Interview Liu Daxian | Idealism that has never been eclipsed

Liu Daxian

Rao Xiang: Forget it, we have known each other for nearly ten years. In these years, I have witnessed your "rapid advancement" in your career. I remember when I participated in a literary activity in 2014, there were also "big coffees" in the academic world inquiring about "who is Liu Daxian", and now you are already the leader of younger generation scholars and critics. No one knows, no one knows. In the past ten years, your "transcript" is also dazzling: Professor promoted, and was selected as "National Plan for Youth Plan for Young Talent"; Many honors such as "Awards" have published "Republic of Literature", "Breeding from Later to New Humanities" and "Eight Banner Xinxiang". How do you look at your ten years? With the increase in age, your research work, your personal life, your inner emotions and mentality must have changed these years?

Liu Daxian: You are the earliest friends I met in the field of contemporary literature. It is almost ten years since yesterday. The rapids of your career are obviously a word of beauty for your emotions. We grow up together. Among them, we have a clear understanding of each other. My understanding of myself is still very sober. It ’s just ten years since returning to China in 2011, and the biggest change has entered the“ middle -aged ”from a“ youth ”. , Gradually, it gradually becomes trembling, such as thin ice, not to say that people are so cautious and cautious. You know that nature is upright, and I will never do that. Maybe the so -called "middle -aged crisis" should have mean that. With the increase and experience of the annual teeth and experience, I have a deeper understanding and consideration of myself, others, and even life, especially after encountering some setbacks, I understand the difficulties of life and the smallness of the individual. As a result, it becomes humble. Obviously, there is also the influence of literature's subtle influence. It makes people understand and contemplate. It will not be drowned by utilitarian, tool rationality, and cold logic in daily life, and there are still soft and fragile parts.

The changes in the research work are mainly from the "ethnic literature" to "contemporary literature". Although I have never divided the two lines of the two like academic divisions in specific research and writing, they do pay more attention to literary production. The scene was on the spot, and I had hardly read contemporary literature works and their criticism or research theory. The main reading was academic works in pan -cultural sense. You know nothing about me before we know, right? Because I have never participated in conferences or activities of mainstream literary criticism, I do n’t want to participate, I ca n’t enter the door, or I have n’t consciously conscious. I have been doing the editing work of a journal of ethnic literature research. This field is too upset and few people notice. At that time, the unit I worked did not have a so -called performance assessment system. There were no hard requirements for the publication. I would not have rewards as in colleges and universities. I just wrote some articles with interest in my spare time. This must have no systematic academic plans and writing plans.

At the end of 2012, because of the occasional opportunity, it became the second batch of visiting researchers in the Modern Literature Museum of China, which was important for me. The guest researcher is mainly for the criticism of contemporary literature, especially the current literature. It requires regular tracking of cutting -edge phenomena and text, which prompts me to read a lot of related works, observe the corresponding literature and cultural phenomena, and write related comments. As a result, I must learn two legs, a ethnic minority literature, to observe those writers and culture that is not much noticed, and to learn from the criticism, folklore, and anthropology theory of ethnic minority ethnic minorities that may be reflected; The other is contemporary mainstream literature, intervene in production, dissemination and evaluation. Therefore, I have become very busy since 2011. In the middle of the family, I have experienced some changes. If you want to bear the burden of the family, the pressure of life suddenly comes, and you have to accept the research object of the letter of the letter. Core issues and viewpoints, such as re -explaining cultural research on Chinese and its cultural, ethnic exchanges and integration, cross -disciplinary and cross -media cultural research.

Coincidentally, as far as the national dominant ideology is concerned, it has entered the "new era" in 2012. We can all feel that a series of transformations have occurred since the culture and ideological field, and it is still continuing. There is a hidden connection between the beginning and transition of individual destiny and the great era. In the past ten years, it is a period of continuous exploration and expansion boundaries, and began to clarify the direction and significance of my work.

