Literary Imagination Of The "big Rear" From The Perspective Of Mutual Views Of Cities

"What is the home front" is both a historical and a literary question.History can only provide war profiles,livelihood data,or lectures.The description of the situation of the rear area,the discovery of the particularity of the rear area depends on specific and vivid materials,and thus to explore the ideological and cultural trends of The Times.This is the specialty of literary studies.The rear area is not only a national defense concept,but also a cultural attribute.It is composed of many cities,but the study of the literary imagination of the "home front" is not a patchwork of city images,but a search for common ground on the basis of respecting the differences in the Anti-Japanese War situation,digging into the similar living experience of the writers,so as to observe the community of common destiny of "city and people" in the home front.Therefore,this paper regards the "home front" as a cultural concept,aiming to summarize the reflection of the cultural characteristics of the rear area on literary imagination.Administrative divisions cannot limit the writer's steps and vision.Some distant rear cities met in the literary imagination.Therefore,it is necessary to establish a frame of reference when constructing or reproducing literary imagination.Without contrast vision,the vitality of the literary imagination of the "home front" could not be stimulated.As the wartime capital,Chongqing was at the intersection of multiple coordinate systems.It will be measured by the dual yardstick of capital and city;Also through the writer's wandering experience,with other cities to establish links;It also forms a relationship of mutual observation with Yan 'an,another holy place of Anti-Japanese War.The first chapter mainly analyzes the dual tasks undertaken by Chongqing during the war: city building and capital building.A capital city not only represents the historical development process of a country,but also acts as a unifying force at critical moments.The power of this symbol not only comes from the regime,but also has close connection with the historical tradition.From the perspective of urban construction,it does not take too long for an ordinary city to become a capital.However,from the perspective of symbols,the growth history of the capital really needs a long time to accumulate.When viewed from these two dimensions,Chongqing in the wartime has a turbulent history as a temporary capital.When Chongqing has symbolic significance,it is particularly important to discuss the character of the capital and the emotions it contains.War is a powerful glue that forces together impossible combinations of two things,forming a strong contrast in the character of the city.The ambivalent urban character of the wartime capital Chongqing was a manifestation of the unbalanced social order.Social imbalance makes the war in the situation of ice and fire.It is indeed a steel city tempered by war,and it is also vulnerable because of the war.Usually,the heavy old capital has a similar kind of characters: the people of the old capital with exquisite life and elegant taste,who all have a sense of ritual in their words and deeds.Such characters represent the spirit and culture of the city.In spite of the changes,they still maintain the old habits of life,which bear the memory of a city.But nurturing a group of city dwellers with the aura of a former capital is a luxury.The wartime history of Chongqing has many commendable points,but the important task of building a capital has not been completed.People placed too much expectation on it,and when their expectations clashed with reality,the center of the literary imagination of the "home front" shifted.Yan 'an became the carrier of the founding ideals.The second chapter mainly examines the city in the rear area from the perspective of looking back.The wandering wartime experience made Mao Dun unable to stand and stare in one place for a long time.He used to look back at the city behind him during the relatively steady intervals of his travels.In other words,Mao Dun's creation presents the war situation of different cities in a delayed manner.This gesture of looking back enriched Mao Dun's perspective and gave the war-torn city a chance to see and talk to each other.The wartime capital is hardly comparable to the former capital in the minds of many literati,let alone elegant.Therefore,from the perspective of urban history and culture,Chongqing lacks symbolic historical accumulation.The arrival of the war gave the city too much symbolism.From this point of view to look back at Mao Dun,we can find different meaning.Chongqing is not alone in the misshapen boom that the war has spawned.Displaced writers form a complex relationship with cities: they may not be familiar with and love the cities where they temporarily settle,but they do become an important part of the war experience.At the same time,cities not only carry regional cultures,they are also used by writers as a condensed form of understanding and thinking