| Introduction:this thesis goes from the vast background of Chinese Modern Literature History and has done the panoramically scan on the creation process of Hao Yan in more than 30 years,especially , by the analysis and interpretation of his most representative magnum opuses of several decades to particularly analyze the uniformity and entirety in the Hao's creation while looking for the characteristics of Hao's creation at the different ages. And realized the trio meanings of studying Hao Yan. One is to find out the basic characteristics of the"creation group"who are similar to Hao Yan in creation experience, creation opinion, creation purpose and creation techniques etc. in order to reach the understanding on this kind of this group: what kind of fiction they have left us? In this fiction what are they trying hard to let us believe? The second is through the study of Hao Yan will help us to understand the route of thinking of the authors during the development of modern Chinese Literature,their struggling and burden of self-adjustment and adaption during the changing of the eras. At the same time, try to understand the zigzags Chinese Modern Literature History passing on, distinct the continue and transition relation of Chinese Modern Literature History. The third is that through the analysis on the individual case of Hao Ran-- this typical figure, try to do the meditate on the history of culture.Chapter One:Initial prosperous period:the characteristics of idealism of the fictions of Hao Ran in initial stages. In this chapter, through the analysis on several tens of short stories of Hao Ran from the year of 1956 to 1963, the writer considers that the creation of Hao Ran in his initial stages has shown one kind of integer characteristics of"Foundation and Anthem". It mainly shows in four aspects. The first is that the author has described a happiness scene"New Countryside"in his works:paradise for the laborers. Through the writing of the author, in this ideal world that was crowned as"Socialist New Countryside",sunshine is his forever color,happiness is his forever rhythm, na?ve and romantic is his forever master and creation is his forever topic. The new countryside Hao Ran described is not only a theme he wanted to show but one kind of ideal he wanted to transmit. Here"New Countryside"has the meaning of one kind of symbol:show one kind of concept or the carrier of thoughts. The second is that all the stories of the author can be divided into four kinds of themes:conquer nature, alter the society, change others and perfect oneself. Essentially the story was all about"New Socialist Man"create a new world. The third is, looking from the angle of analyzing the characters, in Hao Ran's works during this period of time, basically there were two kinds of characters:advanced characters and lagged behind characters. The author tried very hard to mold a so called"New Socialist Man":selfless, with sacrificing spirit, optimism, fortitude, strong responsibility consciousness. These group of people have no any kinds of demerits, perfect people with perfect moral, no human being's love and desire, the only thing they have is the passion of contribution for the collectivity,which has already have the rudiment of"Gao Daquan". So these characters are highly styled. The fourth is that through these styled characters, the author showed the collectivism concept he understood: individual should obey collectivity, the interest of collectivity is higher than everything and the strength of collectivity is great. Through the analysis on Hao Ran's works and the background of the era, the writer thinks that although the short stories of Hao Ran were very strong in realistic -writing with strong realism from his text modality which made us easily believe that at that time China was just like that. His works was created with closely matched policies and always in accordance with the principle to match and serve the policies, the masterstroke and general principal of service policy. He took literature as the tools of ideology and never forgot to show the concept of"Collectivism", that made Hao Ran always let theme go first in dealing with reality—material and concept--theme,rewrite the reality according to his own"ideal", he used his pen as beautiful as flowers to create for the people suffering an ideal Utopia world,skillfully fulfilled the task of covering and coding of the cruelty reality and realized his ideology functions. Through treatment of information simplified, clarified and purified, he let the readers accept what he wanted to transmit without their own choices;his natural plain, vivid literature language turned this kind of choice into self acknowledge and self willingness. The final effect of this kind of works is to make the readers"without individuation","without responsibility". So his works not only goes against humanity but also against culture.Chapter Two:Walking Towards Altar:The floweriness and shadow of"Bright Spring Day"."Bright Spring Day"materialized the most matured art characteristics of Hao Ran. The style of language showed the characteristics of Hao Ran:the languages of the characters were vivid and visualized, jointing closely with the status of the characters;the language of talking was filled with emotions, the language itself showed the evaluation and likes and dislikes;but in disputation language it was exaggerate, improper and crudity. In narrating, the author consciously adopted the narrating language form and the portrait form of the traditional Chinese folklore. But on the other hand, the writer thinks that covered under the floweriness coat of his art expressiveness is the shadow of anti human nature. Starting from testing the supposition of the topic of class struggle, the author invented the two class camps having Xiao Changchun and Ma Zhiyue as the core representatives, with his pen filled with emotion color to show the characters in the two camps vividly, tried hard to romance the life-and-death class struggle between the two camps. Through the depiction of antinomy and conflict of common life and exceeding the other shore, individual and group, emotion and sense, self and society,at the same time of denial the former and affirm the latter, structuring an Utopia altar and took the important and key step of using the former as the offering. Just because the author was in the process of structuring this Utopia, so he also depicted the antinomy, struggle and pain of human nature with divinity, realism with ideal, emotion with sense during this process. Through the depict on the suffering during the process that Xiao Changchun gradually gave up his personal relationship, his love and his