People Are On Stage,Drama Is Under The Stage ——Another Comment On Xia Yan’s Creation During The Period Of Guilin Cultural City

In literary works,there are often local expressions that expand personal experience based on a certain geography,such as Su Tong’s "Southern" expression,Mo Yan’s "Gaomi" hometown,Zhang Chengzhi’s "barren" road,etc..However,the author believes that this expression actually focuses on the spiritual reconstruction that is carried out after dominating the region with a strong personality temperament,so the focus of this article on the study of the relationship between people and cities is how the individual’s "destiny" experience will reveal A particular "urban text",whether it is a city and whether it can become a unique reading text,which profoundly affects its readers,in this sense,rereading what readers see,hear,and feel It may have a different meaning to grasp the shape,character and appearance of each city.Therefore,the author attempts to start from this particular region of Guilin,and explore whether Xia Yan and his people,who have a special relationship with Guilin Cultural City,can provide a fitting and deduction for the generation path of the above process.The thesis will systematically sort out how the cultural city affects the growth of Xia Yan’s individual life by returning to the historical context of the early period of the cultural city,analyzing Xia Yan’s experience in Gui Gui,and reading the text carefully,and clarifying Xia Yan’s creation in this period.Ways,topics,skills and meaning.The thesis is divided into four parts,mainly from the following aspects:The first part is from the perspective of Bourdieu’s "field" and appropriate reference to the relevant expositions of the three elements of race,environment and era in Dana’s "Philosophy of Art",aiming to integrate the historical context of the early cultural city with Xia into Gui.The experience of the time and the narrative of the memories after leaving Gui are connected.The war forced people to become exiles several times in exile and carried out a wide range of home migrations.The trajectory to the Gui Wen people before and after the formation of the cultural city was also the same,but compared to the latecomers,Xia Yan was different in that it happened exactly The initial formation of the Cultural City coincided,and the two shared the same spatial texture.Xia Yan witnessed the new style of Guilin’s resurrection in the scorched earth,and also under the influence of various parties’ "relationships" under the rise of different fields.The city has gradually moved from prosperity to prosperity and pluralism;at the same time,Xia Yan "reads" the human relations of other cities and transitions from passively accepting the cultural environment to actively experiencing and recording all kinds of personnel.Compared with the previous works,it is easy to find him He has been able to skillfully integrate different cities into his works as background and elements,such as the description of the scene of the theater,the linear growth of characters,and the overlapping of environmental features.The second part is to interpret Xia Yan,a stranger in this city with Shanghai complex.Mainly from the identity of Xia Yan’s creator to understand his lingering emotional memory and unique state of mind,that is,on the subject of the thoughts and writings of Shanghai Nianzi.In the dramas,essays and essays he wrote,he almost never left the place of "Shanghai",which can be described as "living in the southern country,and the heart of Jiangnan".But this does not mean that his imagination and records of the human world have stopped here.As it claims to be the "Little Devil Recalling the Old",it is precisely derived from the contrast of Guilin City where he is.It is the identity style that leads to the aesthetic difference.Behind it reveals Xia Yan’s unique way of perception and understanding: he follows the actual situation.The degree of development has been continuously testing the characters in the pen with various tests,so that the small citizens who live in the corner and the literati or cultural workers who have been exposed to the atmosphere of the citizens have to stand under the dangerous eaves,which reflects that he is trying to fill with pen and ink The secret behind these two circles is the proposition of where the characters should go.The second part is to interpret Xia Yan,a stranger from Guidi with Shanghai complex.Mainly from the identity of Xia Yan’s creator to understand his lingering emotional memory and unique state of mind,that is,his thoughts and writings of Shanghai Nianzi in Zhi.In the dramas,essays and essays he created,he almost never left the city of "Shanghai".But this does not mean that his imagination and records of the human world have stopped here.For example,the self-proclaimed "reminiscence of the old devil" is derived from the contrast of Guilin City where he is.The identity style leads to aesthetic differences.Behind it reveals Xia Yan’s unique way of perception and understanding: he follows the actual situation.The continuous development of the characters under various tests and trials has forced the small citizens living in the corner and the literati or cultural workers who have been exposed to the atmosphere of the citizens to stand under the dangerous eaves,which reflects that he is trying to fill these two with pen and ink The hidden place after the collision of the circles is the proposition of where the character should go.The fourth part discusses Xia Yan’s life experience in Guilin Cultural City.From the 1930 s to the 1940 s,Xia Yan’s life contained countless exile experiences,which left a deep imprint in his creations,and at the same time caused an “unsteady heart”,and how to deal with it The important proposition of how people get along with the time after the character runs away is both a temptation and a puzzlement.During his time in Gui,he failed to complete this idea.Instead,people who stopped in the "small circle" wanted to enter the "big world" level.Interestingly,as Xia Yan went to Hong Kong and Chongqing,Guilin City was gradually grasped and became an interesting reading text for him to place "I" and "Characters".Furthermore,due to the distance Instead,let him re-examine the various experiences since Ju Gui.In retrospect,Zhong Xiayan re-saw the people in nature,times and history,and then poured the discovered "landscape" into the text to continue the previous creative ideas.In short,this writing trajectory fully shows the change of breath,style and even thought after the interaction between man and city.