Color And Modern Literature

Connecting the notion of colour with the study of modem Chinese literature cannot be neglected despite the fact that it is new and strange. Colour, as a kind of historical and psychological base existing in human activity and mind, influences the aesthetic way of human beings and also the way they express themselves. The colour used in literature shows the same great aesthetic power as the colour used in painting as soon as writers put colour which is taken as meaningful artistic semiotic into the literary vision.In China, there is a profound historical and cultural background of combining colour, painting and literature as well. When we put ourselves into the historical situation, many complexity and doubt will become clearer. Therefore, we try to make clear of the relationship between colour and modem Chinese literature on the basis of our empirical and serious attitude.Furthermore, on the basis of the vision of multi-subjects and the common artistic and cultural contexts, our study of cultural and artistic inter-textuality at this level become special but meaningful. It puts forward on brand new literary perspective: colour is not only an important factor in artistic field, but an important means to approach modern literature; It is not only a meaningful form but more importantly, the direction of the writers* artistic spirit and a part embedded in text construction. The expressive power and functional domain of colour contribate to the aesthetic value of texts. Generally speaking, colour is the form of tests, and context as well.This paper is to comb the characteristics of the ways of expression and artistic spirit manifested by different colours according to the two themes of traditional view and modem view. Also it investigates the influence of colour on form and content of modem Chinese literature.In different periods of time, the cultures shown through colours are different. The purpose of this paper if to reveal the various characteristics of modem literature texts in different historical periods and the reason ofits formation under different cultural background.The first chapter talks about how the formation of meaningful art form takes its shape, which is the premise of the involvement of colour. The aesthetic value, imaginary value and symbolic value together provide an open discourse system and aesthetic space for this involvement.The second chapter takes empirical methods to make clear of the basis and resources for writers' cultural psychological structure by the intention of viewing closer at the historical sites and analysis of historical materials. Writers took colour as a kind of meaningful form and that is the reason of outputting mental resources and its application.Chapter three approaches the topic from historical materials on the one hand by comparing Chinese and western classical notions of colour and then points out our traditional philosophical inclunation. On the other hand we studied the characteristics of modern Chinese literature under the current spirit.Chapter four gives a detailed analysis of the traditional notion of colours with its background of modern. Chinese literary works. Country realistic novels and novels which expresses the writers' feeling convey the continuity and development of traditional colour perspective. On the other hand, the performance of colours in modern Chinese literary works strengthens the aesthetic power of texts and makes the texts more attractive. Colour then becomes the theme of an epoch and bears deep meaning. This is typical in Chinese literature.The fifth chapter analyzes on the one hand the process of development and establishment of modern color perspective. Artistic spirit and expressive context bring great change towards the artistic notion of human being. On the other we investigated how the prevailing and expanding of modern art are being accepted and criticized became the notions of modern colour and modern art influence modern writers' creation of works.Chapter six describes the artistic manifestation in...