emotions with the relatives, the author has described the growing process of a communism solider. Through the realistic and believable depict on a group of neutral people, the author has shown the"weak point"of the ordinary people going from common life to the other shore of ideal",this part has already become the most literature valuable part of"Bright Spring Day".Chapter Three:Whole book filled with education:misplay and lecture of"Golden Road"As the reasonable continuous of"Bright Spring Day","Golden Road"is similar in many parts, such as the theme of class struggle, the similarity and almost the same in the molding of the major characters, etc.. But compare with"Bright Spring Day","Golden Road"is the low-class simulation of"Bright Spring Day"under the further far-left requirements of political aesthetics,the level was not higher but lower. On the surface, the"Golden Road"was written about"agriculture cooperation", actually it sang the song of praise for that kind of infinity enlarged"Collectivism";here the hero has already been fulfilled, there was no antinomy and conflict of this shore and that shore, so there is no pain of the common people of Xiao Changchun type. In the language of morphology of the Culture Revolution,a perfect spirit, a bright light and torch that will lead people to the ideal world was needed so it changed into a crude political fable.The writing on the complicated reality turning into simple ideology made"Golden Road"with one kind of"fable type structure". Although the author's"ambition"was very big and wanted to make"Golden Road"into epic, but the opinion of the author showing ideology was so strong, he wrote finally a"false history". On the surface he was writing on the history of cooperation of Fang Grassland(year 1950-1956),but the whole fiction wanted to testify one truth:the road of cooperation was correct and it was the"Golden Road"for the farmers of China. The result was that all the stories became the footnote of this truth;all the characters are set up around this purpose and they became the tools of explaining the truth and became a typical and concept ional thing. Although the process of cooperation was more complicated,the author made it become a repeated works formed of several narrating types. In the molding of the characters, the characteristics of style and concept were everywhere. It went even further than"Bright Spring Day",especially the character of Gao Daquan. He was fashioned into a"born revolutionary"by the author,one perfect figure with no demerits. It showed the taste criterion of the author on the timely"hero character". In"Golden Road",the author exerted further the class struggle thoughts in"Bright Spring Day", he depicted the two classes, the two roads and the struggle of the two lines entirely. From upper to the bottom, from the countryside to the city, the depict was complicated with lots of changes, interweaving with each other, overlapping with each other,it not only had the facedown of Gao Daquan with Zhang Jinfa the tit for tat struggles between Gao Daquan and Shen Yiren, Gu Xinmin and Qin Fu etc. but also the sharp conflict between Liang Haishan and Gu Xinmin, as well as the strife openly and secretly between Zhou Zhong group and Zhang Jinfa and Feng Shaohuai. As a very clear"writing"of ideology,"Golden Road"had changed itself into works full with symbolized meaning totally. It is a gospel book filled with metaphor factors.Chapter Four:Insane Status:Totally lost in"Children of Xisha""Children of Xisha"only had the"specimen meaning". Under the requirements of political task, Hao Ran conceived and created according to several"important themes"and the regulations of ideology, out of life, out of reality, starting from the theme, from the political requirements, full of nonsense. So the intention of finding the"real history"from the literature of the"Culture Revolution"is impossible,all was rewritten according to the requirements of politics. As the extreme display of Culture Revolution literature,"Children of Xisha"has the most common narrating characteristics of the"Culture Revolution literature":"Charge"the old society,sing the praises of people's revolt, pay a tribute to the outstanding and correctness of the Communist Party, unclad worship of leaders,materialized everywhere the creation principal of"three prominents"and coordinate closely with the policies.Chapter Five:Sunset monody:Fiction creation of Hao Ran"after 1978". The creation of Hao Ran in this period is the denial of his creations during the period of the"Culture Revolution",he went back to his original creation style before the"Culture Revolution",went back to his thumbprint. From the content of his creation, Hao Ran had never meditated and basically refused to meditate, refused to denial himself. Under the new environment,at the same time of letting his opinion and hero walking down the altar but through the route of common customs walking to a new altar,at the same time of meeting the requirements of the present ideology and taste,continually singing a sunset monody for the died resplendence, when he wanted to mold a new character—ordinary hero, he showed this kind of"refusal"from these two aspects. On one hand, he wanted to mode a new ideal character who meets the characteristics and requirements of the era,but on the other hand, he was also tied by the existing value, he could never grasp steadily. Crudeness and faulty expressions appeared in many places. Comparing with the mature ness he wrote about traditional farmers and fable heroes, it showed that his ability not equal to his ambition and could not help. Only in his creations of autobiography, the characters and things in the works showed a completely different status comparing with his literature creations before,it showed a kind of original ecology life on-the-spot record but he never realized that one kind of funny antinomy:if his autobiography fiction was real then it would be a denial of his"Culture Revolution"literature, if we affirm his creations during the"Culture Revolution"period, it means that his autobiography was invented. The above two cannot exist at the same time. Epilogue:through the above analysis, our final conclusion is:the fiction creation of Hao Ran, especially the creations during the"Culture Revolution"and before the"Culture Revolution"were all writings of ideology,Hao Ran consciously and willingly took fiction as the tool of ideology, gradually illustrated politics and cooperated with policies. Hao Ran was a tragedy figure, the tragedy of Hao Ran also shown in that while sending others to the Utopia Altar, he had also sent himself up and paid by himself for the mistakes.
|
PDF Full Text Request