energy of historical conflict. The character's character contradiction often points to historical contradictions. It can only be explained or deepened in class and historical conflicts.

· The classic realist narrative adopts the omnipotent third-person perspective. The narrator is both invisible and ubiquitous. The narrative point indicates the infinite possibility of historical development. The narrator is always an infinite historical subject. Commitment to social history as a whole.

· Traditional aesthetic norms do have strong dominance, and contemporary novels once again face the challenge of returning to the original aesthetic norms and making breakthroughs. This in itself also shows that the artistic changes in contemporary China are not as profound and dramatic as people imagine and expect. The aesthetic norms of modernity are also an uncompetitive undertaking in contemporary China.

· Re-intensifying the aesthetic expression of modernity constitutes an effort to return to the depths of today's literature. Obviously, its methods and results cannot be compared with the past. In any case, fate and character cannot be grasped in a complete historical narrative structure. It is more characterized by personalization. Therefore, as we pointed out in the previous discussion, destiny comes from personal life. The extreme treatment, by pushing the individual's life to the limit, the tragic situation of life is born, but the driving force of all this is no longer obtained from the history itself, but only from the extreme treatment of the character's character. . Nowadays, character becomes the bond and center of all performances. It loses the character of historical alienation pressure. Its dynamic mechanism can only come from the artistic expression of writers. It becomes a product of man, not a product of history. Character is the result of artistic expression, but also its center, and fate is the result of the result, which is the substitute of the center. ——Chen Xiaoming’s Quotations

· Whether it is fate consciousness or extreme treatment of character, it still indicates that contemporary novels still try to return to the modern aesthetic atmosphere; and mobilizing other means of expression to open the space of other people shows that contemporary novels are more complex and rich in construction. Literary quality. Perhaps this kind of innovation that goes back to the impossible history and can come out with traces of history has more practical artistic resilience. This point still needs to be emphasized, but it is not the last habitat of contemporary novels.

· Indeed, the artistic expression, level, and style of a period are always determined by established realistic conditions. In terms of direct reality, publisher orientation, reader interest, editorial guidelines, and critical norms all agree on artistic expression. A sound strategy is to adapt to these realities and to display them in a given circle. Any attempt beyond this range or beyond the rules of the game will be far more likely to fail than to succeed.

· What does contemporary literature call for? The word "call" is obviously not just because of what is missing or not, but because of the lack of essential things, or the lack of souls, which makes "calling" seem so urgent and so necessary.

· In my opinion, literature does not really lose its soul. It’s just us, we are all confused by the “spirit” of the dead literature, we are possessed by the ghost, so that we can’t see the reality in front of us and we can’t see the road ahead.

· It is impossible for contemporary Chinese literature to return to the original historical momentum. In the current era, it is also squeezed by the expansion of image media brought about by the revolution of the electronic information industry, which makes it more than any other time. All need to pay more attention to the aesthetic quality of language art. ——Chen Xiaoming's famous sentence

· In my opinion, there is no essential thing in contemporary literature. What it needs to accomplish is precisely the artistic expression mechanism that is liberated from the modern ideological atmosphere and aesthetic atmosphere. This liberation is not a revolutionary mutation, but a slight variation in the base of modernity - which allows it to maximize the artistic expression of modernity, while adding new and more active factors, A kind of aesthetic quantum that activates the aesthetic memory of modernity - this is the quantum mechanics of aesthetics, which pays attention to the minimum composition of aesthetic quality, so as to truly grasp the decisive vitality of aesthetics.

· Especially China has chosen a fierce revolutionary road, and literature has become an integral part of the Chinese revolution. It is experiencing the transition from tradition to modernity, experiencing fierce social changes, historically seeking the legitimacy and rationality of the literary revolution to provide a perceptual cognitive basis, and at the same time providing all the factors of emotional comfort for severe social unrest. If the fracture is the most important feature of modernity according to Giddens's point of view, this feature of China is particularly prominent, and literature creates a fracture for China's modernity process, while providing a cover for this fracture. The enormous psychological impact of the break provides emotional comfort.

· Obviously, literature returns the soul to history, and it preserves what is only of its own. History is calm, or history tends to end. History can neither capture literature nor literature can no longer obtain excess profits from history. It's all fair. In the historical era of the future, it may be difficult for human history to have the fierce and turbulent situation of the modern grass-roots era. The fierce national-state disputes and liberated landscapes rely on ideology to mobilize all spiritual resources. In order to get super liberating energy.

· All this can only rely on purely artistic to invigorate the vitality. This era of literature is only self-rescue - there is no other soul for him to surpass; but the self-salvation of literature is an important task of this era, aesthetic salvation, saving aesthetics, An important task of this era.

