The Research Of Fantasy Literature During The Puppet Manchukuo Period In Northeast China

With the rise of post-colonial theory in the world and the publication of The Empire Writes Back:Theory and Practice in PostColonial Literatures," Writes Back" theory has been widely used in the study of colonial literature.It aims to show that colonial literature has the initiative of moving from the edge to the center,thus canceling or even replacing the center.Whether this theory applicable to English literature can be established in the context of east Asian colonialism has become a fundamental question.Taking Puppet Manchou State as an example,previous studies on various literature of Puppet Manchou State show that this theory lacks a foundation in east Asia.Therefore,if the literature of Puppet Manchou State is separated from the reality,whether it can achieve " Writes Back " when it exists in the textual world of imagination contrary to the reality has become the question of this paper.This paper is divided into five parts: introduction,three chapters and conclusion.The introduction explains the meaning of "fantasy literature",sorts out the relevant research,and puts forward the significance and content framework of the topic.This paper takes the escape degree of the literary genre to the reality as the Canon,and the possibility and difficulties of the " Writes Back " within the literary genre as the latitude to verify whether the " Writes Back " can be established in fantasy literature from multiple perspectives.The first chapter takes novels of secret forest words as the research object,uses the landscape theory to explore the loss of the human subject created by the work in the fantasy space of China's secret land,as well as the "dehumanization" strategy it encountered by the government.Here,the " Writes Back " of novels of secret forest words of "dehumanization" was actually used as a link in the colonial chain to cultivate the so-called national consciousness.In response to this use,novels of secret forest words makes a limited struggle by giving up the way of being in the same Angle with the authorities,but the danger of this passive retreat is that the writer himself gets lost and becomes part of the landscape.The second chapter takes historical novels as the research object to show the modern souls of the writers in Puppet Manchou State in the historical time.The author eschewed the "grand history" associated with the colonial ideology and focused instead on the people whose particles were forgotten by the unified historical narrative,and injected a force based on reality and modernity into the text to form a resonance inside and outside the text.However,historical novels are faced with the insurmountable obstacles from external reality,creation requirements and internal texts.The author can only walk between the scale of "words and not words",and is swallowed up by the difficult melancholy.This chapter takes the historical novels written by Jue Qing and Gu Ding as examples,specifically analyzes the realistic depression that the writers have nowhere to escape outside of time.The third chapter takes the fairy tale as the research object,takes the differences in the audiences of the fairy tale of Puppet Manchou State as the entry point,finds out the fact that children,as readers of the fairy tale,are themselves regulated by the colonial order,discusses that they are regulated as the tools of colonial rule in the official discourse represented by the manchurian schoolboy,and become the objects that the hidden meaning of the work cannot be transmitted in another part of the fairy tale represented by Yang Cideng.Thus,in this dislocation,fairy tales in any level are unable to achieve their original purpose.The epilogue analyzes the fate of the inevitable failure of " Writes Back " of fantasy literature in the period of the northeast puppet manchukuo with two special texts that are relatively independent of the puppet manchukuo,and reveals the extension of the puppet manchukuo beyond the expansion of time and space,as well as the inherent "world-weary" and "cruel" colonial literature rooted behind.