Great changes in the countryside: historical and reality aesthetic orientation

Last year, the Jiangsu Writers Association organized a collection of winds in various counties and cities. I went back to the place where I cut in half a century ago. The purpose was to see the natural changes in the natural scenery and humanistic scenery in the farming civilization form. Undoubtedly, this is a huge change in history. How can the writer reproduce and express this life and scene full of aesthetic paradox? How does our ideological tentacles construct the value concept of literature itself in the changes of history? This is the century problem we face in the history of literature and the method and value orientation of literary literature.

From the perspective of the history of Chinese contemporary literature for more than 70 years, Zhou Libo, a well -known writer who translated Xiaolohofv's "Federation of Hurry" when he was young, wrote a novel of two regional culture in one north, one south. "Storm and Rain" has won the "Stalin Literature Award". Although "The Great Change of the Shanxiang" has not won any awards, the status in the history of literature seems to be higher than the former. In addition to the artistic charm of art, it is to think about the historical thinking of the ordinary author at that time. Although many critics are still dissatisfied, there are not many writers who can surpass the limitations of the times. Now this question will still be again again. Saying, this is how the writer's writing logic of "looking at the rural world from the historical chain". Whether our writer has many deep problems in this historical change, use the "third eye" to penetrate the "fourth wall", and return the history of the rural changes and the real appearance of the present. It must be referred to the future. The "epic" of its literature is to keep the work alive and make it a testimony of an era. More importantly, it still has a lively aesthetic significance among future readers.

French historian Lucian Favor said in the fourth part of "Fighting for History" in the book "Literature Historian" that the logic of history "requires the author to be a reader. Does the narrator not enter the play? He will always be forever? Don't you say me? "This is how literary works are placed outside, considering the coupling of history and real world from the reader's level; at the same time, he also needs to be inside. The "I" entering the role of the character becomes a unique "I" who transcend the limitations of time and space. Such a narrator is to respect history, to face the truth, but also for future writers. The historical logic of its "epic" works can realize the return of art.

Of course, I did not agree with Fields as historians who criticized literary historians' definition of "history of history". However, "To write them out, you need to restore the environment. You must think of who should write, who to write for; who reads, why read; ... you need to know what kind of success the writer has achieved, this kind of success What are the scope and depth of influence; need to establish connections between writers' habits, hobbies, styles, and prejudice, with the change of political changes, the change of the spirit of religious spirit, the evolution of social life, and the change of artistic fashion and interest. " Opinions are desirable. This is not only the historical logic of literary historians and critics, but also a question that modern writers must consider. How to integrate this concept into their creative ideas and methods is also the historical logic of writers living in the future world.

Creating "Epic" is not just singing and elasticity, that is, when the writer looks back and praise the natural form of farming civilization, it is necessary to soberly understand the feelings of the feeling of "wheat waves" and "rice dumplings" Behind, there are many farmers' suffering and bitterness. Now when we see industrial civilization covering the farming civilization to a certain extent, the gorgeous villas stand beside the lakeside ditch. When praising industrial civilization to bring a happy life to rural farmers, we see the contaminated land Yet? It is precisely because I returned to the homeland that was buried in my youth last year and saw another kind of rural change: the river was contaminated, and there was almost no young people in the village. They were all empty nest elderly people. When I saw the 82 -year -old production captain, I was The eyes are wet ... This rural landscape is compared with those who are worthy of the industrial and rural landscapes, and the tragedy of the literature can also touch my soul. Scenery, we can let literature bloom "epic" flowers in the real soil. This is a work standing forward on the real land. It is undoubtedly an important element that constitutes an "epic".

So, is there another important aesthetic element that constitutes an "epic"? The answer was in the re -excavation of the natural landscape painting description of the novels proposed in the 1990s.