Rao Xiang: There are a dozen books in your writings in my hand. As far as your age is concerned, it is a relatively large number. In addition, you have written a lot of literary review articles in recent years. Energy and creativity are a bit amazing. I know that everyone's endowment has a innate difference, just like writing is a difficult thing for me, it seems easy for you. I remember one time when we a few people ate and chat until late at night. You can continue to write articles after you go home, as if you don't need a lot of sleep time. Creativity is actually a manifestation of vitality. Sometimes I feel that the predecessors are always strong, but the vitality of young people does not seem to be as good as them, showing signs of recession. And you, I think it is undoubtedly an exception. There is such a Liu Daxian's image circulating in the literary world: it can drink big bowls and eat meat, but also write large articles. I think everyone is curious. Where does your vigorous life kinetic energy and creative vitality come from? I also read in your memories article. You are of course one of them for the observation of the young people in the western and western towns of Anhui, which you are born. Road; and the experience of poverty and hardships of childhood life that you haven't wiped out. Is this also tempering your willpower? In addition, I also know that you have practiced long -distance running in college. Did you also exercise your endurance? Academic research is actually a long -distance running through life. Liu Daxian: In addition to satisfying the basic principles of men and women, I feel that there is no easy thing to complete, but many times the hard work behind it is outsiders, and it seems ingenious. Many popular readings say how a person is doing, and emphasizes IQ and EQ, but I think willpower may be more important. Frankly speaking, I do n’t graduate from a prestigious school. After graduating, I come to Beijing from other places. Without any schooling and background, I must work harder than others. The reason why I give you a strong sense of vitality may be because my mind is relatively simple. If you have nothing to do, you must finish it. This sounds a bit of the Puritans, but this "self -suffering" does not come from the guidance or external pressure of some kind of sacred belief. It is more from willpower and internal driving force, that is, there is a kind of passion internal passion. At all, whether this kind of thing goes to the county and township to do field investigations or sit in front of the desk to write articles. In short, you can't be idle. Leisure and lazyness can make me feel empty, which may be an obsessive -compulsive disorder, and maybe it is really related to growth experience.

I grew up in the rural areas of the hills in the tiles and droughts and droughts. The agriculture is very difficult. I have never had time to study in the winter and summer vacations in my memory. There are various lives. The hard physical labor is exhausted, but it can also strengthen my physique and temper the will. In addition to my curiosity and curiosity, the combination of the two has formed a long -term and comfortable personality. Excited. Without this spontaneous excitement, it is impossible to engage in self -discipline for a long time to engage in academic work that is boring and unprofitable.

During the college period, I was a sports member. Out of the idea of ​​"civilization and its spirit, barbaric body", I conducted long -distance running and other physical training, and insisted on taking a cold bath until the snowy season. My explosive power is not strong, and endurance and endurance are OK. When I went to the countryside to investigate the mountain village that believes in Islam, I could eat only one meal a day when I encountered a fasting.

Rao Xiang: Family birth may also affect one person from various aspects. In addition to tempering your will, does it also affect your value position, such as class consciousness in academic research?

Liu Daxian: I don't agree with the more popular "native family" in the current public media about how the "native family" determines the growth of a person, because it is a bit similar to the "origin theory". The innate factors of individuals are very different. The acquired factors only have a partial influence, not even the most important. Otherwise, we cannot hear the stories of dehydrated rebellious families or changes against the sky. But it is undeniable that everyone cannot get rid of the context of his generation. This context includes social folk customs, times, educational forms, media conditions, interpersonal communication ... and so on. Sometimes I chat with my brother and talk about this topic. My third brother is a teacher. He once quoted a wide range of words on the Internet, saying that some people had healed their lives with childhood, and some people used to heal their childhood with their lives. The childhood of our brothers has always been unhappy, and sometimes I think of those lonely, failures, and encountering a cold -hearted moment, and even can even be called trauma memories. However, I think that only weak people will live in childhood forever, and the perseverance will go out of childhood, and all experiences will be regarded as the scenery of life in the real override.

