Jiang Tao | "Ji Hometown" and Sha Ting's literary adjustment in the mid -1940s -and the realistic literature of the Guo Tong District

Sha Ting: "Return to Hometown", Cultural Life Press, 1948 edition

Text/Jiang Tao

Summary

The works and other works such as "Gold Rush" completed during the "avoidance" during the "House of Residence" in the hometown of Anxian County in the 1940s were praised and caused controversy, and even regarded as a representative of "objectiveism" literature. In a greater perspective, how to break through the framework of "exposure and irony" and express the new direction of historical changes is also the overall challenge faced by the realist literature of the National Tongli District before and after the victory of the Anti -Japanese War. The "Removal of Hometown" completed by Sha Ting in 1946 shifted the focus of the narrative from the familiar Sichuan field town to the poor mountain village. During the war, the inherent changes in Sichuan country society. According to his later self -report, this adjustment is related to his trip to Chongqing in 1944 and the study of "Speech". Specific analysis of Sha Ting's literary cognition at the time and the social meaning of "Return to Hometown" helping to understand which aspect of the impact brought by the speech and the limit and possibility of the realist exploration of the Kuomi District.

Keywords Shanting "Return to Hometown" and "Speaking" National Tong District Realist "New County System"

In the 1940s, Sha Ting's long -term "three records" completed during the "avoidance" period of his hometown of Anxian County was regarded as an important gain of realist literature in Guowong District, especially the "Gold Rush", which was a chaos in the grassroots society in Sichuan during the war of Sichuan. The exposure reached considerable depth. Of course, while winning wide praise, Sha Ting's writing has also triggered some controversy, and even regarded as a representative of "objectiveism" and "naturalism" literature. Criticism not only comes from the Hu Feng faction that emphasizes "subjective", including how much Fang's friends also pointed out his lack of creation. Therefore, the controversy of "subjective" and "objective", in a larger perspective, the lack of Shanting's writing is also related to the overall bottleneck encountered by the realist literature of the Guo Tong District. At the end of 1945, when Mao Dun reviewed the results of the eight years of the Anti -Japanese War, after mentioning the retreat of Wuhan, the political environment of the big rear deteriorated, and the writer developed three main tendencies. The reality of the battlefield does not have the freedom of writing, then write the guerrilla area behind the enemy, write the occupied area, and even the "yin and yang world"; since it is not allowed to expose the most typical sin, then you have to write "small town storm", write rural earth inferior, write, write, write The depression of intellectuals.

If the second half of this passage is used to summarize the writing of Sha Ting during the Anti -Japanese War, it is roughly not bad. For this kind of tendency, Mao Dun is naturally dissatisfied and believes that although there is an obstacle to the objective environment behind the big rear, "because the subjective efforts are not sufficient", "even after the retreat of Wuhan retreat Darkness (this is not done in fact), but if it cannot fully reflect the democratic demands of the people, it will still be considered to avoid reality and stance. " [1] Under the new situation, Mao Dun's evaluation of the literary and artistic evaluation of the national district during the war may be a bit harsh, but how to break through the "exposure and irony" routine, express the new direction of historical changes, and cooperate with the "urgent democratic requirements of the people" It is indeed a big challenge facing the "Sha Ting" before and after the victory of the Anti -Japanese War.

In fact, Sha Ting is also trying to change new changes. Completed in 1946, "Return to Hometown" will turn his eyes from his familiar township gentlemen and robes to the mountain villages struggling in trouble. In the work of life as the theme, for the first time, the content of the spontaneous resistance of the peasants appeared "[2]. In the later self -report, Sha Ting has repeatedly emphasized that this adjustment is related to the Chongqing trip in 1944 and the study of the "Speech":

In the winter of 1944, when Guiyang was tight, because of work, I went to Chongqing for a period. In the middle, I first read Chairman Mao's "Speech at the Yan'an Literature and Art Symposium", and I also heard some comrades who have learned this great work on "Gold Rush" and "Beast Beast". I had the opportunity to consider some major issues in creation.

When I returned to Lishui Pass, the desire to write "Return to Hometown" was even stronger. [3]

Because of reading "Speaking", I have the opportunity to reflect on the problems in creation. As a result, I have the writing of "Return to Hometown" to the influence of self -adjustment in the influence of "speech". This trace seems too smooth and appropriate. Essence If the writing of "Return to Hometown" is really affected by "Speaking", which aspect of the influence happened? After studying the "Speaking", what are Sha Ting carefully considered "some major issues in creation"? Where is the breakthrough of "Return to Hometown", is it only reflected in the shaping of farmers and the theme of "resistance"? What is the significance of this breakthrough for the development of realism and literature of the Guoyong District? It is necessary to deepen these levels of problems and obviously have a more patient and detailed analysis of the literary perception and cognitive state of Satin in the mid -1940s.

"Some major issues in creation"

There have been many studies on the spread of "Speech" in Chongqing, and what will be mentioned is generally mentioned: on January 1, 1944, the whole version of "Xinhua Daily" published part of the "Speaking" part of the content, and then "Literature and Art" The question "Speaking" was published in the "Speech"; in May 1944, He Qifang and Liu Baiyu went to Chongqing to convey the spirit of the "Speech". The situation, work with flexible strategies, etc. In the winter of 1944, under the repeated urging of old friends He Qifang, Sha Ting came to Chongqing to participate in the rectification. He later recalled that on the night of the day when he arrived in Chongqing, he went to Zengjiayan No. 50 Zhou Gongguan to report. It happened to meet "Comrade Enlai invited some comrades in the literary and art circles to dinner, and it was obviously discussed before the dinner." The main ideological content of "Speaking". [4] According to the "Chronicles of Zhou En", in late November 1944, Zhou Enlai, who returned to Chongqing from Yan'an in late November 1944, "summoned Xu Bing, Qiao Guanhua, Chen Jiakang and Xia Yan to meet, listening to their reports on united fronts, foreign affairs, and art. The spirit of Mao Zedong's speech at the Yan'an Literature and Art Symposium and the movement of literary and artistic work after the liberation area after the rectification of literary arts and art "[5]. If there is nothing wrong with Sha Ting's memories, the symposium he mentioned is probably this time. Unfortunately, he arrived late, but only attended the dinner after the meeting. Subsequently, Sha Ting watched the rectification documents in Zengjiayan for two days and hurriedly moved to the Zhangjia Garden where "Wenli" was located. At that time, Guilin lost, the Japanese army approached Dushan, and the situation was very tight. Outside of the reading documents, the rectification learning did not actually start. Soon after, Sha Ting also accepted the task of evacuating cultural people from other provinces and returned to Chengdu. In this hurry, hurriedly, the effect of rectification and reading "Speaking" is conceivable. The rectification can not be learned. The situation is tight and the time is in a hurry. It is only in the environment of the country. It is a more critical issue whether Chongqing's literary and art circles can accurately and fully understand the spirit of the "speech". Hu Feng recalled that at a symposium organized by Feng Naichao, when talking about "the problem of cultivating workers, peasants and soldiers", he quoted the "differences between the environment and task difference between the literary and art workers of the base and the Kuomintang rule of the Kuomintang ruling region". The task of putting forward the literary and art work of the Kuomintang District "should fight against the Kuomintang's reactionary policies, reactionary literature and art, and even reactionary society." It is not possible to cultivate workers, peasants and soldiers. Hu Feng also reviewed the understanding of the understanding at the time, ignored the principles such as ideological transformation, popularization and improvement, and ignored "at least I should make a statement from my attitude and relationship with the party." [7] However, the emphasis on the "difference between environment and tasks" may represent the understanding of left -wing people from the Kuomi District to a fairly extent. Without experiencing a large -scale "rectification" movement, it has been separated from the specific environment of Yan'an and Liberation Zone. Although it is not difficult for people to accept the principles of "literary and artistic service" and "literary service for the masses", it is difficult to understand the "Speech". Deep party spirit principles and theme of intellectual ideas. [8]

