Imagining The Peasant

"Imagine the farmer" has two meanings,one refers to the image of the peasant created by the writers;the other refers to the self-pursuit and self-construction of the writers in the process of shaping the image of peasant.It not only includes the changes in the identity and situation of the "peasant",but also includes the writer as the subject of creation,in the process of expressing the peasant,the shaping and change of the subject of the self.Imagining peasants is a writer’s understanding and grasp of peasants,and it is also a presentation of his subjective emotional experience.It is of great significance to the construction of contemporary Chinese literature.Since the New Era,with the development of society and the convenience of transportation,the traditional rural villages dominated by the agricultural society almost no longer exist,and the peasants no longer stick to their homes and land.The fluidity is gradually enhanced,and the shaping of the image of peasants has changed significantly.The aesthetic norms constructed by the revolutionary literature tradition have been deconstructed,and the theory of "the end of native soil novel" prevails.For these special phenomena,if they still stay in the "enlightenment" or general "root seeking" and "reflective discourse",it is inevitable that they will be narrowed.This thesis is based on the dynamic evolution of rural narrative in the context of Reform,placing the imagination of peasants in the stages of the 1980s(1976-1989),the 1990s(1990-1999)and the new millennium(2000-present).The image of peasants has changed since the New Era.Through detailed interpretation of the important texts of representative writers,it presents an image of the creative subject who is constantly fighting with himself.In the process,we try to regard the imaginary peasants as an important element in the study of contemporary literature,demonstrating its significance in promoting the development of contemporary Chinese literature.The introduction puts forward the value and significance of the topic in the analysis and analysis of the status quo of peasant image research,and introduces the origin,stages and creation of peasant writing since the New Era,and the research methods and ideas of the thesis.Chapter one focuses on the characteristics and significance of the "common voice" imagined by peasants in the 1980 s.Under the call of major era themes such as "bring order out of chaos" and "reform and opening up",the creative practice of various peasant images derived from the haze of "the Great Cultural Revolution" by rural writers joined the ranks of the "common voice" of clearing up wartime cultural legacy.Local writers give priority to peasants’ recognition of the “household contract” and make adjustments by revealing the changes projected to literary creation due to contradictions in life concepts,production methods,and marriage choices when peasants are separated from the collective,responding to the trend of getting rid of the dualistic framework of literature and politics,contains the meaning of effective exploration in order to avoid the peasants’ imagination in the 1980 s from becoming the "mouthpiece" of the era.Chapter two focuses on the characteristics and significance of the "fission" imagined by peasants in the 1990 s.Under the impact of market-oriented individual material desires,the separation of peasants and collectives has accelerated.The impetuous atmosphere fueled by the supremacy of money,the devaluation of knowledge,and the demand for non-agricultural transformation,as well as the fragmentation of the village and the atomized reality of peasants,and the image of peasants around it has distinctive fission characteristics.By the compromise in the struggle,the exploration in confusion,and the questioning of native land,the local writers abandoned the prevailing "impetuous" atmosphere,and present the concept of individual pursuit and self-reconstruction.And in the process,this thesis shows the meaning of the fission of the peasant imagination in the 1990 s.Chapter three analyzes the characteristics and significance of "nomadism" imagined by peasants in the new millennium.With the in-depth development of the market economy and the advent of the era of artificial intelligence,the overall rural narrative is facing an impact,the peasants’ imagination also presented a "nomadic" characteristic of disorder,dissociation and change.With literary practices such as the image modeling of marginalized peasants,the discounted writing of salvation,and the expression of self-fighting resistance,the local writers not only tried to establish an equal dialogue with fragmented reality,but also tried to find the attribution and possibility of the subject spirit in the atomized state of human beings.The resisting self-subject image constructed by the local writers in the crisis-ridden exploration demonstrates the meaning of the nomadic peasant imagination in the new millennium.Chapter four examines the "multi-faceted" characteristics and significance of peasants’ aesthetic writing in the context of reform.Focusing on the evolution of the writer’s creative concept,the expression of aesthetic emotions,and the adjustment of narrative strategies present the "multi-faceted" characteristics of peasants’ aesthetic writing,which contains the writer’s desire to reshape their own subjects,as well as the difficulties and breakthroughs faced by local writing.The writer’s position of authority,intervention attitude and eagerness to imagine peasants have forced a change in the acceptance of modern rural aesthetic traditions,and thus highlighted the significance of the multi-faceted peasant aesthetic writing in the reform context.Chapter five focuses on the theory of "the end of local narrative" and investigates the "introspection" characteristics and significance of peasants’ imagination since the New Era.Analyzing the modernity of peasants’ imagination and questioning the end of local narrative,and relying on the persistence of folk beliefs,the reliance on personal dialects,and the search for "pure heart not blinded by the earthly".By case comparison,it presents the writer’s self-persistence in the return of local narrative and the meaning of "introspection".It is pointed out that this perseverance is reflected by the writer’s understanding and grasp of the bottom line of the local narrative,and it is consistent with the writer’s thinking about where to go from the local China.The conclusion is a summary of the previous research from the perspective of the development of contemporary Chinese literature,pointing out the regularity part in the imagination of peasants,and the connection between the peasant’s "fluidity" and the "affection to land" and the writer’s self-creation adjustment Explain again.