From this, I remembered the writing of "natural literature" in the West in the second half of the last century, because the collapse of land ethics values ​​allows writers to describe the village into a blind spot. Of course, I do not agree with the aesthetic values ​​of "natural literature" centered on nature. However, modern industrial civilization eliminates the description of the landscape of nature from the scope of writing, so that the writing of "epic" lacks the harmony between man and nature to get along with each other. Dialogue context. The artistic purpose of the Hudson River Painting School is "using nature as a canvas". At this point, the lack of description of our rural novels is highlighted. The writer has no visual natural scenery. Story and character descriptions After drowning the scenery, it is unknown that the scenery is an important link that constitutes rural people and nature. The blindness of the landscape is the contempt of the "epic" element of literary works. Between human centralism and natural centralism, I choose the equal relationship between the two, so that the writer will not be blind in the description of nature when entering the countryside. Undoubtedly, in the cultural investigation of the Lixiahe Water Village, standing on the banks of Gaoyou Lake and Baoying Lake, I deeply felt how important the natural landscape was for a reed that would think about. How do I hope that writers can describe the people and people in the scenery in such a canvas, "thinking like mountains" is the high degree of integration of writers' thoughts and art. It is the most precious wealth of the writer, because it sees a eternal humanity and the source of art of literary works. In terms of the theory of this school, "people are not diluted because of this, but they are more intense with nature, which is more prominent by the magnificent landscape." Because they believe that "people have life and death, civilization, civilization, civilization, civilization, civilization, civilization, civilization, civilization, civilization, civilization, civilization, civilization, civilization, civilization, civilization, civilization, civilization, civilization, civilization, civilization, civilization, civilization, civilized, There are prosperity and decline, and only the earth will survive. "In this sense, the advantages of local literature are better than the advantages of urban literature. The advantage of ignoring it is the writer's indifference to the aesthetics. In our country, in addition to the west, there are vast fields and rainforest vegetation, in the Central Plains and coastal areas, if the natural scenery of the rural areas is ignored, we cannot face history and future literature. I don't think there are two levels of "poetic" and "ugliness" in local literature. The writer face the great changes in the countryside. The value concept is first on the basis of human nature. This is the primary condition of literary works. Essence Twenty years ago, Mr. Zhang Peiheng and Mr. Luo Yuming of Fudan University used human standards to write a "History of Chinese Literature" for Jingwei to make me pour. Although there are many questioning views, I think it is an indispensable test gold stone for measuring world literary works. This is the most "true" power of literature. If you stand on this perspective to reflect a big era, the historical connotation and aesthetic connotation of your pen will not be lost. The so -called "newcomer" in your pen will not go away. Romantic elements will penetrate between your words and become a blooming rose.

Today, when we and the Chinese modern literature, that is, from 1919 to 1949, literature is dripping, we re -write the works like "Mountains and Townships". The existence of works full of critical consciousness? This is indeed a profound issue of social value judgment. Of course, this is also a gully that has long troubled the contemporary Chinese native writers. There is no doubt that the writing of Liu Qing and Lu Yao models is written by recognized rural areas, but we cannot simply imitate their models to handle the historical context of the current rural changes. They failed to see the great changes in the countryside over the past few decades. We can't always enter the description of the villagers with their historical limitations. Their values ​​have stopped on the pendulum of the beginning of the "new era". Due to industrial civilization, and even the post -industrial civilization brought the giant landscapes that have never been in Chinese history, how do you face the rural writing under the huge change? how to write? It is a historical question raised by the writer this century literature. There is no constant value to unify the work. Even if the writer builds his stories, characters, and landscapes from the perspective of human nature, he will write good works. I'm afraid you are afraid of you. To apply a popular fashion model to write in response to scenery. Such works have no vitality, and they are always outside the history of literature.

As for Lu Xunfeng, it is not suitable for the current literary creation. This is a common sense. Just as Engels has put on the general standard concept of literary works, as long as it is the shaping of "typical characters in the typical environment", you cannot leave social life. Due to the different styles of the creation of each writer, his awareness of the world determines the high value of his work to fill in. Choosing values ​​is the freedom of his creation. Writing light and darkness are equally important for writers for writers. The value choice, any force should not block the perception and experience of the writer observing life. However, in the face of the "inner curl" village and the scene of "low desire rural life", of course, the writer cannot close the eyes full of conscience. Human life cannot learn from Japan's "Rishan Capitalism" to learn the aesthetic experience of life. In China, the pursuit of material and the desire for cities is still the pursuit of rural farmers. Even a lonely person like Suloro lived in a lonely person, and finally he could only return to the civilization of human group living. So, as long as you live in the world, suffering will naturally occur. The high of the literary works is often the aesthetic attitude of the writer in the face of realism. People will remember the tragedy of humanity in "Misery World", "Notre Dame of Paris" and "1993". eternal. Similarly, the reason why Lu Xun's local novel works still live in our textbooks because of the typical environment and typical characters in his works through time and space, and walk in our current world. Lu Xun did not die. It means that the characters in his pen still live among us, so whether the Lu Xun local novel mode was still applicable a century ago? This seems to be a pseudo -proposition. Because Lu Xun is not only a writer, he is also a thinker. It happened that Li Qiang's article on the Internet entitled "Once the Art is rejected, it is equivalent to rejecting yourself", which says: "Like religion and philosophy, it is a load of truth. Once art starts to refuse thoughts and truths, It has begun to reject itself ... ... The theme of art works cannot be understood as materials, but should be understood as the thought it expresses, that is, the 'philosophy' contained in it. "

In the face of rural changes, we cannot be a thinker and philosopher, but at least we should learn to be a reed that can think about.

(The author is a professor at the School of Literature, Nanjing University)

Content source: Literature and Art News August 31, 2022

WeChat editor: Lu Yimeng

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