During the stay in Chongqing, although the rectification learning did not start in depth, Sha Ting had another harvest, including creating a short story "Survey and Jia Xiaojing" for the "Youth Literature and Art" organized by the group, and selected his works before the War of Resistance Against Japan. Edited a novel "Beast Road". In November 30, 1944, in the "Inspection" in the "In the West of the Enemies", he particularly emphasized the intention of editing this collection, not to summarize before the battle. "Because of generally speaking I don't think I am in the subject matter, what is the difference between the insights and the war before the war. " He even claimed that he had to put a shot: "If what I write really has nothing to do with reality, the War of Resistance Against Japan has won early!" [9] It can be seen that Sha Ting was still very confident at this time. He in the mid -1930s in the mid -1930s formed in the mid -1930s. Social understanding and literary understanding have not fundamentally changed. In his opinion, the stagnant and wrong rural structure he wanted to expose in the novel is still the biggest obstacle to the victory of the War of Resistance Against Japan and the advancement of history.

In 1936, Sha Ting took a group photo with friends in Zuo Lian. From the left in the front row: Bai Wei, Du Tan, Wang Mengye; from the left: Aiwu, Sha Ting, Yang Sao

In the memories, he also mentioned that two days of studying the whole wind document on Zengjiayan No. 50, He Qifang had transferred a letter from Zhou Yang and persuaded him to return to Yan'an or the enemy, but he chose to "retreat and seek the second", "It's almost simply, it's simply simply, it's simply simply. It's like you don't go to the anti -Japanese base. " He later reviewed, the main reason was "creation". "I did not treat the praise I received after the publication of" Gold Rush ", so my mind was heated, and I thought it was gone." [10]. The dedication to literature "aspirations" had driven him back to Sichuan from Yan'an. At this point, the "standard" position of this literature does not seem to shake. In March 1948, Shao Quanlin's "Opinions on the current Literary Movement -Review Criticism and Future Direction" mentioned that in the temporary low state of the revolution before and after the South Anhui Incident, some writers not only retreated from actual combat positions, but also in the actual combat position, but also in The spirit and consciousness also showed back:

They feel that in the middle of this long night, the task of a writer should be buried in his own creation, to settle down in literature and art, use a calm mind to observe and analyze this society, to describe this complex and painful society Life, tell readers how the dark forces are brutal and arrogant, and how miserable the people's lives are. Therefore, he unknowingly became a bystander of the people's life and social struggle. [11] Instead of the "standard" of literature in the "retreat", observing, analyzing, and exposing the dark society, and to settle down, this text was almost the literary statue of Sha Ting at the time.

Then, in Chongqing studying "Speech" and rectification documents, what he said "give me the opportunity to seriously consider some major issues in creation". What are these "major issues"? The article "Learning to Life" published in "Youth Literature" in December 1944 should record his thoughts at the time. The beginning of the article talks about the recent "I have the opportunity to read a group of young friends". As far as the materials, the purpose, and the general tendency of the work, the overall feeling of Sha Ting is very good. The two crises are the trend of pornographic description and bystander. " On the contrary, these works are mostly written in rural society in the rear. "The purpose is to expose inferior exploitation. All new measures are caused by the consequences of making people cry and laughing." Moreover, they began to write are not driven by "a kind of empty concept, obviously starting from real life." On the surface, he was defending the young authors and aimed at the false accusations that he seemed to be, but this was not a self -defense: "inferior exploitation" and "new measures caused people to cry The consequences ", isn't Satin's theme that has been excavated? "Starting from real life" is not exactly the literary consciousness he formed since the mid -1930s? He then put forward, "If you try to take creation as a lifelong career and go all out", "Our apology harvest is almost depending on the acquisition of life knowledge."

Here, Sha Ting seems to be the abundance of "life knowledge" as always as the main prerequisite for the success or failure of the creative. Later, the article has a large reversal: he talked about the large rear writer because of the objective environment of the objective environment. Restrictions cannot be "deeper into the countryside or go to the front line", which causes some universal distress, including himself.

In the past three years, I spent in the countryside. My initial hope always thought that I might be closer to the rural society I wanted to know, and because of all unexpected setbacks, I failed. ... First of all, in these three years, my life is naturally very narrow, but in this narrow range, why did I have lived seriously? Why do you understand the characters around me correctly and deeply? Secondly, what I can contact is not limited to the characters above the small citizens of rural areas, but some of the things I write are completely objective; and this just proves that my negligence is terrible! [12]

Focusing on the attitude of "narrow life", in -depth life, and in -depth reflection, it should be the "major issue in creation" he seriously considered. From self -defense to self -review, the exclaim of "negligent terrible" brings "reversal". It should be noted that this "reversal" still occurs on the extension line of previous literary cognition. Sha Ting is aware of the narrow scope of "life", and the writing object is limited to "figures above the small citizens in the countryside", but this does not subvert the decisiveness and priority of "life" itself. In his discussion, "life" seems to be a free and self -sufficient field. It can correct the abstraction of theory and thoughts, and it can also reject the simple penetration of political principles. The mastery of enriching "life knowledge" has always been his proud creative advantage. According to the logic of "Speaking", literary artists should first be revolutionary workers, and literary and artistic work must also cooperate with the development of revolutionary policies. It should be a "hot struggle", a "field" of self -refining and transformation. Not only is it not separated from the revolutionary policy and practice, it is organized and mobilized by "revolutionary politics". For the writers of the Kuomintang District, due to the "difference between environment and task", they cannot be in the practical practice of struggle. This may be a place where it is particularly difficult to break through in the structure and feel the structure.

