Research On Liu Zhenyun's Hometown Writing

“Hometown” is always the penetrating material,image,discourse and spirit in Liu Zhenyun's writing.The state of adhesion with “hometown” is not only exclusive to Liu Zhenyun but also reflected in Lu Xun,Shen Congwen,Yan Lianke,Liu Qingbang,Yu Hua,Su Tong and many other Chinese author's composing process,which is one of the special landscape of Chinese literature.Liu Zhenyun's creative experience coincides with the historical process of social transformation in China,and his writing techniques and concept have changed accordingly.Besides,his “hometown” presents periodical variation in both form and function.Therefore,thoughts on the writing of his “hometown” can provide a way to comprehend Liu Zhenyun and even this generation of writer's strategies for literary resources integration and literary strategy adjustment in the process of social transformation.Based on this purpose,the thesis attempts to make a classification of Liu Zhenyun's hometown writing and summarize the aesthetic content and spiritual dimension of “hometown” on the basis of carefully reading the text.Through analyzing the social and cultural context and probing into the author's identity consciousness,the paper aims to dissect the reason for its previous shifts and explore the common value of this reason.In addition to the introduction and conclusion,the thesis is divided into three parts.The first part focuses on Liu Zhenyun's writing in the 1980 s and points out that Liu Zhenyun's hometown writing mainly lies in the level of material creation in this period,which appears as a concentrated expression of experience,especially suffering experience.Due to the lack of adequate aesthetic distance,although the works show much anger,yet presents less reflection on the causes of sufferings and less transcendence of living sufferings.The second part taking a series of works about hometown as the research object analyzes Liu Zhenyun's works in the 1990 s and points out that influenced by elite status he considers his hometown as a discourse and no longer concentrates on true representation of hometown scene and experience,instead he is committed to deconstruct the historical discipline and discipline of power contained in hometown.However,the excessive autistic elite attitude and the narrative form of the pursuit of perfection do not make his works get enough attention and response.As a matter of fact,this is also one of the internal cause of the decline of elite culture and avant-grade literature.The third part through the adaptation of Liu Zhenyun's film and television and the reference to creation indicates Liu Zhenyun's dual strategy taken towards hometown in this stage: First,the author composes “hometown” in the way of planarization and novelty from the perspective of mass culture and tends to satisfy the public's curiosity through a large number of dialects and folklore;Second,sticking to the elite position,hometown becomes his spiritual homeland in exploring the loneliness,isolation and other human issues.Liu Zhenyun is trying to open a new road between market and elite,experience and aesthetic.Although this has obtained certain achievements,yet various factors between the containment and contradictory still appear.Actually Liu Zhenyun's writing about hometown contains the transformation of Chinese writers and its exploration has yet to be further refined.