If it comes to the influence of family on value, it is a passive independence. What does that mean? That is, when you find that you are empty, there is no support for the left and right, and you lose your back and forth, there is no dependence on the surrounding area, and everything needs to be undertaken by yourself, then it is naturally forced to form an independent "subjectivity". From the perspective of others, it is the formation of a simple people's care, or as you say "class consciousness", from unconsciousness and consciousness. When you have seen the life of the villagers at the bottom of your body, you cannot disappear or forget. Unless you have no heart and liver, those experiences and memories will precipitate deep into the heart and become the background and framework that can not be avoided when speaking. People always have their care. The ideal state of intellectuals may be surpassed by his experience and memory, but they should become his base point. He needs to expand, sublimate the feelings and cognition of the feelings, and I always think about whether I can give back. For me, what is increasingly clear in my heart is that although the specific form may be different, I belong to those who are insulted and damaged, so in the research and writing Consciousness, what we must do is to apply for the silent person, help those who are not weak, provide comfort for those who are fatigue, and discuss the possibility of resistance for the suppressors. In this way, in the eyes of worldly, it is inevitable that it is empty and high, but in my opinion, it is idealism that has not been eclipsed after all. Rao Xiang: The two of us were born in the late 1970s. Many years ago, in a class discussion in the Lu Xun Academy of Literature, she heard a post -70 female writer's evaluation of her same generations. She used a word- "the last idealist". Of course, this is also a general, somewhat self -pity and narcissistic self -imagination. It may be more than one generation of people who call themselves. However, in your article, I still read your positioning of a generation, such as the "generation of images", and the last romanticist, but you also have a sober self -intrigue: "The sensitivity, passion, romance of our generation, Idealism is slowly outdated. "You often use a word" emotional structure "in the article and speech. How do you view the emotional structure of our generation? What impact does the formation and academic research on your "three views"?

Liu Daxian: Intergenerational division is just a cheap acting in writing and expressions. Sometimes it can be made to make real academic propositions. More often, it is just a description of emotional experience. Regarding the "post -70s", I have written two articles, "Intergenerational Fusion and Paradigm Update" and "The Love of the 70s". Expressing what I want to say. From a long time point of view, ten years are not very long. In the past ten years, people who have been listed together because of the accidental nature of birth time are full of increasing development from regional development, cultural and educational background, personal temperament endowment, etc. The differences caused by factors. The reason why they put them in general, in addition to the contemporary intended interrogation, the commonality of the external context is mainly formed. In the 1970s, it was a era of thinking. China has spanned the macro political transformation from radical revolution to mild reforms, from autonomous development to open diversified and diverse; in terms of global perspective, the left -wing revolution is ebb. Signs of local loosening of the Cold War; academic and ideological, is the global spread and spread of various "post -school" thoughts after the overallness, and scientific and technologicalism gradually raises its weight. The Chinese born in the middle of this age received preliminary enlightenment and education in the 1980s. The way of feeling the world and self -awareness was different from the previous generation, and it was different from the age of the comprehensive market economy in the 1990s. A generation of adolescence. The biggest commonality is that everything is in the ascendant, and the world is full of various possibilities variables. It is particularly prominent that the social structure adjustment and identity flow brought by the urbanization process at the beginning of the process of urbanization, allowing most people to carry the countryside China. The urban China and the planned economy to the commodity economy and revolutionary concepts to humanitarianism, and the transformation of humanitarian culture to visual culture can be regarded as the experience of fighting and heaven and people. Then, it is reflected in the "emotional structure" that is tangled, chaos, contradictions, and incomplete, so it is richer and complicated.