The above analysis is not the influence of "speech" is just a self -traceability, or even recognition of Sha Ting. Even in the Yan'an Jiefang Area, the "Speech" provides a directional rather than a prescribed solution. Different writers will explore and expand along their own path. In Sha Ting, studying "Speech" and rectification documents in Chongqing did interrupt his writing inertia. The exclamation of "terrible negligence" played at least the role of self -"removing charm", allowing him to from the countryside The self -confidence hallucinations of life experience woke up, reflected in the past success, and found internal deficiencies. Even if this kind of introspection is on the extension of existing literary understanding, "deep life" is only understood as the breadth and depth of life experience, and lack of awareness of adjustment of understanding and self -transformation.

From "斧 斧" to "shooting bamboo shoots"

After returning to Anxian from Chongqing, Sha Ting's writing did have changed quietly. A series of short stories created by him from 1945 to 1946, such as "Two Brothers", "Spring Dynasty", "Mr. Fan" and "Holy", etc., and took the initiative to cooperate with "the urgent democratic requirements of the people" and "revealing reactionary party knowledge. "Persecution of molecules", or in the atmosphere before and after the "Double Ten Agreement", express the desire of the grass -roots society's anti -civil war and promoting peace. The greater efforts to break through the "scope of life" are of course more reflected in the writing of "Return to Hometown". This novel that "reflects oppression and oppression in the rural real life of Guo Tong District" has long been brewing. After going to Chongqing to study "Speech", "my intention and conception is more clear, and it feels like it is." ]. The past novels of Sha Ting are mostly written by the "town" and "field towns" in northwest of Sichuan. Strong cognitive interest. Many novels that expressed rural changes in the 20th century were launched under the framework of "village", but the space for farmers' life, consumption, and interaction is not a closed village, but a multi -network network in faith, marriage, culture, and power. The grass -roots market community. In the so -called "Shili Eight Village" community network, the market, townships, and small towns have played an indispensable "node" role. Therefore, Sha Ting's choice of "field town" instead of "village" as the object of writing has extremely important methodological significance for knowing China's rural world. However, just focusing on the "field town", it lost a more basic village vision. The structure of a grass -roots rural community cannot be completely grasped. At the end of 1944, Sha Ting's introspection was centered on "figures above the small citizens in the countryside" and potentially pointed to this problem. The most obvious breakthrough in "Return to the Hometown" is the first time from the "Field Town" to the mountain village, and the peasant Feng Dasheng was forced to sell Zhuang Ding and returned to his hometown as a clue. Awakening and resistance.

Sha Ting's long -standing "Lishui Pass" is located at the junction of the three counties of Anxian, Mianzhu, and Maowen. [14] The prototype of the Lin Dougou Liujiagou in "Return to the Hometown", in a more remote and cold mountains: "That is a ravine of about three or four miles long, divided into three sections, upper ditch, middle ditch, and middle ditch, and middle grooves, and middle ditch, middle ditch, Zhonglou, Zhongguan, and middle ditch. There are only 50 or 60 households in the lower ditch. They are all poor semi -self -cultivated farmers. If they do not hunt for firewood, no family can spend it. "[15] In early 1943, Sha Ting had been hidden here to avoid possible arrests here. After several months, the long novel "The Beast Beast" was completed. "Ten years of water", although Sha Ting continued to move, most of the time, still moved between large and small towns. Opportunities: "All the characters and events who are deeply impressed by me have later become the material of my conception of" Return to Hometown "." [16] I can see that the novel writing has fully mobilized the accumulation of life in those months. Ting has used a lot of pen and ink to record the production and living characteristics of mountain residents, such as the labor method of knife and fire, the rough and rustic folk customs, and the difficulty of the bachelor to marry a relative, including the cold and stern natural atmosphere. Although the "field town" and robe society, which is most familiar with Shancun and Lingou as the narrative center, did not remain outside the field of vision. The novel intends to set up a confrontation structure of a mountain village and the town: in Linzhenggou, the social relationship is relatively simple, and the power of the robe is not strong; In the "Guangyouju" of the teahouse, the uncle of the robe is difficult to solve the income and hosted the "sitting in the water platform" ("rational letter"), which is the classic scene of Sha Ting's novel. One of them wrote that Feng Dasheng and the enemy "Xu Rat Dog" twisted and went to "Guangyouju" to find the township chief. Seeing that Brother Gao was beaten by a mountain people, the noisy "bachelor" in the teahouse was stimulated, and he kept making no noise and scolding:

"Hey!" A few of the sounds screamed together, "The empty hit the bachelor! ..."

"Look at these mountain monkeys to make sense!" Someone said bored.

"Go to fuck! Monkey monkeys have been scattered! ..."

Faced with the brothers who thought of being a superior, Feng Dasheng and other mountain people were depressed because of the failure of the "rational letter", but "the even more angry is the ridicule of the bachelor." [17] Satin seems to be intended to incorporate the ravine and the town into a related vision, and use the conflict between "mountain monkeys" and "bachelor" to gradually bring the clues of the changes in rural social emotions, public opinion, and community consciousness when they are in the battle.

Related to this spatial tension, the power and rhythm of the novel's narrative have also changed. Here, you may wish to compare the beginning of "Gold Rush" and "Return to Hometown". Both novels start from the morning. This is the beginning of the day. People wake up from their dreams, their eyes are gradually clear, and the story gradually begins. "Gold Rush" adopts the way of spreading space. First, from the distribution of streets and teahouses in Beidou Town, the confrontation between the two teahouses of "Yongquanju" and "Changhexuan" shows "in the DPRK" and "in the dynasty" and " The structure of the field town in the wild. Then, the narrative was transferred between teahouses, cigarette halls, casinos, private houses, and puppets, and the complex power, falling and conflicts of interest were implemented in the overlapping and closed space. This space is swallowed, and conflicts and disruptions caused by "gold rush" will eventually be absorbed by the original structure. The painful perception of Sichuan's social reality during the battle was included in this closed and inside -curling space. [18] This is not the case for "Return to Hometown". Sha Ting did not linger in the space. It started directly from the internal scene of a family: the sky was not yet bright, and the Feng Youyi couple got up. Loving, roasting hot and rough food in firewood. Sha Ting's text is also accompanied by a sense of roughness, which especially rendered the atmosphere of depression and ominous. The old couple are careful to avoid mentioning their sons: "Just like protecting a trauma, I am afraid that I will accidentally hit it. However, despite this, trauma still exists." [19] With the development of the plot, this " The "trauma" of the deeper "was torn apart: son Feng Dasheng was deceived to sell Zhuang Ding. After he left, his wife Jin was played and occupied by Bao Jia. Essence Starting from the "trauma" inside a family, this makes the novel driven by the painful emotion from the beginning. If the "Gold Rush" is a multi -layer deep description of the space of the field, and the expansion of narrative relies on the dense dialogue, which also causes the stagnation of reading. In contrast, "Return to Hometown" from the "deep description" of the space to the outline of the action, the density of the dialogue is significantly reduced, and it is mostly directly attractive. After the return of Dasheng, I learned that the truth was naturally angry, but the guilt of her parents, and even the love of my wife Jin, who was entangled and entangled, forming a emotional rapids that was unjustly and enthusiastic about love. dense. For example, in order to make money, I wrote to the Eagle Rock to cut firewood in order to make money. Sha Ting used a rough stroke to write the danger, lush and vitality of the forest:

Along the way, there are stabbing cages. The greedy large leaves bubble, endlessly stretched out, spreading and tangling, intertwined into the dense thorns. The horse's pole occasionally leaned out of the gap, dry and thin, swinging red brown and tough branches. This is just a thorns! However, a burst of wings sounded from the cluster. The sound of the sound was high, and the sharp and crisp thrush came from the steep rock on the head.

The thorns that spread, tangled, and stabbed out, and the steep mountain rocks brought a feeling of struggle. The sharp birds in the air seemed to tear the mountain forests and open another possibility outside the reality. Such a natural format is the externalization of the spiritual movements of the characters, and "in this rough and simple nature", the soul that had already been slightly stable, it seemed to be cleaned again and opened: "How willing he would like ! ... "[20]

With Feng Dasheng's resistance and eventually leaving again as a clue, "Return to Hometown" revolves around two closely connected incidents: First, the conflict caused by the "announcing wife", after Feng Dasheng's "ax" was revenge, he encountered it again. The failure of "rational letter"; second, the local gentry and the township insurance manager took the name of "bamboo shoots" cooperatives to conspire the interests of the people, and Feng Dasheng and Uncle Zhang took the lead in fighting. Because of the different nature of the event, there are obvious differences in the rhythm and qi before and after the novel. [21] In 1951, He Qifang finished reading "Return to Hometown" and praised the letter to Sha Ting. In the long "three records", "I think this is the best". Unlike some of the previous part of "Gold Rush". The theme is more positive and clearer. " At the same time, he also believed that "Feng Dasheng and his original wife's occupation of the clue was more attractive, and the clues about bamboo shoots seemed to be weaker." [22] Satin seems to be quite concerned about this "By the way". After nearly 30 years, there is still such a explanation:

This view can at least be said to be in line with my ideas: Despite the struggle, Feng Dasheng's wife was deceived and remarried not only did not be reasonable, but instead of being humiliated. Will he swallow it like this? Therefore, full of anger, it broke out on the problem of shooting bamboo shoots! [twenty three]

Indeed, "ax" and "shooting bamboo shoots" cannot be regarded as two clues of parallel and separation, but have internal logic and emotional connection. Instead, it is based on the demands of justice within the countryside and based on an irreplaceable "full of anger". This emotional main line gives the internal integrity of the novel. The resistance to oppression and enthusiasm for happiness and love, although it is still spontaneous, is also an inherent motivation that the rural revolution cannot ignore.

However, the relatively weak "shooting bamboo shoot" line may be more important for understanding the breakthrough of "Return to Hometown". Because, if it is just to express the theme of resistance, shape the image of a new farmer, and even present the tension structure of the field and the ravine, the pattern and level of this novel still have not been specially opened, and it is still generated in the context of "exposure -irony -resistance". In the realistic environment of the Kuomintang District after the War of Resistance Against Japan, this way of writing is not unrealistic, and it may have the possibility of exposing the political corruption and looking forward to the historical direction of the State District. Family disintegration, marriage and land disputes caused by "Zheng Ding" and "Escape Ding", as well as the destruction of the original ethical order of life, was very common in the war in the war, and Sha Ting also showed her keen perception in this regard. [24] But as mentioned at the beginning of the article, "exposure -irony -resistance" cannot be directly linked to new reality and conscious changes, and cannot provide more productive perception energy. Bottleneck. Fortunately, Sha Ting's breakthrough and thinking about some "major issues" still helped him. From the "ax" to "shooting bamboo shoots", it is not only the upgrade of resistance. The conversion of the two clues brings out more characters and problems levels, and also brings out the changes in the consciousness of rural society in Sichuan during the war. Sha Ting's critic, Lu Yan's novel "Burning Wilderness" completed in 1948, also wrote the oppression of rogue landlords to farmers, and wrote disputes between deserters, "hell wives" and land. In the end, the unbearable peasant Zhang Laodi raised the ax to revenge. The novel stopped such a spontaneous resistance, and the "ax" was exactly the end of the narrative. "Wild Road" and "Masao"

After investigating the literary and artistic arts of Yan'an and Liberation District after the Speech, research has attached great importance to the series of transformation practices carried out by the CCP in the countryside in recent years, and the flip brought about by land relations, social structure, and cultural ethics. It can be referring to the Kuomintang government in the anti -Japanese war and in the field of politics, economy, education and other fields. Some kind of synchronous observation. In September 1939, the "new county system" implemented by the National Government's plan was to strengthen the control of grass -roots society under the name of local autonomy, at the same time mobilizing the enthusiasm of the people, mobilizing manpower, material resources, and financial resources to support the foundation of the Anti -Japanese War. As a "survey plus" during the war, Sichuan is naturally a key area for the implementation of the "new county system". From March 1940 to 1943, in addition to the "remote and barren and special counties", most of the 137 counties in the province "Although the effectiveness of work is different, and the new county system is generally implemented, there is no solidity. " [25] In addition, with the movement of a large number of cultural and educational organs and social organizations, some social transformation and rural construction groups also landed in Sichuan. Wait. In 1940, Canadian human scholar, who was born in Chengdu's missionary family, came to Xinglong Field, Laoshan County to participate in a rural construction project. The lives, beliefs, social organization conditions, etc. The rural construction project was initiated by the Chinese Christian Church, provided funds of the Chinese Christian Association, and was approved by the Kuomintang Central Government. Yan Yangchu's rural construction college also sent two experts to train to guide the establishment of cooperatives. [26] From this example, it can be seen that at that time, a variety of forces had entered the countryside of Sichuan, and cooperating with the government's "reform" measures. On the basis of the original survey notes, the work "Wind Exchange, Reconstruction and Defynce: Xinglong Field (1940-1941)" completed in cooperation with Ke Linqing in his later years, " The narrative of changing the lifestyle of Xinglong Farm "discussed" the national government has encountered the difficulties that the power tentacles to the remote provinces such as Sichuan. " [27] The customs of Sichuan's "living town", the description of the social structure of the robe, and the analysis of many improved plans are also the contents of Sha Ting's novels and "exposed".

