On The View Of Literature And Art Of Mu Xin

Mu Xin (1927--2011) was a writer with distinct personality, he had drawn lessons fromWestern literature, classical Chinese literature and religion, and built his own philosophy of life.He had found his own voice in literary theory and literary creation.In2006, the Mu Xin works were published for the first time in mainland China, andgradually drew attention of media editors and literary enthusiasts, also had gained a greatresponse in the publishing and media critics circle, but strictly speaking, research on the MuXin has not yet begun. The unique spiritual world and literary concepts of Mu Xin, the inheritedessence of classical literature, as well as his practices for prose creation of using stream ofconsciousness, has greatly enlightened to improve the skills of contemporary fiction, to furtherprosperity of Chinese language literature creation, and to introduce Chinese literature to theworld. In mainland China, Mu Xin is drawing more and more people’s attention, but at thisstage of literary criticism on Mu Xin more than academic research papers, Mu Xin has not beenin the position of the academic evaluation. Current research on Mu Xin still in the interpretationof some of his works, or the study of their language and stylistic features of its literary point ofview of a system is not integrated yet.In this paper, according Mu Xin’s speech and literary practice, combined with a complexbackground of his literary concept formation, Mu Xin is placed in the of literary thoughttheoretical vision of a world to be examined, expand systematically combing and studiedliterature and art concept in-depth analysis of the wood to create the heart of literary thought,and then point out the literary concept of the value and limitations.This article includes three parts: introduction, body (three chapters) and the conclusion.In introduction, introduced Mu Xin and life experience selling phenomenon his work; thenelaborated domestic media and scholars to study the status quo for the Mu Xin works andliterary ideas; and point out the innovation and focus of this paper at last.The first chapter elaborated the theoretical sources of Mu Xin’s literary thoughts. In thefirst section,"the inheritance of classical literature," the analysis elaborated: Mu Xin advocatethe development of Chinese literature must learn from the essence of classical literature, and he is good to explore the modern sense of classical literature, so that the spatial expression ofChinese literary heritage and works to expansion. Section II,"absorption of Nietzsche literaryconcept" from the tragic spirit of modern cultural criticism and impression of hyperspacefeature, expression of three aspects of Nietzsche’s influence on the literary concept of Mu Xin.In third section,"The impact of religious beliefs," by analyzing Mu Xin’s faith states: Mu Xinfocus on classic religious literature, his religious element as a subtext to increase the depth ofthe text. Section IV,"cross-border perspective on the use of" from the heart of the identity ofcut wood, Mu Xin by analyzing the use of cross-border perspective, formed their own literarypanorama. As can be seen from the above study the diversity of literary thought Mu Xin, avariety of factors have had a profound influence on his view of Literature and Art.The second chapter, combined with text analysis to clarify the main content of the Mu Xincore literary concept, respectively, to elaborate for its connotation of literary concept from fourdifferent sides which are literary nature, literature creation, writing body and literary criticism.Section I "Literary Essence: literary feature" discourse Mu Xin’s understanding of the nature ofliterature. Pointed out Mu Xin’s thinking of literature which is judged on the basis of literarytexts, is the key to make a work spread in the world. Section II,"Literary Creation: Writing andstylistic innovation intellectual" discussion Mu Xin on literary understanding. Mu Xin on theone hand combined poetic expression with speculative philosophy, advocated a fusion of beautyand intellectual thought of writing, on the other hand value the stylistic experiments, in terms ofstylistic innovation, esteem Cross Writing and stream of consciousness. Section III,"OnCreation Subject: ego draws back" Mu Xin discussed about the creation of awareness of thesubject. In Mu Xin’s thinking, that in the literature can be used to render a model of artisticcreation by retired ego, thereby maintaining the creation of objectivity. Section IV "LiteraryCriticism: Friends of the ancients still imagery criticism method" discussed Mu Xin’sunderstanding about literary criticism. Mu Xin advocated the adoption of a more intuitivemethod works critique the overall style of grasp. As can be seen from the above study: Mu Xinthrough the exploration of the nature and function of literature, and made a series of uniqueliterary point of view, forming a relatively complete system of literary theory.Chapter3examines the significance of Mu Xin’s literary concept. Section I "unique MuXin’s literary concept" analyze and discuss the unique Mu Xin literary point of view from internality and ego existences two aspects. Section II,"modern revelation of Mu Xin’s literatureview," clarifies Mu Xin literary concept to some extent to achieve social environment incommodity aesthetic breakthrough, and its outlook for the Chinese literary reference to theworld of literature. In Section III “Limitations of Mu Xin’s literary concept.” Discussion on thedefects of Mu Xin’s concept of artistic and disputes that currently exist.The conclusion in this paper is that the concept of Mu Xin’s literary connotations has rich,distinctive features, its academic value and practical significance is worthy of recognition. Butthe academic literature circle on the concept of the importance of and inadequate integration ofresources is an urgent need to promote. We should further strengthen the mining on Mu Xin’sliterary thought in order to let it play an active role in the literary concept of development andcontemporary Chinese literary writing.