· Perhaps this is the long life of literature – or the living space that has to be faced in the years to come. History has already seen the “future”. Literature has to walk silently in the plain world of life. No one will be excited about it, and it doesn't have to yell, literature has finally become literature itself. ——Chen Xiaoming's famous sentence

· In the late 1980s, postmodernist discourse emerged through a variety of suspicions. The most serious questioning of postmodernism is that modernism has not stood still. Why is there a foothold for postmodernism? From the direct analogy of China's political and economic conditions, it is a fatal blow to the legitimacy of postmodernism.

· "Modernity" is clearly a popular concept in academic circles in recent years. But the exact definition of modernity is not clear. As for its inherent complex meaning, the tension relationship it refracts is not properly cleaned up.

· "Modernity" has suddenly become a hot topic in recent years, and all the discourses about postmodernism have been quietly or unknowingly replaced with "modernity" discourse (this article discusses "modernity" here. "When we ask whether modernity is the post-modern "wreck" or "tonic", we are all discussing at the level of theoretical discourse.

· Modernity has become a hot topic. Of course, it is not just the unexpected gains of the left and post-modern theorists to get rid of the dilemma. It can be viewed from a more constructive and proactive perspective, that is, the post-colonial theory of post-modernism. The expansion of the modern reality of globalization. The discussion of modernity seems to be a retrospective of history, but the focus is on contemporary reality, that is, facing the real problem to dig the root of history.

· The diversity of modernity schemes is derived from the national-national identity. The imaginary symbol of identity difference politics is regarded as an argument for returning to the origin of historical practice. It takes people to realistically create "speciality" until this Special rupture until now. Modernity has created a nation-state that was once thought to be moving towards a common historical ultimate goal, and is now considered to be taking different paths depending on different historical traditions and conditions. From the results of historical practice, it can be seen that in the process of modernity development, Western centralism has very different manifestations from the surrounding colonies and semi-colonial countries. Its most basic alternative is nothing more than capitalism and socialism. ——Chen Xiaoming’s Quotations

· The issue of modernity is hijacked into the field of cultural studies by globalization and post-colonial discourse. It has a profound sense of history in cultural studies in the face of current cultural conditions, and it also has a clear political imprint on the issue of modernity itself. There is of course no theoretical obstacle to introducing modernity into literary studies. The study of modernism in literature has been a popular branch of discipline for quite a long time.

· Cultural studies needless to say, the use of the concept of modernity is handy and logical, while the field of literary studies has to re-start the theoretical planning. If we simply apply the conclusions of the concepts of modernity, it will undoubtedly put the literary research on the verge. Therefore, the problem can only be attributed to "the aesthetic meaning of aesthetics."

· Modern aesthetics constitutes a separation, confrontation and bridging relationship with modern history through the construction of a new aesthetic cognitive system and cognitive style. Modern literary art has always carried out critical reflections on social history. This kind of reflection is of course different from social science. However, it has the same effect.

· Modern literature and art have always questioned the development of modern society. The idea of ​​constant change constitutes the fundamental spirit of modern art, and innovation has become the vitality of modern art. The essence of this kind of innovation is the rebellion against the tradition of art itself and the established social order.

· Introduction of modernity into the study of contemporary literature is indeed a very useful concept. It reorganizes and unfolds postmodern discourse in a broader and far-reaching historical context. It saves postmodern discourse from simple currentity and introduces it. To a more complex historical context. Of course, what is more important is that it makes the overallity of the 20th century that contemporary literature has been seeking for so many years; or rewrites the integrity of literary history with a most appropriate framework. Contemporary literature is not simply integrated into modern literature, but is reconstituted as a whole. ——Chen Xiaoming's famous sentence

· Contemporary Chinese literature and even Chinese literature since modern times are expressing strong desire for change. This aspect is derived from the reality of the violent social revolution. On the other hand, literature and art also reinforce this need. This kind of change is always manifested in a broken way, making the historical narrative of literature full of beginning and ending, and each historical stage is like a historical island.

· Introducing modernity into contemporary literary studies is not intended to reconstruct a grand historical framework of modernity, reorganizing the historical processes that were originally fragmented with a new model; rather, it is more intrinsically clearing those fractures. , confrontation, and repetition of the complex situation. All of this depends on returning to the text, and the return to the aesthetic quality of literature has a unique meaning.

· Of course, the time span suggested by the concept of “modernity” and its theoretical capacity have positive significance for reorganizing Chinese literature in the 20th century. The enlightenment meaning of Chinese modern literature, the liberation significance of the nation-state, or the historical significance of the new democracy, which is related to the later proletarian revolutionary literature, can usually only be understood in a broken structure, in simple The relationship between historical progress and revolution confirms their respective meanings. If a description of modernity is introduced, the priorities of revolution and progress can be replaced by more descriptive description systems, thus showing more levels of history.

· The concept of modernity has a strong historical bonding function, which lies in its potential totality, its liquidity, which can link different phenomena and unearth them in a large historical span. Historical character. For a long time, the relationship between the Chinese literature after the Cultural Revolution and the literary tradition of the May Fourth Movement has rarely been elaborated. It is clearly described as a new era of literature that broke with the ultra-leftist literary literature of 17 years. It is obviously difficult to find and modern. The connected form of literature.