In Sha Ting's eyes, even if the grass -roots township in Sichuan is stirred by the anti -Japanese war, it is at most "dead water", new policies and measures, but it provides "a batch of new rice bowls for people to fight for me." However, this does not prevent him from sensitive to social changes during the battle. During his studies in Chongqing at the end of 1944, the "Survey and Jiajing" he completed has begun to adjust the direction of literature, shifting from "figures above the small citizens in rural areas" to a more bottom -level stream and duration. Some researchers noticed the details of the "Director of Lianbao Chances to the Township" in the novel. Starting from this detail, discussed the "new county system" background of Sha Ting. [28] In the "Survey and Jiajing", if it is only individual details, the existence of the "new county system" is revealed, then "Return to Hometown" more clearly brings this background into narrative. At the beginning of the novel, the heavy burden of the people of Linyugou was forced to cut off the wood to build the hometown house of the wild Cat Creek. Sha Ting deliberately explained that Aunt Feng was full of grievances, and Feng Laohan silently affected: "This is not his special understanding of the so -called new county system. He is also very dissatisfied, thinking that this is a measure of wounding the people." [29] Local gentlemen Loton Five, when the chief son and the deputy of the insured team, also said such a paragraph: the main responsibility of the personnel of Baojia is teaching, maintenance, and health -the most important in raising characters! ——Chopic? Don't think that you ran to the people's door today: donate the plane! Tomorrow: Give me a tree! ——This is all wild roads! Let's not say anything about the audience, let's do a model first! … [30]

This paragraph is very level, which is simply a description of the core spirit of the "new county system". Compared with the various organizational laws and autonomous laws issued by the Kuomintang in the past, one of the very important one of the "new county system" is to change the original county, district, joint insurance, security, and A level. The level of the town (town) as the foundation of local autonomy has been strengthened. The township and township chief of the township of civilian social organizations also turned into a civil servant of the country and assumed a variety of responsibilities of administrative, finance, military, education and other responsibilities. The

In the past, the township office or the joint insurance office, the same task of the agency of the police affairs, the only task is to donate duration, or to convey the political order, how to manage the people, improve education, improve people's lives, enrich people's lives, enrich people The people's force is not asked, and the people must not be affordable, so they cannot stimulate their support and implementation. Secondly, administrative and education, economy, and self -defense are disconnected. They are not as long as they are, that is, they will not be abolished, that is, it will flow in heavy beds, which consumes human resources and material resources. It is not shallow. [31]

From the perspective of Loton Wu, "donating the plane", "giving me a tree", and the issuing order, the labor and the people hurt the fortune, it is the "wild road" of rural governance. What is the "right path"? The so -called "right path" is the implementation of the first -level "management, teaching, support, and health" emphasized by the "new county system". In the first edition of the novel, the "main responsibility of protecting the people is teaching, supporting, and health" a lack of "tube". Later, when it was revised, Sha Ting added the word "tube", which was obviously intended to make up. [32] Rosenu said that in "teaching, raising, and health", "nourishing characters is the most important." In accordance with the requirements of the "new county system", the tasks of "raising" are mainly completed by cooperatives at all levels. In this regard, Loton was quite able to understand that he and the eldest son of Bao Bao were planning a "bamboo shoot" cooperative: because he was dissatisfied with a group of people in the town, he was planning to use a cooperative to develop wild Cat Creek 13 Bao -mainly in the local production of white bamboo shoots in Linyuou.

The bureaucrats and robes in Sha Ting's previous novels are mostly typical local and inferior gentlemen. The grass -roots leader of "Return to Hometown", such as the team deputy Xu Rongcheng, is generally this type, but the higher -level township chief and gentry are a bit different. Yang Maosen, the head of the hometown of the wild Cat Creek, is also an uncle of robe. The local Emperor is a thin and long old -fashioned old crystal glasses. He talks slowly and is a bit of Swen. Hearing someone to inherit his power, he will immediately refute:

"Describing it like you, I am just a living tyrant!" He said.

"You say this!" Bao Chang flushed his face and explained, "Originally, regardless of business private affairs ..."

"I'll tell you!" The head of the township cut him, and suddenly his expression became very serious. "No matter what you have, as long as you are serious for the people, I have no disagreement! But brother!" He continued to continue Said, shook his head lazily, "I have too much experience in this matter! The set of saying, the smell of it -a messy! -Ho! ... ... ... "[33]

There is principles to do things. It is the people who are the people. They also have a painful perception of the disadvantages of grass -roots political "internal rolls". This attitude seems to reflect the awareness of a township official. Feng Dasheng came to the wild Cat Creek to "tell the letter". The initial attitude of the township chief was still fair. It not only talked about the principle of the Anti -Japanese War, but also took into account the local customs. Dasheng knew that the appeal was difficult, "but when he thought of the attitude of the township chief, his hope was even stronger." [34]

An important part of the "new county system" is to break the monopoly of local society through training and selection of cadres at all levels to break the monopoly of local gangsters and "change blood" for grass -roots regimes. However, in order to complete a series of stressful wartime tasks such as food, Zhengding, and "stalling recruitment", it has to rely on old characters and social networks. The conflict between the old and the old and the "hinge" is a major problem in many issues caused by the "new county system". [35] The township chief and gentleman in "Return to the Hometown" are all old people from the "robe world", but in the "new county system" air, there are new packaging and new talks. Bao Chief's father, Rosen, is the most vivid and dramatic figure. The uncle of the robe has been the company of the miscellaneous troops and brought the team of wild Catxi. After the collapse, Uncle Luo became a Christian and turned into an enlightened gentleman: Because of the church relationship, he knew some new wisdom. With this, he not only felt complacent, but also paired with wild Cat Creek everywhere. He has made improvement seeds and advocates breeding acne. He wants to give people a impression at any time: he serves the people! And his enemies ignore nothing except for money. [36]

Although "in the wild" does not "in the dynasty", Uncle Luo is self -procurement everywhere. In addition to being able to understand the spirit of the "new county system", it is also enthusiastic about rural construction and cooperative movement. On weekdays, he likes to talk about vast, full of civilization, equality, production, and service, and even his sons of the security guard are very annoyed.