about war.The character of the city is concentrated in the mental and emotional characteristics of the crowd,and the posture of looking back is just good at displaying the group image.Looking back is a hodgepodge of views.It carries with it a variety of life experiences,not only detached vision,calm inspection,but also a profound reflection of the life experience in this city.It is with the attitude of looking back that the writer is not a loyal admirer of the city and cannot establish an emotional bond of belonging with the city.They didn't even have the consciousness to write about the city,but the mixed vision created a city of diversity and disorder.Chongqing,the wartime capital,was one such case.What used to be the rear could soon become the front line,and those fleeing the war would have to keep running inland to the cities.Every time they went to one of the rear cities,their nerves were soothed and they even forgot the tragedy of the war.As the fighting spread,they had to wake up from their "numbness" and flee the fallen city again.Thus,the boundary line in the rear is constantly receding.The third chapter mainly analyzes the mutual survey of Yan 'an and Chongqing.The strategic position of the rear area has been changing.Especially after the outbreak of the Pacific war,the center of gravity in the rear area of the Anti-Japanese War moved from the southwest to the northwest.Geographically,Yan 'an before the outbreak of the Pacific war was a sacred place in the outer margin of the rear area.As the center of gravity changes,Yan 'an is becoming more and more "sub-center".With the rise of influence of Yan 'an,Chongqing newspaper once sent reporters to the northwest three times to conduct interviews in Yan 'an.Although Chongqing and Yan'an belong to two different political regions,they have proved the particularity of the wartime society from the positive and negative sides respectively,which can be said to lead to the same result.The democratic and peaceful social atmosphere in Yan 'an is formed in the background of Chongqing.The morbid and restless in Chongqing,under the impact of Yan 'an city imagination,become more vivid.As outside observers,they never abandoned the view of Chongqing to observe Yan 'an.When they returned to Chongqing,they must have taken Yan 'an color.When we talk about these two cities separately,there is no doubt that the two visions of symbiotic coexistence are also separated.Geographically,Yan 'an is on the outer edge of the rear area.But from the perspective of the transformed wartime social conditions,the imagination of Chongqing and Yan 'an has been drawn closer.If most visitors view Yan 'an from the perspective of Chongqing,then Bian Zhilin has a broader vision,from the north to the Shaanxi and Shaanxi border areas to the south to Kunming.His literary imagination connects Yan 'an,Chongqing,Chengdu,Kunming and many other cities.Such as Bian Zhilin,few writers present the literary imagination of the rear area from the perspective of the overall situation.That is to say,in most literary imagination,Yan 'an and the other cities in the rear area are separate worlds.However,in Bian Zhilin's literary imagination,the front and the vast area behind finally have the possibility of unification.The fourth chapter examines the vivid and complex relationship between state power and individual desire through the metaphor of disease.If writers had room for personal romance before the outbreak of the war,once the war had spread across the country,the anxiety of the imminent death of their country would no longer allow them to be confined to their personal taste.The huge influx of refugees has brought great pressure on the governance of cities,which has bred many social problems and generated prejudice caused by hatred and dissatisfaction.As a result,the disease on the home front has brought individuals,society and the state closer together than ever before.The disease in the literary imagination of the wartime "home front" was a huge container.Whether physical or emotional diseases are not only a personal problem,the national health level determines the survival of the nation state,the body has become the arena of personal freedom and state power.When the society and politics participate in the description of the disease,the metaphorical meaning of the wartime disease becomes more complex.On the surface,the author is describing the spiritual and life course of the protagonist as he goes from illness to recovery or death.But in fact,interspersed among them are not only the catharsis of personal emotions,but also the criticism of the writer on social issues.More interestingly,the two are often intertwined: the author sometimes gives vent to personal resentment and grief in the name of social criticism,and sometimes we gain insight into widespread social problems from the actual experience of illness.Therefore,we are not so much analyzing the disease image in the literary imagination of the "home front" as examining the insoluble contradiction between individual interests and national strategy.