The Western-style Dresses Writing Of Modern Chinese Literature

"Semi-colonial" is an important historical context for modern China which has a profound influence on modern Chinese literature.As the "imported goods",dress in the "semi-colonial language" is undoubtedly carrying a strong cultural information.on the one hand,it is simple,light,hygienic,symbolizing independence and freedom,thus deeply loved by the people;On the other hand,it is an imitation of colonial body decoration,implying lowliness and disgrace,so it is widely rejected.As a result,the dress is a typical behavior of the people to represent their own cultural mentality and identity,and have been written by many writers to convey their complex feeling in the gap between Chinese and western culture.It is the main content of this paper to analyze the rich implication of these dresses-writing.The first chapter is about the dress writing and cultural implication of the image of "false foreign devil" in modern Chinese literature."false foreign devil" is the unique image series of modern Chinese literature,and the writers are keen on writing in’s foreign dressing to show their cultural reflection.Although the false foreign devils’ appearances of the late Qing Dynasty writers’ novels were foreign,but the inside is filled with the rich feudal thoughts.These reflect they were afraid that their compatriots become "non-Chinese",and their own nation and country behind the "western" / "colonists",which was a national identity trouble.However,the fake foreign devils depicted by Lu Xun were pioneer who changed clothes and cut off the hair firstly,their "strange" costume was considered to be shameful and laughed at by the public.These people clearly reflected the conflict of the torchbearer and the public,who also illustrated the difficulty of China’s enlightenment.the "false foreign devil" in Lao she’s works have shown the mixture of superior and superficial,they worshiped foreign things including clothes,and disliked all the domestic things,look down upon their own country and compatriots.These were serious "self-colonial" behaviors,and criticized severely by Lao She.Semi-colonial China’s intellectuals generally had one kind of contradictory mentality,which has a clear reflection in the writing of the dress of literature.This is the content that the second chapter try to study.The Biography of Studying in Japan tried to bridge the victims of the traumatized nation by demonizing Japan,but the novel’s dress writing reflect a contradictory phenomenon clearly:resented Japan on surface,in fact,envied Japan extremely.The writers of the Creation Society were enthusiastic about showing their ambivalences paradox by dresses writing.On the one hand,Chinese exchange students in the Creation Society’s novels were discriminated against in Japan who wear western-style dresses,so they not only had a grudge against Japan,but also resented the weakness of their own motherland;On the other hand,they always worn western-style dresses in order to separate themselves from the compatriots when they returned home,and they admired Japan incomparably and desired to be as strong as it.Tao Jingsun can be said to be an exception to the Creation Society,and his dresses writing implied his abhorrence to China and the closeness to Japan.The former was his political motherland,and the latter was his cultural "home".Dresses writing reflected the discord of his “political self” and “cultural self” clearly.The New Sensation’s dresses writing were also a metaphor for contradiction of identity.Their dresses writing in Preliberation Shanghai,about females along with in daily life,reflected their envy and pursuit of the colonists.The New Sensation adopted the strategy of "going to China" in order to catch up with the colonists.Consequently,they fell into the maze of identity in Semi-colonial Shanghai where was full with intricate culture.The third chapter discusses the dresses writing in the generalized revolutionary literature,and analyzes the identity of the dresses writing in the revolutionary literature."Revolutionary literature" writers believed that the western-style dresses had a strong colonial color,wearing it was also a personalized enjoyment of life,which was not consistent with the revolutionary process,and therefore need to be criticized.In particular,the beauty body images of the western-style dressing modern women were full of seduction so that will tempt and erode revolutionaries.Therefore,they tend to be the first object of being examined by the writers and being controlled by political discourses.However,in the early works of Mao Dun and Ding ling,the revolutionary rationality did not fully collected and integrated the body words,which led to the cracks emerged in their works,while the fracture is just the place where the literary charm is distributed.But,the rift was soon mended by them,and their writings became more and more the standard products of politics.The image of the western-style dresses become more and more "negative" under the resistance to colonial aggression,deconstruction of colonial words and unity of thoughts,until disappearedcompletely in the end.Finally,the conclusion summarizes the full-text view,and points out the meaning of the dress writing of modern Chinese literature.In brief,the dresses writing of modern Chinese literature are not just the role of shaping the image of the character and setting the background,but hide a very rich and complicated contents,such as cultural conflict,identity,class distinction,national consciousness and so on.In the manner of wearing and not wearing western-style dresses,there is a competition of "self" and "others".These are the deep implications of semi-colonial Chinese literature,which are also the image records and representations of semi-colonial Chinese literature and literati struggling in the gap between Chinese and foreign cultures.