Zhang Chengzhi's Discourse Practice In Northwest Landscape Writing

The thesis mainly studies the discourse connotation of Zhang Chengzhi's northwest landscape writing from the following five parts:In the introduction part,the author first puts forward the problem consciousness of the thesis writing,then defines the concepts of "Landscape"and "Discourse",analyzes the research situation of the northwest landscape discourse of Zhang Chengzhi on the basis of completing the existing research review,and further clarifies the idea and significance of the thesis.In the first chapter,Zhang Chengzhi's wandering in the northwest before and after 1980's is grasped macroscopically,and the origin of northwest landscape writing and the way of entering northwest landscape are combed.This part focuses on the discussion of the origin of the northwest landscape writing,and highlights the intrinsic significance of northwest landscape to Zhang Chengzhi,that is,in the process of going deep into northwest landscape,how Zhang Chengzhi finds a virtuous "cycle" in the alternation of illness and health,and carries out self-healing.This paper attempts to enrich the understanding of Zhang Chengzhi's point of view through the discussion of landscape discourse and explore the way of landscape discussion in the study of contemporary Chinese literature.In the second chapter,from the perspective of the relationship between landscape and soul,the author puts the "human" in the northwest landscape of Zhang Chengzhi in a specific observation range,and discusses how human constitute the landscape in combination with the author's unique historical view?What kind of spiritual inheritance power is contained in the landscape?Zhang Chengzhi carefully touches the historical "truth" with his senses when he understands the relationship between the landscape and the soul.After entering the inner history of the soul in the landscape,he has a strong sense of national identity,which is the key to trigger his later continuous thinking on issues such as belief.Through continuous walking and independent thinking,Zhang Chengzhi has grasped the reasonable form of the landscape in the two-way aggregation of“landscape discourse" and“discourse landscape ".In the third chapter,from the perspective of the relationship between landscape and belief,we discuss the implied expression media and belief in the northwest landscape discourse of Zhang Chengzhi from two aspects of "Holy Landscape" and "Belief in China".The landscape image constructs a new expression medium,which becomes Zhang Chengzhi's invisible sustenance to surpass the secular ideal.The potential landscape features are endowed with multiple meanings by Zhang Chengzhi,which maximizes the expression space of the text.It can be said that in the process from "entering" to "disappearing" in the northwest landscape,faith provides another possibility for Zhang Chengzhi's landscape writing,which enables him to walk lightly on the edge of the debate with strong emotional sustenance.Most importantly,Zhang Chengzhi tries to establish a relationship to understand what kind of spirit the community living under the protection of this belief relies on to fight against the harsh living environment and social environment,and this power is exactly the spiritual resource that the Chinese nation can learn when dealing with various problems brought about by modern civilization.In the fourth chapter,from the perspective of the relationship between landscape and memory,memory is attached to Zhang Chengzhi's landscape discourse and plays an important role in his thinking of practical problems.After entering the northwest and even the wider world,Zhang Chengzhi's literary writing becomes more adept at penetrating the landscape from the perspective of proper memory,so that the viewing behavior and the viewing object have a high degree of connectivity.This part focuses on the issue of the spokesperson within the civilization and Zhang Chengzhi's Realistic Thinking on the issue of historic sites,including his expectation for the inclusiveness and diversity of the landscape,and includes Zhang Chengzhi's "Xiatai form" found in the Tianshan Mountain landscape,in order to illustrate Zhang Chengzhi's unique interpretation of“Survival Aesthetics".It can be said that memory and history provide more imagination space for Zhang Chengzhi's literary creation,and provide more leeway for grasping realistic problems.From the discussion of the relationship between landscape and soul,belief and memory,we can see that,whether it is the call for clean spirit and critical spirit,or the affirmation of humanitarianism and folk belief,the shaping of these words is based on Zhang Chengzhi's continuous and in-depth landscape travel,where the landscape has its own value and significance as a cognitive device that balances literary creation,aesthetic ideals and realistic criticism.With the help of landscape discourse,Zhang Chengzhi wants to arouse people's respect for folk beliefs and other cultures,as well as their awareness of the protection of cultural relics and their concern for the living conditions of the bottom people.It can be said that Zhang Chengzhi's concept of landscape condenses a profound "national consciousness".His discussion of landscape has turned into a kind of action spirit from reality and towards the future.