A Study Of Bandit Narratives In Fiction Of The 1930s And 1940s

The bandit,as the anomaly of orderly life,escapes the conventional way of behaving,a complex existence that is not accommodated by the morality of society.The bandit figure has long since disappeared into history,but it is still active in literature.Banditry is more than a historical pronoun;it has a rich literary and historical meaning.The richness and complexity of bandit narratives in contemporary Chinese literary history,the complexity of the bandits themselves and the uniqueness of the bandit genre all contribute to the unique charm of bandit narratives.The bandit narrative novels of the 1930 s and 1940 s were born in a complex historical background and literary environment,shaping the image of the bandit with a varied character and a coexistence of humanity and banditry.Through the collation and analysis of bandit narratives and bandit images in the 1930 s and 1940 s,this paper explores the deeper motivations behind bandit narratives and the cultural connotations embedded in bandit images,as well as the literary-historical significance and historical-cultural value of bandit narratives,on the basis of historiographical and sociological research.This paper firstly shows the reason for writing,clarifies the bandit fiction narrative of the 1930s-40 s,determines the research method,and clarifies the research significance and innovation in the relevant combing of the academic bandit narrative research.As a peculiar narrative theme in contemporary literary history,the bandit novel was born in China's unique historical and cultural context,and the consideration of the bandit narrative is inevitably integral.Secondly,as a social group with complex meanings,"bandits","robbers" and "thieves" are all pronouns for them,so it is important to study the bandit narratives of the 1930 s and 1940 s to clarify the connotation of "bandits" and clearly define the connotation and extension of the bandit concept.Then,starting from the historical writing of "bandit",the definition of bandit at home and abroad is used to explain the specific meaning of this thesis,and to identify the difference between bandits and other social groups.So,was becoming a bandit a voluntary choice on their part? The causes and sources of banditry are discussed in terms of socio-economic causes,natural causes and individual self-selection.Next,the bandit narrative is summarized from an aesthetic perspective,and the bandit narrative and the bandit image are considered through the interpretation of the aesthetic ideological attributes of literature and folk culture perspective.In the 1930 s and 1940 s,the bandit narratives of the 1930 s and 1940 s had different styles and characteristics,and the writers' perspectives and observations on the lives of bandits were not all the same;the bandit narratives of the 1930 s and 1940 s were closely related to the anti-Japanese salvation discourse,with Xiao Jun and Duanmu Hongliang as their voices in the face of the turbulent times,and with the image of a beard,they showed their strong vitality and wildness,and wrote legendary stories of bandits and heroes.Finally,the socio-cultural connotations and historical significance behind the bandit narrative.Rationally discusses the historical connotations and characteristics of the times behind bandit narratives and bandit images,and explores the duality of writing behind bandit image narratives and the transformation of bandit narrative strategies.At the same time,the concluding section of the paper summarizes the full text,pointing out the shortcomings and shortcomings of the paper and a new outlook on the bandit narrative.In the process of writing the bandit narrative,based on a large historical background,the works of contemporary writers are examined and analyzed,the bandit image is combed,the meaning and value of the bandit narrative is explored,the balance between banditry and humanity is found,and the artistic charm of the bandit narrative is displayed.