The Enthusiasm To Be Disciplined

This paper takes the focus on the red Chinese novels in 1950s and 60s. It classifies and explains the figures in the red novels in this period, and especially, it clarifies the aesthetical characteristics of the hero images. The aim of the paper is to inquire by analyzing the various figures in the red texts how the revolutionary ideology of this period build the revolutionary enthusiasm in the aesthetical sphere and how, the aesthetical sensation system is constituted which fits the revolutionary reasoning rules. I valued much to give a description of the historical formation process of the figures in analyzing the revolutionary images and did it, and by doing this I find that, the literary features of these images stem from the ideological appeals of that time, and from there on, I probed into the contradictory formation of various ideological elements within the revolutionary figures.I took in this paper the microexamination as the method, and avoiding concluding my study objectives in a macro-account angle, I valued highly the concrete units of the text from where to start the analysis of the delicate and complicated relations of the ideology to the literary figures. Based on the notion that the literary image is the outcome of the ideology of the specific times, the paper takes the retrograde analysis as the strategy and the structure and details as the starting point to explain how the works of that time manufactured actively the revolutionary enthusiasm and revolutionary thrilling pleasures. And nevertheless I explained how the red narration employed the traditional narrative mode in a modified way to assist in making the revolutionary thrilling pleasures.The viewpoint of the paper is: the revolutionary figures in the red novels in 1950s and 60s faced the readers with (he most authentic and most pure gesture, and this gesture contains various ideological entanglements and contradictions which leads to the internal paradox structure of the revolutionary image.