Bottom Narration And Creation Dilemma

In the current China, the economy develops rapidly, and the social differentiation has become increasingly evident. The traditional mode of production gradually loses its former advantages in the era of elimination. Advertised good at a big agricultural country, we also faces many development challenges. Because of the livelihood, a large number of farmers are forced to leave the land, and burst into the cities, "Migrant Workers" has become the focus of political attention for a time. Facing the low social status and incomplete spiritual beliefs, they lost their attachment to the past local life, without fixed shelters in the cities, living very difficultly. Writers had long-term observations of life and live performance art of life, starting from their own enthusiasm for art, while taking our social responsibilities and mission, and they had delineated extensive and in-depth characterization of this group. However, behind the pursuit of such an artistic motive, we had to face the awkward position of the literature brought by the times:a series of painful struggle selection, modern and traditional, art and life, attitude and position, and have fallen into the second unprovoked difficult situation. It was such a "low-level creative" mood, but also let some writers open up a barren piece of land of literature, standing on a "marginal" position and looking at the bottom, describing the bottom, and putting fresh spectacle into the development of our literatureThe thesis was divided into four parts. The first part described the underlying reality of such a group life and existence. As in "Happyness", Liu Gaoxing and Wu Fu first joined the city, seeking refuge with the villagers, living left room, and many of them were there. In order to pursue a better life they came to the city, but had to pull the car down the street as a junk dealer every day, and were looked down upon by others, managed based industry, lived forward shamely, and looked for survival in the corner of the city. This was their portrayal life in the city, it was also the common choose of majority of migrant workers. On the one hand, their lives were very difficult, losing faith. They often lived a "non-human life", there was often such a picture in the readers'mind:most of them were far from home, with a vision of the city, yearned for a new life of city. For The city and the future, they wholeheartedly input, keeping a sense of renewal, but the city did not provide their "ideal life" instead of being crowded out and cast aside, they suffered from the living and the bitterness during the life in the city. As described in "happyness", their faith was just asking for "live" bottom line, not for a survival quality. Although they wanted to be engaged in the city warmly, but facing such a social reality, survival crisis was bound to a spiritual faith crisis. Because the traditional living concept was subversived by the social reality, they were forced to get away of land, and the beauties of life suddenly become into pieces, all become vague and distant. Their lives were cycling on the edge of hope, disappointment, and despair. It can be said that the bottom groups in the spiritual level is not doomed to a lack of faith, but too much embarrassment at the level of material. For them, the status was uncombined, and the sense of belonging was missing, the pursuit of faith was nothing, so they could not survive the "rootless" state. On the other hand, they were struggling but compromising to the reality. Such a migration of their displacement, they could only dream recollection that they used to be so pleasant to live in the hometown, but facing the reality of oppression, after struggling through the pain, they could only compromise to such a uncertification reality. It can allow a real reader find that this was not a simple issue of population movements through months experience in the city of Liu Gaoxing in "happyness", such a migration of their displacement, they could only dream recollection that they used to be so pleasant to live in the hometown. However, the reality that he lived made him but only to face oppression, but also compromise to the identity of such a reality, Jia Pingao and the contemporary writers about the underlying was not a man's compromise, but a large group of farmers. For such a trend narration, the work itself was encountered by self-life experience of writer. Just Because Jia experienced the bitterness in the city of rural youth in that time, when writing a similar theme, the writer often doped the personal life experience. Jin Gou in "Impulsion", Ye Lang in "White Night", Zhuang Zhidie in "scrapland", these people are different forms of his portrayal of the writer. The "happyness " is such a classic portrayal of the case.The second part is on the behalf of the underling populace's present situation and writing main figure. In many writers'creations, the underling social group was separated from their living background. Take "Happy" as the example. Because writer's experience and the value orientation were different, these involve in the urban people only to have one right which gets down in the urban survival, and also secretly the hope earns other people's respect and the approval, however in other people's narration, these was their base and low right to subsistence. Obviously, their nice pure desire cannot obtain the voice in this city. Jia Pingao's creation of vision lets us think more about the folk means and the emotion transformation, in this kind of transformation, the folk's survival conditions and underling populace's living scene directly face to the doubt and question. Meanwhile, we are also reconsidering our narration about underling populace, his reality's brushwork vigorously approaches to the underling populace's original life, make the underling tragedy's life form become the formal life, but was not a kind of enlargement of the misery mood, simultaneously, we realize, to the writing about the underling community ugly survival reality, also distinguishes between the taste of teasing-like with the taste of violence, but was sublimates one kind of underling populace's spiritual experience and the emotion experience. Because of the underling group's limitation of their own characteristics in the real life, they hardly have any comment for themselves; therefore there was a little the opportunity to show their ideal of life. Could not guard them to take the right, which a social group had. There were many leading character like The Liu happy, but also can only be the writer stands in the underling's position to speak for the underling populace, Liu's happy life experiences were also designed by the writer's understanding about the underling life.The third and fourth part is writer's anxiety thought and the thinking on creative environment. On one hand, it is to reveal the migrant workers'anxiety of the dislocation thought. Jia ping-wa's works expressed both the sorrow for the passed village and the memorial for the newly born city. The contradiction theory he insisted might not be completely accurate and even it was a little paranoid. But the current social status and the people's livelihood state was indeed a cruel and real existence. On the other hand, it showed the social ethical thinking. Writers believe that they had firmly held their loyalty to the social bottom level people. Facing the urban civilization invasion, writers imposed deep concern to the moral decay of rural human nature. Jia ping-wa's series of works were all on this subject, particularly the work "Happy". Writers had given profound thinking and reflection on this aspect. Concerning the thinking on literary creative predicament, author holds that the "Social Bottom Level Writing" are similar with other literary writing, always shouldering the mission to combine this two. On the one hand, it should show both the life experience of the social vulnerable groups and the artistic sentiment of the bottom life enabling the bottom creation to be generally recognized. Writers considered both the sociality and the artistry of the work while they are creating them.