After 1945, it was probably to cooperate with the movement of democracy and peace behind the big rear. In the novels such as "Visiting", "Zhong Ao" and "Mr. Fan", Sha Ting also shaped some images of decent and enlightened gentry. As the edge of the rural regime, they are often righteous and have public awareness and certain ability to participate in politics. Among them, "Zhong Ao" written at the end of 1947 (formerly known as "A Memory"), with a rather time -long stroke, described Zhong Ao, a "unique character": he also came from a military in his early years. "Western civilization", such as promoting excellent crops, breeding livestock poultry in new methods, and picking up products for free. Loton Wu and Zhong Ao in "Return to Hometown" are a bit similar. According to Wu Fuhui's judgment, both characters are shaped by a strange man Yong Zhiyu. [37] However, one is the "good gentry" of strange and decent, and the other is the exquisite and deceitful "inferior gentry". Rose's five -crowned rhetoric, covering only personal lust. In any case, the image of the newly -old robe brother of Loton's May 1st class is generated in the background of the grass -roots social transformation of Sichuan during the war. We can even assume that if you do not take Feng Dasheng's fighting as the main line, but the five father and son of the Roson Father and son initiate The cooperative is the main line to reconstruct the narrative. Can "Return to Township" can also be read as a wrong, deformed country renovation novel?

"山" ravine

Lin Yigou produces white bamboo shoots, and the poor mountain people cannot maintain their livelihood by planting land alone. However, the purchase price of bamboo shoots is extremely low, and the price can be turned to ten times that the price of less than 50 miles can be turned to ten times. The "cooperative" that the five father and son of Loton want to launch is to bypass the merchants and acquire and sell uniformly. The "Luo Lazy King" explained to the "Monkey Monkey":

To put it simply, you hand over the bamboo shoots to the guarantee, and the cooperation officer will write down the account, trying to transport it to the state to sell it, and sell the price for money. Only the handling fee will never lose you! This incident has been urged several times for a long time, saying that it is our career in our cooperation! [38]

It has been mentioned above that the implementation of the cooperation movement is one of the contents of the "new county system", but it is similar to other measures, and the effect of implementation is not ideal. Sichuan Province has formulated the "Three -Year Plan" (1942-1944) in Sichuan Province. By the end of 1944, the township cooperatives completed 7.5%of the insufficient number of plans. Far. Because the staff of the cooperative organization are mostly the leader of the armor, the inferiority of the personnel of the armor also often leads to the misappropriation and melon of the borrowing of cooperatives. [39] Tasabai and her colleagues in the township building were also formed a salt supply cooperative in Xinglong Field. This cooperative only exists for about five months, because "the wealthy businessman who originally monopolized the salt industry and coaxed the price in the town was elected as the director of the cooperative". Salt can also enjoy the government's tax cuts. " "The purpose of running cooperatives has been greatly reduced in the eyes of the villagers." Township experts had to close it. The same is true for the five fathers and sons of Loton. They want to monopolize the bamboo shoots of Lin Yigou, but also remember the special funds of cooperatives in the township.

Isbai lamented: "If a foreigner has not studied in depth and understands the local society and political reality, it will rashly implement how big the economic reforms will encounter even a small economic reform in traditional villages!" [40] This anthropology What I do n’t think about is that this is not just a matter of how foreigners enter the context and how to know the countryside. If you do not carry out fundamental cultural power, new policies and new reform plans will inevitably be as Shatin's saying, and it will become "new for people to fight for me for me". The rural construction words will inevitably cover or even secretly support the continuous regeneration and solidification of the power structure. If you just write the reality of such old and new "hinges", Sha Ting is still on the track of "exposure and irony". Even if this part is exposed, it is quite a cognitive model that can be in line with sociology and history, such as the country, such as the country, such as the country, such as the country, such as the country. The predicament of grass -roots governance with localities, "internal volume" of rural cultural power networks, etc. However, he still seems to be exploring some other levels: when the atmosphere and consciousness of the countryside are stirred by foreign decree, and even "local tyrants" can fuck the "new county system" language. Then What about? Sha Ting later also made it clear that "Return to Hometown" must not only write the spontaneous struggle of farmers, but also specifically write "the excellent quality of poor farmers: they are smart, simple, and brave, unlike the landlord's imagination "[41]. Sichuan people can speak well, love to set up dragon gates, and the characters are full of dialogue and debate between characters. The scene of the "reasoning letter" in the teahouse originally constituted the main content of his novels and also brought a strong local style. Naturally, "Returning Hometown" is also indispensable in the game in the teahouse. The "mountain monkeys" that the township chief talked about was ridiculed by the bachelor. However, the lip gun and sword not only happened in the teahouse, but also moved to the deserted Lin Yigou at the "reasoning" scene. Similar to the novels and cooperation novels we are familiar with, there are several rural mobilization meetings in "Return to the Hometown": Rosen Wuhe President's son went to the village to "mobilize the masses" and mobilize the villagers to participate in the "bamboo shoot cooperative" Essence Bao Chief said that he did not take off the "wild road", and the rough leaves and leaves were "used with an arbitrary tone, as if this was the same as the grain." His father is another tone, and he is more willing to follow good temptation and patient persuasion:

"The government is designed for us today and designed for us tomorrow. There is no one I can see except for the cooperation career! If you do n’t even know this benefit, it will be too wrong! Bamboo bamboo shoots, this gives you a hundred, one is only one yuan, which one can come by, -huh? "

"The old lady's words are even more open -minded!" The team said, "It depends on you in favor? - No?" [42]

The elder father and son seemed to be a public heart, thinking about Lin Yangou everywhere, "reasoning" is also more "transparent". In private, the "grass -roots cadre" A chief of the "grass -roots cadres" and the deputy insurance team pay attention to everyone's movement at any time, and do more people's ideological work. However, the "Monkey Monkey" has been quite alert. Thinking of the inferiority of the father and son in the past, he did not trust the "good career". Not only did he question at the conference, he also held a small meeting after the conference:

Although people who have different interests and people who eat as usual, crop people are always so withered and dull, and they are unclear, but when they are in the same way, they will immediately become brave and spiritual. And rap.

In the place where the sun can be exposed, there are almost three or two people by every rock, where the same problem is: what extent is it reliably? Will you not care if you can cheat your hand? [43]

Many details in the novel suggest that the existence of a community consciousness in the mountain village, such as the village entrance, forest ditch, field, and labor collectives for replacement. Essence This also includes the appearance of a character, Sha Ting will deliberately change the perspective, first write from the discussion of the mountain people, or write from the perspective of everyone, thereby showing the overall existence of rural public opinion. This means that although "Lin Yigou" is oppressed by the "wild Cat Creek", the local customs, mutual assistance forms, and basic justice demands have played a self -protection role. In other words, the remote ravine is not silent, "foolish and deceiving", but waking up, lively, and even stinging.

