The Study Of The "Cultural Revolution" Novels Since1990

This paper, entitled as " the study of the "Cultural Revolution" novels since1990", takes the published novels on the subject of "the Cultural Revolution"(hereinafter referred to as the" Cultural Revolution " novel) for the period from1990to2011as the research object, the last forty years of the "Cultural Revolution" novels overall condition as the face, the1990s "Cultural Revolution" novels as the line, feature analysis and close reading of the text as a point, emphatically summarizing the basic features of the novel and the evolution trend of the " Cultural Revolution" novels since1990s, revealing its uniqueness comparing with the other novels of the same period. With an introduction of the inheritance with the1980's "Cultural Revolution" novels, this paper paid attention to the new changes and new development and summed up the gains and loss of the" Cultural Revolution" novels marching toward new century.This paper is divided into five parts, and the main content of each part is as follows:The introduction part mainly introduced the present situation and the existed question on this topic, illustrating the research methods, thinking and frame and illuminating the major concepts related, such as the misery narration, daily narration, and revolutionary narration, folk narration and fable narration. Based on the social history and cultural change since1990s, there are more abundant and complex interpretation meanings in the "Cultural Revolution" novels of this period compared with the ones of the1980s'. Taking the" scar"," memory"," history" as the focus, the suffering narration, daily narration and marginal narration as the narrative methods, showing how the " Culture Revolution" novels since1990s getting rid of misery, ambitious and collective narrative features, performing a more complex connotation and multiple traits.The first chapter entitled as the" extending scars on the misery narration", persecuting "the Cultural Revolution" novel since1990s. During this period, writers had generally abandoned the collective writing of "the disaster of the Cultural Revolution", without the change of the suffering theme. While the subjective attitude, narrative strategy and narrative mode were treated differently basing on the context of the times and the individual experience of different writers. Under the pen of the " return author", the pain exhibit in the vicissitudes of life and passion, in the displacement of the center from the elite to mass, history to the individual, their reflection and ridicule went along with the destiny sympathy and compassion of the historical figures. To them, feeling of absurdity, desolate sense and missing are forever. To the young writers, different narrative mode selection representing the different understanding of suffering for the different historical and personal position change, and this understanding also embodied the relationship of the self and the self and time. For the avant-garde writers, the "Cultural Revolution" traumatic experience is not only their construction under the context of different ages suffering narrative standpoint and emotional demand of deep cultural psychology, but also the important cultural field swing around in the avant-garde and kitsch poles. For the new generation of writers, they emphasize personal life experience, pay great importance to the current returning visit of the suffering memory in the process of growing up, which shows a postmodern context suffering narrative plane, fragmentation and lack of historical reflection color.The second chapter entitled as "the daily narrative of rewriting memories" as the topic, showing the fiction perspective of daily narration of "the Cultural Revolution" since1990s. The daily narrative appeared as the replacement of the narrative grand of "The Great Cultural Revolution", based on the age, society, politics, culture for the grand narrative of ethnic, national, political party and class endorsement. The daily narrative fragments of the "Cultural Revolution" are constructed because of the palling, collapse, of the "daily life shift". It is not only the reduction of the discourse right of" the vast majority" of ordinary people in "Cultural Revolution" novels in the new period, but also the regression of the "Cultural Revolution " from "history" to "normal ". It is based on the flourish of the daily writing, the change of writer's view of history and the development of literature itself. The daily narrations focusing on the daily narrative of females are particularly worthy of attention. With the multiple force of the female consciousness, the daily narrative and personalized writing, female "Culture Revolution" writing got out of the mainstream consciousness and male bondage of words, showing a unique female daily narration space and gender relations. At the same time, since1990s, the "Cultural Revolution" has been transformed, in a certain extent, into a commercial resources, hiding not only a potential commercial market to the writing requirements and constraints of the "Cultural Revolution", but the significant changes of the daily subject narrative strategies and values of "Cultural Revolution". Writers withdrawal actively from the elite position to give up the stand of enlightenment, stripping the grand historical construction and looking for the daily life value view from the broader sense.The third chapter entitled as "the Marginal Narration of Historical Reconstruction" explores the marginal narration of "the Cultural Revolution" since1990s. Here the "marginal narration" is relative to the main narrative or conventional narrative of the "suffering" and "daily". In this portion, the writers are no longer interested in orthodox history narration, but with the marginalized narratives like "sex and revolutionary narration","folk narrative"," allegorical narrative" to reveal the massive faces of the" Culture Revolution" history. In the works of Wang Xiaobo, Yan Lianke and other writers,"revolution plus love" keep up appearances and they constitute the moral pure, noble taste of sacred and lofty words teasing and ridicule of the " Cultural Revolution" and become the powerful weapon of deconstructing classic revolutionary narrative. In the works of Jia Pingwa, Mo Yan, Bi Feiyu and other writers, it is the Folk Imagination and reduction of history, which will reduce the "people's" myth made by revolutionary ideology and the intellectual elite to free and suffering uncultured" folk". In the folk perspective, the essence of folk sufferings and folk ethics is the puncture and digestion of the ideology of "Cultural Revolution", and as the "Cultural Revolution" autocratic soil, folk shelter evil people and countenance evil practices, fool blind approach is vigilant and criticism on folk. In the works of Ai Wei, Su Tong, Tie Ning and other writers, they are fable Narration created during the "Cultural Revolution" history and based on the reality, on the historical allegory, such as " race" of Ai Wei," Lost Valley" of Su Wei; on the fables of survival, such as " the river" of Su Tong,"special love in special time" of Ji Zhong; fables of redemption of "self-examination" and" confession", such as Shen Qiaosheng's " who will be bite in1966" and Tie Ning's " the bathing woman.The end part briefly combs and sums up the new changes since the1990s on the "Cultural Revolution" narrative, the unfinished state of the "walk" of the history of the "Cultural Revolution", as well as how to deal with the relationships issues among individuals, history and the present reality in the" Cultural Revolution "written.