· In these complex contexts, the reproduction of contemporary aesthetics is truly unfolding and advancing. We see that modernity and postmodernism play a role in the way of folding, entanglement, misappropriation, inversion, and reproduction in such an era. Only in this way, the resilience of the growth of literature is commendable. ——Chen Xiaoming's famous sentence

· Indeed, we know that a theory or doctrine is not abandoned because it is exhausted. The important thing is that people always choose and shape a doctrine from the trend. However, where does the trend come from? ? It is of course also a product of people's intentional brewing. The problem can only be attributed to the naive psychology of human beings: the fascination of any doctrine and theory can't withstand the wear and tear of years. What better than the excuse of innovation as a new and old-fashioned one? This makes academic progress reasonable and makes people feel comfortable and enjoy the fruits of progress - this is really the spirit of modernity. This kind of spirit can turn into decay, and in this sense, we can understand that the wreckage is also a tonic.

· The concept of "pure literature" is also strange in the age of such a book market. No one does not think that this former aristocratic class has been destitute, but this view has clearly exposed the attitude of quick success. I insist that the book market is developing towards consumerism. All works that are attributed to the name of literature cannot be separated from literary, and are always associated with literaryness to a certain extent, so that they can be identified as or Refers to the literary works. This makes the existence of "pure literature" a permanent foundation.

· Here, the identity of literary writing gives the existence of words a finite power, and the words are regulated by the identity of literature. Words cannot tear the ideal of literary writing, conceptual power, beauty, love and conversion. An ideal may be far more significant than the existence of the text itself.

· The matriarchal society has been more than 100,000 years old. People have become accustomed to patriarchal rule. Women are deeply oppressed by patriarchal rule. This is an indisputable fact. But it is also necessary for people to see the complexity of the relationship between men and women. When women are subordinate, they are not passive, and women may also disintegrate and even subvert the dominance of male power. There have been various sayings in ancient China. The disappearance of Xia, Shang and Zhou seems to be related to women. The rise and fall of Tang is also attributed to the role of women. While these women regard women as scourges, they also express the man’s fear of women. This fear is insurmountable because he comes from the heart of a man. The fundamental weakness of a man is that he cannot overcome his own strength. More, this makes him the captive of a woman. This is still the case during the period when men occupy absolute domination. Once the male power is weakened, the society tends to be civilized, and the human nature is properly liberated, the status of women will be pushed to a peculiar height.

· I still believe that male power has never been challenged or even crumbled. The challenges and crises are not from the feminist confrontation, but the male power is now becoming more feminine, or the powerful men are consciously imitating women. ——Chen Xiaoming’s famous words

· After the end of the Cold War, international politics tried to show a peaceful atmosphere of self-deception. The power figures of the past also tried their best to make a gesture of broad-mindedness, and even occasionally a guest who could sing and dance. The Russian president, Yeltsin, who is in power, is willing to show his health and happiness with the people. Taiwan’s elections are more like a farce. Those party members and politicians who have been weighted for a while have actually taken the stage with the people’s karaoke. Lee Teng-hui even said: "If it is good for the election, it is ok to be on the stage." Today's politicians, who only know how to please the people, pretend to be pretentious, have already had some legacy of the Qinglou, and they have long been unaware of the bow and the big eagle, and there is no prestige of the Jinge Iron Horse.

· Of course, the era of poverty is the era of men, and men sell their physical strength and barely make a living. The status of women cannot be discussed. When the "right to development" is obtained, it is no longer a problem to support the family. The only problem that arises is how to make the family happy. The important premise of family happiness is to make the woman happy. Only a wealthy society will realize the status of women, and will push women to the center of society and let men turn around women. It is undeniable that the initiator is of course a man, but once a man is used to turning around a woman, he puts himself on his ankle, and he can only continue to dance until he is exhausted.

· In the final analysis, “democracy” and “consumption” are the foundations of modern society tending to be feminine, and these two foundations have inevitably formed the foundation of a peaceful and affluent human society in the future. Therefore, feminization is now and in the future. The characteristics of life. We should be thankful for this, still feel sad? In any case, an elegant and calm society is better than a brutal and brutal one; and an artificial creation will not be worse than a savage.

· Although the construction of post-modern culture in contemporary China is inevitably entangled with modernity, it should be that the positive values ​​of modernity are integrated into the post-modern culture, rather than the deep-rooted integration forces in modernity. Absolute dominance. This requires us to return to the original base of postmodern culture, that is, to return to deconstruction and return to the most energetic ideas of deconstruction.

· In fact, the boundary line of a theory may also be vague. There is not necessarily a strict barrier between one theory and another. In order to maintain a place in the history of thought, various theories are always mutually exclusive and mutually exclusive, and there are many places in which they can actually communicate. Today we can make a proper assessment of deconstruction on a more comprehensive and integrated platform and find out those insights, strategies and methods that are still alive today. ——Chen Xiaoming's famous sentence