In recent years, there have been many discussions about farmers' "reasonable" and "account settlement" capabilities in the novels of land reform and rural reform. It generally involves the generation of new rural political subjects. Sha Ting also seemed to be willing to portray this. After the failure of "rational letter", Feng Dasheng actively ran away and did not let go of "any opportunity to convince persuasion"; another key character Zhang, who was far away, saw the world, and his mouth was sharp. " [44] Gentlemen and Bao Jia were a little bit afraid of him. Before launching the "bamboo shoot cooperatives", Rosun Wu told him to listen to his tone first: "Those who bite copper to eat iron are not terrible. You are not terrible. You are not terrible. You are not terrible. You are not terrible. You can prevent him; he is even more painful to the legs! People call the old crow for not long meat. "[45] Shanmin must protect his own rights and interests and resolve disputes. There are only two options: in addition to the" lawsuit "," sitting in the water "," sitting in the water, sitting in the water table". However, regardless of the judicial procedure or "rational letter" in the teahouse, and resorting to the private mediation, they will always be weak and be coaxed and oppressed by tangible and intangible power. In the teahouse of "Wild Cat Creek", "Monkey Monkey" was suppressed by the head of the township and "bachelor", and lacked a "reasonable" aura and ability for a while; when they returned to Linxungou, they "became brave," become brave, Link, and rap. " In Sha Ting's writing, the ability of characters to speak is sometimes affected by space changes. Like the white sauce Dan in "Golden Gold", it is the best character and "bad medicine" in Beidou Town; but when he comes to the county, he encounters Wu Jian who is proficient in various decree and faces the "official talk "The power of the tongue, he would eat suddenly and not confidently. [46] It can be compared that the "Monkey Monkey" in "Hometown" usually "even unclear words", but probably because of frequent response to "grain collection" and "official words" that are deserved, but they Familiar with the longesting skills of Baojia, you can even further recognize the flaws in it, and attack the shield of the son with the spear. It should be said that the establishment of the "bamboo shoots cooperative" is generally beneficial to the mountain people. The focus of the struggle is concentrated in the share of the self -reserved shares in Shangzhong. In addition, in accordance with the "new county system", the launch of the cooperation cause should be different from the people's voluntary, which is different from the hard instructions during the war, derived, and ductive. The reason why "Monkey Monkey" can "become brave, spiritual, and rap" is also known to this. Feng Dasheng explained to his mother: Establishing a cooperative is not a business affairs of "distribution of grain". When he came to pressure, Uncle Zhang also asked:

What about the county chief? ... There is a question in the official, the people have a complaint, do you still have a mouth? He really bite, we will let it rot! I don't want to like La Zhuang Ding, tie everyone up the mountain to fight, right? [48]

The so -called "officials have a question, the people have a complaint". In Lin Yigou's "reasoning", the struggle strategy of Feng Dasheng and Uncle Zhang has always taken the initiative to master the "official story", and constantly put forward such inquiries: This is the assignment of the existing exchanges. Is it? Please take out business! Baojia has always been in the name of "official affairs" and issued orders. I did not want to "mountain monkeys" to distinguish the authenticity of "business":

"Unfortunately, it is always business!"

"Shi Quan Liujiadu, why haven't you heard of this?" Feng Dasheng asked, and smiled at with ridicule, "Oh! Lin Yigou is particularly more special? Or, we are playing bamboo shoots, we are playing bamboo shoots, Are people playing with clothes? -It is so strange! "[49]

The sharp teeth of Dasheng and others made the header very frustrated. "The bamboo shoots themselves are second, and above this, he only feels that those mountain monkeys are too abominable. They are impermanent, and they are so hot and sour. "[50]. This also made Bao Chief feel a potential crisis, and felt that his power had been shaken.

On December 23, 1989, Sha Ting and Wu Fuhui (left) and Qin Yousu (right) took a group photo

Of course, how does its Fang Fang say, the "shooting bamboo shoot" is still a bit weaker. The description of the awakening of the mountain people and the struggle process is a bit thin. Specific process with growth. [51] However, in addition to expressing the resistance of the countryside and shaping the image of farmers, this clue still has some new levels: even without the direct intervention of revolutionary politics [52], under the impact of the new policy and new measures, Under the stirring of "transformation" and "cooperation", remote mountain villages and towns also secretly shed new consciousness and new languages. At least, the reason and refutation of the "rush and crisp thrush" around the "shooting bamboo shoots", such as the "emergency and crisp thrush sound", tore away the stagnant air, awaken the consciousness of the rural community, and also allow the rap and linguistic language. The vitality of disconnection and bargaining. At the end of "Return to Hometown", Feng Dasheng fled, would he return again? What kind of status will return? Satin seems to have left a space that can be reverie. What about the "mountain monkeys" left? After the struggle, the mountain people have achieved a staged victory. In the proportion of self -retention of bamboo shoots, the father and son of the elder and son made a certain concession. However, since the "ravine" has woke up, it will not stop here. The new game is about to start: "So turn around, they start discussing how to deal with the suspicious scales of the stroke." [53] This is the end of the novel at the end of the novel. There is a sentence of Yu Yun.

From May to August 1946, "two regions and two times", He Qifang and Lu Ying communicated with Lu Ying on the issue of "objectiveism" and launched a series of discussions, which also involved the evaluation of Sha Ting. Lu Ying believes that many writers "make up the novel after collecting materials with naturalism", which secretly refers to Sha Ting's writing. He Qifang disagreed with this view. He believed that Sha Ting successfully wrote a number of truths. If "still not deep and touching", the main reason is that "his life is too narrow", "the lack of ideological understanding is that he also he still It is not possible to practice the reasons for life wider and more active. " "Broadly and more positive" investing in life and practice seems to be a standard solution. Unfortunately, this standard solution does not effectively respond to the dilemma of Sha Ting at that time. Due to the "difference between the environment and task", the writers of the Kuomintang District also lacked the possibility of going to the people and participating in the struggle. He Qifang also talked in the communication: In "the vast number of old areas", writers lack the freedom of thought, writing, life, and approaching the lower levels. " Limited restrictions. [54] For Sha Ting, after studying "Speech" in Chongqing in 1944, he had a consciousness that broke through the scope of life, but more internal restrictions were: it is easy to break through the narrow range of life, and it is easy to break through the original literary "device "difficulty. In the early days of the founding of New China, reviewing the writing before and after "Removal of Hometown", he said that he had repeatedly reflected the limit of "exposing the darkness", but suspected that "in the reactionary region, all measures were so dirty and exposed to expose it to expose it , Is it necessary? "," So my old set is stable and stable. " [55] The reality of revealing and cracking down stains is indeed "necessary", which can expose part of the truth, but stable and even solidify in a single critical perspective, which will also hinder the internal reality of deep dirt, grasp more complicated and dynamic dynamics Social texture. The difficulty of the movement and adjustment of his mentality at the time was evident.

