The Sthdy Of The Characters In Zhang Tianyi’s Novels

Zhang Tianyi’s comic portrayal of many characters is a highly personalized pedigree in the gallery of Chinese modern novel characters,and has always been one of the academic focuses of Chinese modern literature research.Since the 1980 s,a large number of systematized western literature,sociology and aesthetic theories have officially entered China,providing a new path for the study of Chinese literature from the present to the historical text.Under this trend of thought,Zhang Tianyi’s single novel’s character image research and the character type research based on the standard of identity have been common,and even become the basic paradigm for a period of time.However,in the research of these figures,there is always a lack of overall grasp,the overall penetration of the macro-perspective.Therefore,the thesis takes literary sociology and cross-disciplinary comparative study as the main research methods,and the characters in Zhang Tianyi’s novels as the research objects,weaving his creative thoughts in different periods as the vertical axis,various types of characters for the horizontal axis,the characters to create artistic skills to complement.An innovative theoretical examination of the genealogy of Zhang Tianyi’s characters with national characteristics,it also explains the“Second nature” of the confiscated discourse power,which is a combination of politicization and humanitarianism,and finally interprets the artistic features of the characters in his novels.This paper is mainly composed of the following parts:The introduction part mainly discusses the reason and significance of the topic selection,literature review and research ideas and methods,aiming at combing and analyzing the existing research results from all directions and multiple angles,a holistic approach to academic research related to Zhang Tianyi’s literary creation.In the body part,first of all,An analysis of the grey figures in Zhang Tianyi’s enlightenment.He traces a common national character and spirit in different characters and digs into it.Under this theme,his characters include intellectuals,small civil servants and landlords and squires.Bourgeois intellectuals,intellectuals who “ Returned home ” after the revolution,and other typical figures full of gray color,become trapped in the“Dark Gate”at the other end of the unfortunate people,the light from the Iron House wakes it up from its slumber,but the stern gates force it to remain in the old age,presenting a distorted spiritual character.The little civil servants have soul-like spirit with Ah Q’s form and spirit.They are infected by the“Spiritual victory method”,and at the same time,they combine the distortion and oppression caused by feudal ethics and spectator culture.The landlords and Gentry subtly tamed a number of slaves by weaving a cultural network of power in the countryside with their selfish desires.In essence,these characters emerge the“Tragedy without incident” and the“Ah Q-style” spiritual qualities,intertwined with the initiator’s sympathy and hatred of the complex emotions.Secondly,Studying on Zhang Tianyi’s image of the underclass in the dimension of class relations.His lower-class characters are mainly divided into workers,peasants and soldiers,which show the idea of literature popularization and contain distinct class feelings,fully highlights Zhang Tianyi’s self-conscious political aspirations as a leftist writer.The suffering of the actual conditions of the workers was highlighted,and the opposition to the bourgeoisie was sharply expressed.The image of the workers thus took on the character of a dark institution refraction,it has become one of the successful ideological symbols of the left-wing literature.In the image of the peasants,Zhang Tianyi takes the initiative to point the root of the peasants’ poverty,backwardness and stupidity at the backward and conservative system of China,rather than the peasants’ natural national ailment or class limitation.The image of soldiers is in the special historical scene of the September 18 th incident.The punishment on moral conscience and the situation of the same victims make them in a huge social gap,they are marginalized and cast out as“Others” in social relations.Thirdly,studying Zhang Tianyi’s negative figures that following the concept of art service of struggle.With the outbreak of Second Sino-Japanese War,Zhang Tianyi consciously took a firmer stance on left-wing literature,and made it clear that his current artistic outlook was based on the trend of national salvation and served the discourse of National War,and armed with exposure and satire.Under this creative idea,his novels have formed two kinds of characters: speculators in the national united front and short-sighted citizens.These two types of characters are not simple ideas piled up into the template of the characters,because its struggle and transformation is not overnight,the struggle of human nature is shown to the maximum extent.It is for this reason that the construction of such characters has greatly contributed to the full maturity of Zhang Tianyi’s literary skills,rendering him a genius of caricature and sketch.Then,it discusses Zhang Tianyi’s continuation and breakthrough of modern female image.The female characters in Zhang Tianyi’s novels do not fully follow the “Nora” paradigm of Chinese new literature,nor do they fully integrate women into the proletarian internationalism stream,as other leftist writers have done,actively annihilate their diverse circumstances and mentality.Instead,he chooses to throw Chinese women into the two fields of city and countryside to examine their similar tragic fates and different tragic situations.Through Michel Foucault’s power discourse,the female characters in Zhang Tianyi’s dualistic world of urban and rural can be grasped more deeply.They can’t really control own destiny in the loss of female discourse and the oblivion of Female Power,it can only become the desire tool under the male’s gaze actively or passively,bearing the severe harm of the male-dominated society and the gossip,and the gender essence of“The second sex” is completely revealed.Finally,it makes a general research on the new artistic quality of Zhang Tianyi’s novels.Starting from the limitation of narrative mode,artistic expression,cultural reflection and realistic creative method,this paper digs into and reevaluates the artistic expression of his novels as a whole.