On The Negative Aesthetic Construction Of Zhu Tian - Wen 's Novels

Compared with “the positive writing”, “the negative writing” is a de-centered, nonarithmetic way of writing. “The positive writing" is generally considered to be in the traditional mainstream discourse of male writing which emphasis on the description about history and events. “The negative writing” regards the female body as the golden principles and the spiritual guide, and dosenot advocate to realize life according to the theory systems created by male. It asks the women to practice and reassess themselves according to their proper sexuality and the sensual experience. Relative to the malecentered context, therefore, the “the negative writing” is a female context of writing.However, “the negative writing” is not the same as the female writing for there are so many male whose works are also belong to this category, such as Ji David, Xu Youshoy and other male writers of Taiwan. They advertised advocating “negative comrades” on the “positive comrade” of resistance and subversion in their comrade text writing. For example, the full-length novel “Notes of a Desolate Man” wrote by Chu Tienwen is a typical work of “the negative writing” which described the relationship of homosexual. Moreover, Chu focuses on the typical femininity which is addicted to the subjective feeling and resists the rational world. Chu’s works pay more attention to the individuals than the macro-history and politics, trying to against the collective memory which is broken by the individual experience which is trival and private. Finally, she constructs her own unique novel negative aesthetics.The writing of Chu not only inherits the gloomy tone of Eileen Chang but also expresses an emotion of doomsday —a collective of cultural anxiety. David Der-wei Wang pointed out that from a political solution to the cultural deconstruction, Taiwan is undergoing unprecedented changes in a variety of impermanence by extremely rich material life brings and “the Fin-de-siecle ghost is coming.” As a result, the construction of “the negative aesthetics” has become the eventual strategy with the text to resist the destructive reality.Although there are some mainland scholars who remarks about Chu’s “negative writing”, and this is the first time to elevate this writing style to the aesthetic level. On the one hand, this paper will combine 11 collections of Chu Tienwen has been published on the mainland. It based on a close reading, respectively, from Chu’s novels, movies fiction, essays and other literature to interpret. On the other hand, her family, upbringing and the influence of Eileen Chang and Hu Langcheng deeply engraved in her hearts forever is the key factor in the formation of its writing style. But the influences of Hou Hsiao-hsien became the direct reason to lead her to have transformation in her writing. Therefore, I am going to respect these three factors as a starting point to sum up the features of her “negative writing” in those collections.Meanwhile, this paper is compared the negative way presented in her novels presented with “the negative writing” from the western feminism theory in order to point out the uniqueness in her negative writing, and reveal the essence of her aesthetic construction. During the process of studying, I will use some relative arguments respectively to support my ideas which can strength the relation science of it.In this paper, in addition to the preface which describes her creations and her research status on the mainland, the main part of the paper compose the following aspects:The first part discusses her negative aesthetic construction, including the background, negative perspective and “the negative writing” of it. The second part discusses four persons who have an impact on Chu’s negative aesthetic. On the one hand, Chu Tienwen was the student of Eileen Chang and Hu Langcheng. On the other hand, The family had a significant influence on her. Last but not the least, her writing is the inevitable outcome integrated with the film shooting of Hou Hsiao-hsien. The third part discusses the practice of her negative aesthetic including the description about the marginalized woman some of them come from military dependant village. Meanwhile, as a writer Chu always indulges in the sensual writing and the writing about a variety of the day-to-day details. The forth part is about the meaning of female aesthetic construction of Chu’s novel who emphasizes the significance of writing to the writer by resisting against the liner history and structuring the female history. But beyond that, Chu also gives equal weight to the noumenal meaning of the writing.Nevertheless, Chu’s fiction-writing does not equal the typical female writing which reflects very obvious female features. With the aid of the tinges of feminine gender, the superabundan sensual writing and the experiments about language, the writer tries to snatch the historical interpretation. She endeavors to collapse the linear history by competing with the current realities. At the same time, she also attempts to construct her own negative history by defending the individual’s privacy. Finally, it all comes down to her fancy for the writing mean by that the influence of the noumenal meaning of the writing for the writer.