The Appearance Of Body In Cultural Revolution Discourse Since The 1990s'

Cultural Revolution Discourse discussed in this paper indicates the novels on Cultural Revolution published in Chinese mainland after the historical event. The paper emphasizes on the display of Body in Cultural Revolution Discourse since the 1990s, compares Body's different expressions in the 1980s and 1990s, and analyzes its deep-in cause.Through detailed comparison and study, the author finds Cultural Revolution Discourse in the 1980s told the readers what had happened to Body during Cultural Revolution under the macroscopic discourse of enlightenment, as the Cultural Revolution Discourse since the 1990s led the readers back to that period from Body's individual feeling.The first part of the paper discusses the possibility and necessity of the topic: Firstly, the author distinguishes the differences of Cultural Revolution Discourse in the 1980s and 1990s and indicates that it was the joint influence of Body that the later developed new complicated literature phenomenon. Secondly, the author thinks that applying the study of Body to Cultural Revolution Discourse since the 1990s re-explains the Body theory under a new context and conforms to the attention paid to Body. At last, the author concludes that Body is both the carrier of Mind and the existence of flesh; is the expression of reason and the illusion of sense; is the result and drive of history and has the historical peculiarity and synchronic stability at the same time.The second part analyzes the display of Body in Cultural Revolution Discourse since the 1990s. Firstly, the paper clarifies the Body among the people: the reconstruction of folk culture provides possibility for the appearance of Body. The next part discusses the growth of Mind stemmed from Body: Cultural Revolution Discourse in the 1980s kept memorizing the passed passion and young life, while it emphasized on the pain during the adolescent growth. The impulse and experience of Body became the greatest cause for the growth of mind, as the discourse in this period became absurd and complicated. Third, the revel Body and the Devil's Body: Wang in Love and Bondage (WANG Xiaobo, 1990) portrayed a magnificent and happy body protesting the ridicules reality with humor, and Stiff as Water (YAN Nianke, 2001) described the fierce crash of a sad and crazy life with the reality.The third part compares the different expressions of Body in the 1980s and 1990s and reaches a conclusion that the discourse in the 1980s told stories of Body from a historical view while the discourse in the 1990s entered the history of Cultural Revolution from Body's prospective. In the last part, the author tried to answer why so many novels paid close attention to Body since the 1990s although Body was extremely depressed during that special period.