Even if there are such restrictions, as analyzed above, the experience of studying the "Speech" in Chongqing at the end of 1944 still interrupted his writing inertia and allowed him to from the way from "collecting materials after collecting materials". The self -confidence of local life has left, trying to mobilize and deal with new rural life experience. Although he still relies on a sense of "life", the scope of "life" is not only expanded, but the meaning of "life" has also undergone potential changes: not simply pointing to customs, dialects, and robes of black words. Local knowledge is not limited to "bad guys' knowledge." In a series of dynamic tensions such as the ravine and the town, "Single Monkey", "Monkey Monkey", individual and village, emotion and economy, resistance and consciousness, "Ji Hometown" shows a remote ravine drooling due to the stirring of the times. Psychology and consciousness. Including Sha Ting himself, it does not think that "Return to Hometown" is a satisfactory work, but after all, the stable "old one" has been loosened, and readers can feel that he can move forward and depth in the possible life range. Explore the effort. In fact, in the "new area", even with the support of revolutionary practice, for writers, "wider and more positive" to enter life and practice is just a prerequisite, not a ready -made solution. Writers who have achieved high achievements such as Zhao Shuli, Zhou Libo, and Liu Qing do not fully based on the historical direction and political judgment that have been established. The practice of life and the corresponding literary practice is also possible to explore politics within life. Discover the long -term and twisted process of new problems.

Learning "Speaking" brings to Sha Ting may have another heavy impact: roughly before and after the conception and writing "Return to Hometown", he is also paying attention to the literary progress in another space. Before and after the victory of the War of Resistance Against Japan, the new literature and art of Yan'an and Base was gradually spread to the National Tong District, allowing many writers and critics to feel the vitality and atmosphere of "people's literature and art", which also includes in the process of expressing rental reduction, mutual aid cooperation and other rural changes. New style and new path generated. Sha Ting recalled that when he arrived in Chongqing for the second time in 1946, he had watched Zhao Shuli's "Li Youcai". After returning to Anxian from Chongqing, he continued to write the clue of "shooting" in "Return to Hometown" and focused on depicting the awakening of Lin Yigou. This factor can be considered for the reading of Zhao Shuli's reading and the discussion of "objectiveism" in Chongqing's literary and art circles. This factor can be considered. In January 1947, Sha Ting published a very interesting comment, commented on the novel "Red Equact" by writer Shu Wei, a liberated zone published in "Bud". "Bud" monthly magazine was published in Chongqing in 1946. One of the goal was to introduce the works of the people's life to show the people's life of the liberated area to the readers of the Guoyong District. [56] This comment from Sha Ting just records his new things and new literature perceptions of new things and new literature.

Beam (Li Shuwei) is a writer who grew up in Jinsui Border Area. In the mid -1940s, he created a number of novels that showed rental reductions and rural changes. One of them. Sha Ting has accurately grasped the story, characters, village characteristics, language style, etc. of this novel. When it comes to the completion of the victory of the rent reduction campaign described by the novel, there is also a meaningful comment:

It is true that it is not better than the completion of the victory of the rent reduction campaign than the small and backward areas of Quying Village. However, with the leadership of the democratic regime, and the powerful mass organization, even Miao Hai finally stood up and won the laughter. From this we can also understand why the recession reduction orders have been announced for a long time, but what I heard is just rent. In fact, if the Twenty -five rents are implemented in Quxing Village, the landlord Hu Renbing also needs to be presided over to the implementation. [57] This comment is very fun, and it seems to include a "contemporary" feeling. Sha Ting pointed out the two premises of the success of the "rented motion "-" democratic regime "and" mass organization "(these two prerequisites are exactly the lack of" big rear "), and also introduced a comparison horizon, which will be based on the base and the base and the base and the base and the base and the base and the base and the base and the base and the base and the base and the base and the base and the base and the base and the base and the base and the base and the base and the base and the base and the base and the base and the base and the base and the base and the base and the base and the base and the base. The "rent reduction" carried out in the two spaces of the "big rear" is placed together, allowing readers to think: if the land system and economic system change, without the awakening of the political subject, and the re -building of the structure of the rural cultural power, then the new new, then the new new, then the new new, then the new new, then the new new, then the new new, then the new new, then the new new, then the new new, then the new new, then the new new, then the new new, then the new new, then the new new cultural power structure, then the new new, then the new new, then the new new, then the new is new. The measures and decree will be reduced to a funny ugly drama, the latter is exactly what he wants to express and expose. Perhaps because of the understanding of "new places" and "new things", with this reference, he will pay more attention to the society and institutional factors behind the chaos of the "big rear". "There are also new integrity and sense of direction.

In 1951, Chongqing's literary and artistic circles carried out the learning campaign of the "Practice theory". Due to studying "Practical Theory" Sha Ting again read the "Speech" again. He said that the re -reading this time was the most shook (moved). Explanation of the relationship between non -base ". He said that in the past, it was believed that the country's region was vast. "Reflecting and exposing it has its importance. It does not understand that it is not only two regions, but also two historical times." The model is used to transform the entire China, so literary and artistic creation cannot be limited to empiricalism and business circles. It should focus on the overall development of reality. [58] In the era of writing "Return to Hometown", the difference between "base and non -base" is huge and structural, and it also restricts the development of realistic literature of the Guo Tong District. Together, this means that the relationship between "base and non -base" is not static and abstract, but to understand in a historical dynamic process. In 1947, Isabeth and her husband David Kirok went to Shili Store, North China in Shili Store in North China. Later, they completed the famous "Shili Store -A Revolution in a Village in China" and "Shili Store -A Mass Mass in China". In the experience of Xinglong Field and Shili Store, Isabeth in his later years was quite emotional:

My experience in these two places is quite similar, such as in the war years and witnessed vigorous reforms. The difference is that the reform was initiated by the Kuomintang and the Communist Party, and the nature of the two naturally made a difference. [59]

Behind the emotion of "the difference between the world" also implies a kind of perspective: just as the land change, rural transformation, democratic regime, and the construction of mass organizations are the core agenda that China and modern China need to solve. The comparison and analysis of the context and condition can deepen the understanding of many political and social prerequisites that this agenda can land and carry out, and can also highlight the disadvantages that may occur at the time and the future. In this way, the "difference between environment and task" is not exactly a limit, but in the invisible, it can also contain new overall cognition opportunities.

Edit: Liu Qihan

Source: Chinese Modern Literature Research Series

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