Form Creation And Its Paradoxes A New Comment On Shen Congwen

Shen Wen is one of the most outstanding writers in the 20th century,both in terms of the number of his works and in terms of contemporary literature.From the stage of modern literature,Shen Congwen’s literary achievements have been respected and praised by"contemporaries",and have also been criticized by critics such as Su Xuelin and he Yubo.Before and after the founding of new China,it was fiercely criticized by left-wing intellectuals because of its literary status and liberal value orientation.Since the "new era",Shen Congwen has changed from a writer "erased" by the mainstream literary history to a"classic writer" discussed in a special chapter of literary history.In recent years,Shen Congwen’s literary creation and his discussion of literary "noumenon" have become the core link of overseas Sinological circles to build "Lyrical Tradition".Shen Congwen’s ups and downs in the history of modern and contemporary Chinese literature dramatically reflect the internal logic of the evolution of literary system and even cultural logic.Through the "overall view" of his literary activities and cultural relics research around 1949,we can have a glimpse of the multi-level and unbalanced complex texture of the modernity agenda.In view of this,this paper intends to adopt a comprehensive perspective,not only to carry out a close reading of Shen Congwen’s literary texts,but also to take into account his relevant research in the field of material and cultural h istory after 1949;Through the interpretation of Shen Congwen’s cultural choice from literature to history,this paper presents the transfer track of "job transfer event" at the discourse level;From the perspective of "career change event",it retraces the internal structural diagram and various paradoxes of Shen Congwen’s literature as a "literary device".This paper takes its beginning lukacs,Terry eagleton,Frederic Jameson,critics such as much rich and exercises "form criticism" strategy,mount "organic text" default,based on the reduction of production process,the text to heavy view "stylist" shen congwen form experiment of richness,flexibility,and its hidden behind the "epistemology" blind spots.The introduction part of the paper,through the formal analysis of Lu Xun’s literature,which is regarded as the "principle of modern literature" by Takeuchi Hao,and Zhou Zuoren’s literature,which is studied by Shen Congwen in literary view,prepares the theoretical framework and conceptual category for the formal analysis of Shen Congwen’s literature which will be launched in the body part later.This paper analyzes shen Congwen’s critical activities in Chinese public schools,and explains the starting point of shen Congwen’s "formal consciousness".This paper reinterprets Shen Congwen’s"Qingdao experience" and takes Fengzi as an example to analyze the "form" meaning of"Qingdao experience".The main part of the paper is divided into four chapters.The chapter division takes"theme" as the standard(taking into account the chronological order)to present the four dimensions of Shen Congwen’s literature.The first chapter analyzes the series of texts of Shen Congwen’s autobiography,taking the Autobiography of Congwen,water cloud,a person’s confession,about Southwest lacquerware and others as examples to show Shen Congwen’s writing of "self";Through the "reproduction" of "self" in different periods,Shen Congwen coded "reality" and formed the corresponding subjectivity scheme.The second chapter focuses on the dilemma of Shen Congwen’s writing "organic text" from the turn of the 1930s and 1940s to the middle and late 1940s;This paper makes a"symptomatic" close reading of the series of novels of "candle deficiency","green nightmare" and "snow sunny",and analyzes the limit and even the ultimate impossibility of Shen Congwen’s text "synthesis" strategy;This proves the premise of Shen Congwen’s"organic text" from the opposite side.The third chapter analyzes the different modes of Shen Congwen’s female representation;This paper analyzes Shen Congwen’s conscious use of gender discourse by taking novels such as border town,housewife,watching the rainbow and picking stars(green dream)as examples;Through the multiple meanings of"women",Shen Congwen presents the "gender" dimension of modernity imagination.The fourth chapter briefly outlines the diachronic process of Shen Congwen’s "from literature to history";Taking the texts of "nonsense and crazy talk" and land reform letters as examples,this paper analyzes the difficulty of adjusting Shen Congwen’s subjectivity mode and the self-sufficiency of literary devices before and after the founding of new China;Taking the texts such as "wandering in Changdian" and "Research on ancient Chinese costumes" as examples,this paper compares the differences in the reproduction mode of"cultural relics" before and after Shen Congwen’s "career change",so as to demonstrate the significance of Shen Congwen’s "career change" at the discourse level.The thesis,in part through an interpretation of the abstract’s sentiment,restores Shen’s writing of the historical context of the text from Shen Cong,and analyzes the dialectical relationship between Shen congruent literature ’abstraction’ and ’express’ orientation,in response to the’ express’ misreading of the work made by overseas Hans.Reappraisal of the thesis’s analysis of the"" philosophical basis of history""produced by Shen’s text from the book,through his account of the relationship between ""express"" and""abstract"".And use this as an example to highlight the methodological implications of formal criticism and the recontextualization of the text for current literature research activities and critique practices.