The Written Expression Of Churches In Modern Chinese Literature Under Semicolonial Context Of Situation

Church,as a symbol of Christianity,spread over China in the semi-colonial context of situation.These churches are the bases for the West of realizing the colonization of China.The churches,large and small,formed the punctual semi-colonial domination,which is multi-layered,incomplete and fragment.The church attached to the colonial power is a heterogeneous space where ethnic conflicts happen and the birthplace of modernity.The semi-colonial context of situation is the unique timing point when churches entered China and modern Chinese literature meets with churches.It dictated the spatial attributes of churches,and by which,it also determined the written expression of churches in modern Chinese literature.In the period of semi-colonized China,it forms a bilateral interaction between churches and Chinese people.These churches in China and abroad brought different experiences and impressions to the Chinese intellectuals at that time.The perspectives they observed and experienced churches were very various for their different identities.In the late Qing Dynasty these diplomats,such as Guo Songtao,Li Shuchang and Xue Fucheng,looked at the Western Church as a kind of scenery in material level,showing the cultural mentality of mix feeling of wiling to learn the Western culture while fearing of it at the same time.Besides,these overseas students who live in a cultural gap,represented by Hu shi,whose works reflect the contradictions and tensions of the cultural emergency.From the early years' life of the writers such as Bing Xin,Lin Yutang,Xu Dishan,Cao Yu,He Jingzhi,and Xiao Qian,the church has deeply entered the daily life of modern Chinese writers and formed their real personal experience of church,from which they learnt from the advanced western culture,and also witnessed the tragedies of unopened an undeveloped China.They admired the Christian spirit,on the other hand,were alert to the colonial aggression and cultural hegemony behind the church.The truly literal descriptions of church are reflected in novels,poetry,drama and other literary works.Looking at the history of modern Chinese literature,the church either serves as a western spokesman or as a space participant in narration.As a symbol of the West,the church has two connotations: Firstly,it represents the modernization and urbanization of the West,displayed by modern Chinese writers in their works;and secondly it is also a symbol of Western Christian spirit,from which a modern writer can absorb valuable resource.However,in both situations referred above,the churches reflect the complex cultural psychology of the semi-colonial Chinese intellectuals when confronted with and "take" from the West,which is adequately illustrated in the book of "misunderstanding" of the church.Churches were described by these Shanghai writers,like Mu Shiying,Zhang Ailing and Xu Xu,from different perspectives.Mu Shiying's works was full of paradox hiding a boast of western experience behind an unintentional "Critique".Shanghai's "native" author Zhang Ailing,through the churches,expressed the concept that the spirit of the city is supremacy of money.Another writer Xu Xu's description of churches was catered to the reader's exotic curiosity.In addition,Xu Zhimo,Shi Pingmei and Feng Zhi would like to rebuild the spiritual value system through the church,however,which is a difficult way.They have become more confused and anxious for the religious characteristic of churches triggered their deeper confusion,distress and spiritual crisis.Faced with the church as a symbol of western hegemony,Li Bo-yuan's officials in the late Qing Dynasty ventured to mistake the mosque as a church and staged a ridiculous farce when the colonists faced the colonial hegemony.In the May Fourth period,however,Guo Moruo tries to replace the guest language with the source language and impose to establish the connection between China and the West.However,this method adopted by Guo Moruo just reflects the vague cultural identity of a semi-colonial intellectual and has not fundamentally eased their identity anxiety and crisis.As a narrative space,the church provides the space for the story,or participates in the narration of the semi-colonial Chinese history,or participates in shaping of the image of the colonized,contrasted with the temple.The temple concept of Chinese traditional cultural space has been given new connotations in modern Chinese literature.The poetic and romantic cultural attributes of traditional temples are deconstructed,and the enlightenment within temples and modern discourse are intertwined.Different from the view of the temple,the churches in modern Chinese literature point to the semi-colonization,in which approaching and escaping,admiring and hatting become the paradoxical characteristics of the figure.The interlacing of modernity and nationalism,the reciprocation of colonization and decolonization,most typically embody the semi-colonial spatial characteristics.Yan'an Church is particularly noteworthy among the churches as "space" in literary works.Because the space connotation of Yan'an's church is diverse for class and gender discourse showed a subtle interaction.In the writings of Mao Dun,Chen Huangmei,and He Jingzhi,the mainstream class gave it a new meaning.The church of "Lu Yi" symbolizes the imperialism or a place of colonial power while it becomes a symbol of the aspiring spirit of Yan'an's literature afterits remodeling.In the writings of Ding Ling,the Catholic Church in Yan'an is a "gap space" for the marginalized women Zhenzhen for seeking refuge.Between the remodeled "Lu Yi" church and the Catholic Church as "gap space",there is intriguing structural tension.The churches mentioned above presented in different ways form a spatial map of "semi-colonial space" in modern Chinese literature.In this space,intellectuals have a complex cultural mentality and a special perspective on the history of modern China.Modernity and nationalism,colonization and decolonization,culture and identity,class and gender are all implicated in these discourses.One raises and suppresses the other.They are mixed and pluralistic,showing a luxuriant picture of modern Chinese literature.There is a cultural mentality full of contradictions and tensions on behalf of Chinese writers.It demonstrates the complicated face of modern China in the struggle between ancient and modern times,China and the West.