Revolutionary Ideology Of The Shanghai Writing

This paper investigates the Morning in Shanghai, novel of writer Erfu Zhou, based on the constraint of the revolutionary ideology to writers' creation, took Shanghai' s centurial narrative and contemporary literature which was before the new period as the reference system. The question of this paper concentrates on how the writer' s images of Shanghai are constrained by the revolutionary ideology and how the works themselves broke through the constraints and presented their unique features, which is the distinct value of this novel. Related to the former question, this paper also makes direct and indirect responses simultaneously to questions associated with the literary orientation of the Morning in Shanghai and the historical evaluation on the contemporary literature before the new period. As the novel about Shanghai which was written under the revolutionary ideology, Erfu Zhou' s the Morning in Shanghai, locating in the intermediate like of Shanghai' s centurial narrative, was irreplaceable in city literature.This paper composes of four parts, in addition to Introduction and epilogue. The main ideas of each part are as follows.Firstly, the introduction sorts out two patterns of Shanghai narrative, i.e., patterns emphasizing on social problems and daily lives, which respectively represented by writers Maodun and Eileen Chang. Secondly, it points out the constraint and abstinence condition of the contemporary city literature which was before the new period. Then, it exhibits the current study situation of the Morning in Shanghai, points out enough emphasis haven' t been paid on it and lucubration hasn' t been made. At last, it puts forward thesis, summarizes the basic framework and ideas.Chapter one surveys the historical context of the Morning in Shanghai. First, it puts forwards the radical development of Mao Tse-dong' s socialist transformation. Second, briefly outlines Shanghai city during the period of 1949 to 1956 by contrasting the history and texts, emphasizing the description of some great events. From Erfu Zhou' s narration of the history, we found the writer' s constraint by the revolutionary ideology.Chapter two analyses various Shanghai figures under the constraints of revolutionary ideology. It puts forward the uniqueness of figure system in the Morning in Shanghai, i.e., the suspension of desires for the proletarian, the disguise of the desires with the moralization for the bourgeoisies, and the struggle of the desires under the mask of criticism for the corrupted officials.Chapter three puts forward the conflict and split, the narrative features of the Morning in Shanghai under the constraints of revolutionary ideology. i.e., Erfu Zhou used the dramatic narrative technique, but failed to heat up the conflicts in the novel; the revolution was not able to change the flash way of narration, on the contrary, the two features existed with the parallel space narrative characteristics; the proletariat appeared to be the new master of the city instead of the bourgeoisie, whereas the relationship between the city and the citizens presented the potential dissident situation under the semblance of liberation and concessions.Chapter four puts forward that before the formal publication of the novel, the for-arts-sake and for-politics-sake were two main creative thesis that writers held, for the writers were constrained by the revolutionary ideology in different levels. The writers' psychological condition, which mingled with anxiety and flash, formed under the constraints of the revolutionary ideology, was the deep-rooted reason of writer' s changes in creation.The epilogue sums up the text, puts forward that as a part of the Shanghai narrative under the revolutionary ideology, the Morning in Shanghai , locating in the intermediate link of the centurial Shanghai narrative, was irreplaceable in city literature.