The Study Of The Image Of Knight-errant Written By Lifeng

The main task of the development of modern Chinese culture is actually to promote the modern transformation of the cultural heritage rationally. Different positions have different conclusions in dealing with the historical theme and the theme of development. It is reasonable that there exist different understanding and different realization ways from different point of view because it is really a big topic. The novels and films created by LiFeng started from the structure of the modern understanding,changed the image of the traditional warrior. The writing position and ways embodied a sense and mind which are based on the current situation and face the future, and even a momentum opening to the reality and the world. The research object based on the case study on LiFeng can accurately expressed the author's reading experience, hoping this attempt will be helpful to call people's the attention to LiFeng academically. Dimension in thinking and understanding of methodology, will not dwell on the optimistic western horizon, and will not be limited to narrow national sentiment, which are the original purpose while selecting the topic and building the arguments. The basic structure and the main contents of the whole thesis are as follows:The preface is an overview of change of knight image and LiFeng's description of knight image. Born in the late 60s, LiFeng, as the "Younger generation writers", created a lot of knight images in his novels and movies. These figures not only inherited some features of traditional warrior image, but there are new breakthroughs and innovations, which is representative of cross-television-movie creation by writer.The first chapter makes clear LiFeng's warrior images in the way of media, including the warriors in novels and movies, and elaborates respectively. This chapter uses"Text Analysis"to refine, to group and to analyze the warrior images involved in LiFeng's works. In the elaboration, the warriors in the novels are classified according to the features of warrior into legendary warrior, justice warrior, bohemian warrior, chivalrous warrior, and theft warrior. The warriors in movies are grouped into the ones who care for the world, who consider love foremost, and who advocate martial arts and are good at it. Meanwhile, the innovations of LiFeng's warrior image are analyzed by combining with the traditional warrior images. The second chapter employs a"Comparative Analysis"to compare and analyze the differences of warrior images between LiFeng's novels and movies. This chapter analyzes the outside features, inner causes and natural properties by comparing"ordinary people", personal whimsy of warriors in novels, commercial operation and ridicule with"sanctification", commercial operation and social enlightment of the warriors in movies. The argument traces back and analyzes deeply the properties and their connotations of LiFeng's warrior images.The third chapter dwells on LiFeng's creative characteristics of warrior figures and the significance of them in the history of contemporary Chinese literature. The first section deals with LiFeng's characteristics of creation of warrior images from several aspects including the characteristic of narration, the characteristic of words, creation technique and their shortcomings. The second section analyzes the model role of LiFeng's warrior figures in the history of contemporary Chinese literature from the position of modern transformation of warrior culture.The conclusion is drawn from personal creation and collective creator to summarize the functions and value of LiFeng's warrior figures, and points out that the significance embodied by LiFeng's warrior figures is that author's flexible combination of personal creation and electronic media has model significance.The classification of LiFeng's warrior figures in this thesis is made by the combination of the way of media and the characteristics of warrior means of media. The different connotations, causes and significance of these warrior figures are analyzed to explore the evolution trace and LiFeng's unique narration pattern. Meanwhile, LiFeng's inheritance of Chinese warrior culture and its significance in the history of contemporary Chinese literature are probed into from the view of the transformation and transmission of warrior culture. The key issues this thesis attempts to settle is the differences between the warrior figures in novels and those in movies, the breakthrough and innovation of the two by comparison with traditional warrior.The features and innovations in the thesis: first, the thesis groups the warrior figures created by LiFeng into two media types, including the warrior in novels and movies from the position of the media ways with which Chinese traditional warrior culture is inherited, neither from the view of the history of warrior culture or literature history nor from the view of the types of novels to explore purely the warrior figures created by contemporary authors. And then, warrior figures are classified by the criterion, the features of warriors, to analyze the differences between the warrior figures in the two types of works. Moreover, the thesis differentiates between LiFeng's warrior figures and traditional warrior figures and explores the contemporary author, LiFeng's rejection and inheritance of traditional warrior culture. The thesis focuses on his attempt and innovation made in the application of traditional warrior figures to the media, which embodies the representative significance of the combination of traditional warrior culture and modern media made by LiFeng and shows contemporary author's unique charm in the history of contemporary literature.