On The Childhood Writing Of Qin Wenjun

In the history of Chinese literature, childhood writing originates in the “MayFourth New Culture Movement”, and then it gradually develops strong. Childhoodand children’s literature have close contact. In children’s literature, as the landmarkmaterial and key performance object, childhood constitutes the kernel spirit.Children’s literature expresses the special philosophical and aesthetic connotations ofchildhood. First, children’s literature reflects an innocent world of childhoodperspective, which is also known as the children’s performance, as well as thephysical and mental characteristics and life experiences of individual childhood,which is also known as the self-expression; Second, growth does not mean to saygoodbye to childhood, for childhood experience becomes one throughout life spiritualexperience, which performance by children’s literature writers as the childhoodcomplex; Third, under the affect of writers’ adult perspective, childhood writingbrings both the extraordinary value understanding of childhood, and the criticism andexpectation of the adult world, which can be used to build a batter human nature.Given the link between childhood and adulthood, children’s literature writers must bea special group, they maintain the sincere innocence, with a strong childhood complex.So childhood writing is the self-expression of children’s literature writers’ minds.As a children’s literature writer, Qin Wenjun has written for many years, and herstyles have changed for many times. Among those changes, Qin Wenjun alwaysadhere to the child-centered concept, in the creation of continuous retrospectivechildhood, for children with vicarious experience, understanding and awareness.Taken love as her faith of life, as well as her writing for children, those factors all tellher spiritual needs to children’s literature. Childhood themes often appear in QinWenjun’s works, especially in those after2000years. Her creations on the one handfocus on Childhood memories, on the other hand care for children’s growth. Theseworks are no longer a simple narrative of her childhood. Under the affect of adultperspective, her creations depict the socio-cultural and life attitudes, rich in contentand having a profound significance.At first, this thesis is to trace the course of the childhood writing in children’sliterature. Second, this thesis is to make the horizontal comparison of some children’sliterature writers’ creative outlook, so as to explore the unique style of the Qin Wenjun’s childhood writing diachronic and synchronic. This thesis is divided intothree parts: the first chapter on the basis of combing the changes since the May FourthMovement, describe childhood as the spiritual core of children’s literature, then makethe research on Qin Wenjun’s childhood writing. From Writer’s spirit level, thechildhood theme appeared frequently in works is derived from Qin Wenjun’sChildhood complex and the children-based view. The second chapter discusses themain content of Qin Wenjun’s childhood writing, divided into three specific analysisof the Childhood world in Qin Wenjun works: the innocent world of children, thedimension of the growth and the reflection on education. The third chapter is the studyof Qin Wenjun childhood in the form of written art. Combined with the prototypeexperience theory, make study from the characters, narrative features (stories, details)two aspects. In the end, conclusion is that Qin Wenjun’s childhood writing has aunique implication, reflect the stylistic features of children’s literature, using the mostsimple and straightforward art form to express the profound connotation of life.Children’s literature both belongs to the children, but also belongs to adults.