Revolution, Literature And Transformation

This paper consists of two parts:introduction and text.The introduction combed five achievements academic circles have achieved about Ding Ling's creative transformation: forces said, internal and external force said, self save theory, two-sides juxtaposition theory, self identity theory. I found that the researchers gradually transformed their angle from external to internal to analyze Ding Ling's literature transition. Then I interpreted the gist and purpose of this paper. It analyzes transition of her early creative career (1927-1936), and contrasts Ding Ling before and after her transition. With core of the chase for "inner life", I clarified the relationship between Ding Ling's inner life and her revolution, literature, the creation after transformation, and expression during she was chasing the inner life. Meanwhile, I researched the influence system standard brought about after her transformation, and look into Ding Ling's changes, complexity and richness from this prospective.The text is divided into three chapters. Chapter I:Ding Ling's inner life pursuit. Firstly, I defined Ding Ling's literature transformation. Wei Hu was the start of her transformation, while Water was symbol of mature. Then the paper explains the relationship between inner life and literature, revolution, revolutionary literature. Ding Ling's engaged in literary creation, input revolutionary practice and the revolution literature are all ways of chasing and experiencing inner life. What has changed was her chase, experience of inner life way, and what has not changed was her chasing heart. At last, the paper explains the specific factors which influenced Ding Ling's literary transformation: the revolution tide in the early twenties and late 1930s, literary trend changes, her husband's death, her bumpy social experiences, stylish personality, her eager to seek self breakthrough mentality, and so on.Chapter II:Ding Ling's inner life experience. Concretely analyzed the performance of inner life after creative transition. After writing revolution into her text, Ding Ling tried to pursue the fit of revolution and literature. But on one hand the literature correspond with requirements of revolution, On the other hand, the literary connotation lost the loss to some extent. Ding Ling was in a creation contradiction: She tried hard to compensate literariness but caused revolutionary propaganda inefficiency; she was eager to show revolutionary feelings but make literariness deficient in somewhat. The separation and merger between Revolution and literature actually showed her experience and chase of self life. These reflect in Water and A Mao Girl.Chapter III:The gain and loss of Ding Ling's creative transformation. It discusses her creative writing style after transformation, gain and loss under system regulation. On one hand, with positive, high-spirited writing style, Ding Ling wrote to show her revolutionary potential and sincerely performed revolution. Like such writings as Yi Wai Ji, Tian Jia Chong, One Day, Water and News. On the other hand, she did not sacrifice her individuality for revolutionary literature, and the social consciousness, female consciousness is still strong, such as Mother, For Those I Love, and Not Love Letters. She has been experiencing inner self, looking for self identity, and showing the inner essence. She shows up between "self" and "revolution", individual and collective. Constantly finding her in the process of self-denial, getting self redemption while looking for self-identity, chasing subjectivity during overcoming the modern intellectuals self trouble.