An Interpretation Of Modern Chinese Literature And Art: Circulation Of Literature And

This article is an attempt to draw a different kind of picture of literature development and changes within the scope of the development of modern Chinese Literature, and the intention of the article is to comb the context of interaction, complementary between the literary figure shadow in visual history and modern literature process, with this method, deduce in the new context, how modern literature to achieve a breakthrough.This article uphold a broader concept of literary history, in order to escape the perspective of pure literary texts, launch systemic arrangement and discussion within the logical framework which the figure shadow and literary texts may complement each other, combine own development of the literature and the analysis of the visual cultural context which the literary place itself.By using cultural figure shadow as coordinate point and reference objects, to map and mirror all sorts of problems in the process of construction and transformation of literary modernization.This paper will start on the following aspects:The first part of this paper focuses on the relationship between culture and modernization process of Chinese figure shadow within the development of modern Chinese literature and art. The discussion is made on two levels respectively, one is evolution of figure shadow, the other is construction of visual cultural context. Firstly, to start from the"Dianshizhai Pictorial", the focus is to clarify its meaning in the visual enlightenment, to examine the visual process and the inherent changes of literary and culture from literature narrative perspective, to state explicitly the influence and infiltration on modern literary writing given by visual language context, and to establish a multi-dimensional concept of literary history from perspective beyond the point of view of literary context. Secondly, this part also sorts, analyzes and clarifies figure shadow pedigree from a literary point of view, and tries to analyze cultural superficial characteristics and cultural scenery in which the tradition and the modern, the west and the mainland are entangled with.In the second part, using Aubrey Beardsley, Masereel and Kaethe Kollwitz, three Western painters as a frame of reference, refract the landscape of modern Chinese literary field domain. Aubrey Beardsley was a British painter of genius.He made picture of Salome, and subsequently the "Yellow Face Chi", the "Savoy" Magazine Illustration. All of them have temperament and interest of decadence, sarcasm and aestheticism. Studying the process in which their works were spreaded, accepted and remodeled, can just reflect the shape feature of modern literary field, thus constructing literary landscape of the twenties and thirties from the perspective of modern image becomes possible. Spreading of Mai Sui Lehrer’s comic paints in China also aroused different reactions which come from camp of writers literati. Out-rushing and agitation about arts, literature population, ideological themes and narrative strategies an be watched during the spreading journey. Relatively speaking, Kaethe Kollwitz is a printmakers who has more leftist color. He was highly regarded by Lu Xun because his works break through political limitation, reach the level of normal human feelings. The key of this section is drawing the outline of publishing condition of Kaethe Kollwitz’s Works, thus making territory of ideology of Chinese literary,then selecting literary text written by those writers who were deeply influencd by Kaethe Kollwitz’s style, examing intersection and interaction of ideology and literary text at artistic level, so as to construct deep literary landscape.The aim of the third part is to analysis The transfer of literature and figure shadows From the Angle of view and narrative. It starts with Shanghai urban light and shadow and New Sensation Novel, taking Mu Shiying and Liu Naou as model, analyzing how they express the desire in a special way of "seen", shaping urban modernity characteristics with modern way, so as to discuss the problem of urban narration and city Rhetoric. In addition, Shi zhecun’s novels and the works of Mu Shiying, Liu Naou have some consistency, but Shi zhecun’s literary forms have more deeply experiments. In Shi zhecun’s earlier consciousness stream novel, he efforts to draw personal psychological territory, while in his later works, relatively, he pay more attention to visualization of inner world, his Modernism works has distinctive era significance,it shapes the modernity of literary form at the level of literary form. Therefore, this point is the content which this part focus on. Secondly, combined with Zhang Ailing’s novel, this part analyzes the relationship between Western art and its novel narrative ethics.Particularly, by analyzing Zhang Ailing’s" painting theory", this part analyzes her artistic concept. Putting Zhang Ailing’s works and Western paintings together, then reading them together, try to draw a picture about the nothingness of life consciousness under aboard ground.After mid 30 s, of course, Yanan as a kind of cultural center, the transition of art and literature is an integral part of modern Chinese literary history, especially under the Yuan narrative of revolutionary literature and art, how to complete the transformation from "May Fourth Movement" Literature to "revolutionary literature", is also involved in "mass" problems of subjectivity. Previous theoretical description of this transformation is ambiguous. And if through the perspective of the change of figure in Yanan culture space shadow analysis, will be more real, intuitive to see that Yanan art system have a profound impact on literature and art development which gradually formed after Yanan literature and art symposium, and can also be seen harvest and failure of the "folklore" In the political influence in later. For modern Chinese literature and art research, no doubt, can develop a new space for research.In the fifth part of the paper, Lu Xun, who is a landmark in the history of modern Chinese literature and art, is selected as a study point. This part tries to analyze his personal feelings and his longing for home and country revealed in the photographs, portraits and book binding clothes from his portrait, image and mirror image respectively. Three photos are selected during his study in Japan, early in 1927 and the last period of his life, to interpret ideology behind figure shadow, to explore deep-seated motivation from the angle of the visual symbolism of the body. Secondly, this part also tries to give an examination of reshaping of Lu Xun’image given by several levels of society from the angel of the portrait drawn by four painters. At that time, the stand-by from different levels watch and reshape Lu Xun, thus refract thanking pulsation which comes from different cultural and political field. Lastly, the focus of this part is on interpretation of the figure shadow in Lu Xun’work as vice-version, besides finding a new way to interpret literary works, using the cultural figure shadow as a lighting object, to illuminate black spot in the study of Lu Xun’s deep thought. Finally, by analyzing compilation of Old Photos, written in Zhang Ailing’s old age, delve into the depths of her thought about personal, family and public space.In short, on the basis of full possession of data, putting cultural figure shadow and the process of modern literary together, read them, explain afresh the theme, value and implication of modern literary texts, explore their intrinsical link, and thus explore the visual impact on literary text. At the same time, in this process, this article tries to have a restricted view on how various forces to check and balance or game in the modern literary history. In this sense, to get a relatively straightforward, the true interpretation of modern Chinese literature and art.