Raymond said: "The new generation will respond to the unique world they inherited in their own way, absorb many traceable continuity, and the reproducible production can be described alone. Some different ways feel that all their lives are shaped their creative reactions into a new emotional structure. " This is undoubtedly the result of interweaving between objective external reality and subjective internal feelings. In the case of Zhou Yi, "I listen to the wind and rain, and I have seen the rivers and mountains, and often feel that there are those who have to be outside the rivers and mountains. What I am brewing in my heart? "What he said is specific words, but in fact, he can be used for all expression. I was born in the end of seventy and in the late 1980s, although the most "pioneer" people have begun to turn to individuals and modernism, but the magnificent charm of the grand narrative still acts on the "cultural jet lag". Between teenagers. The lofty, magnificent and ideal imagination that fits the spirit of the youth has laid the "three views" with the heroic heroes of classicalism. Since then, in academic research , I always try to find some certainty, and tend to be magnificent, magnificent, solemn, and deep. This has a sense of "outdated" in the knowledge and ideological atmosphere since the 21st century, and it is only "outdated outdated. "Only the idealism of trying to surpass specific time and space shows. Rao Xiang: Maybe this is also your self -promised "dwelling"? You say you are a late -mature person in the article, and you can also be said to be a late "literary youth". The title of literary youth refers not only to your extensive interests and love for various literature and art, but also a kind of "constitution", a lonely, melancholy, and good spiritual temperament. You have also used the "tragic green boy". Self -mockery, but now Liu Dazheng's impression is booming, hearty, elegant, and even a little naughty and wild. I think you have intended to "super grams" about your "literature" tendency, and to this day, is this temperament still partially in your body? Because, from your text, you can often read "affection", the kind of sufficient feelings still reveal the literary temperament; but some other academic articles are a complete objective and academic appearance. I know that you should be a "passionate" person, and later academic training, especially the learning of literary theory, "neutralize" your feelings to some extent. Shen Congwen said: "Things can be learned, but affection is unknown." In his opinion, mature writing "not only comes from accumulation", but "need some special things in the author's life ... that is, it must be necessary The feeling of maturity and accumulation of pain — this feeling is deeply appreciated, deep love, and understanding and understanding of the above work "," its growth is mostly inseparable from loneliness. " I want to know, how do you play your love and wisdom, and how can you reconcile them?

Liu Daxian: Man is a complex polygonal body. If I say that I am a melancholy poet in my bones, you will definitely laugh, because I am too not like a melancholy and sensitive person, at least the impression of vigorous, optimistic, bright, and open -minded. These two aspects do not constitute confrontation. The "late maturity" of literary youth style is a kind of dullness to the world, which makes people have a delicate inspection of the lives and emotions of others. Without a moist heart, his soul must be dry. However, if excessive indulgence, it is easy to flow from narcissistic self -injury and cannot connect to wider people and groups. The amount of gas and pattern cannot be opened, and it is not beneficial to others. People still have to make decisions, that is, the kind of courage of Alexander's sword cut off the knot of Golfis, a lot of swords and cut off the flow, so as to obtain its own subjectivity. So as you say, the literary temperament as a "constitution" has the background of life that is "always young and tears forever", but I deliberately "super -grams" the intimidated and personal literary temperament.

When it comes to the balance of "love and wisdom", or the dialectics of love and reason, this is indeed a big problem. Ye Ye's "Original Poem" says "reason, things, love", "these three words are enough to do everything to abnormal perverts. , Nothing or who can go to this, ", they are unbuttoned. Of course, Ye Ye's "love" refers to the unique objective attributes of things, which is justified to meet the Buddhist beings, the so -called SATTVA in Sanskrit. I understand that you are concerned about the "love" of subjective thoughts, especially when you do "affection" and "work". Shen Congwen's statement should be born from the root of natural human nature and Chinese culture, so Wang Dewei included him in a very important member of the "lyric tradition". When Li Zehou talked about "historical body theory", there was a key conclusion that "Tao Yansheng", and when talking about practical rationality and music culture, he put forward the saying "the body". The style is very different. Shen and Wang even used lyricism as a method, and Li Zeng sent emotions to the height of the body theory. If you want to discuss further, of course, it can be extended again from the perspective of epistemology and psychology, but as far as I am, it is more instinct to spread emotion in thinking and judgment.

In 2007, Patricia Ticineto Clough and Jean Halley edited and published The Affective Turn ("Emotional Turn"), which can be regarded as the iconic node of the rise of emotional research. Since then Social history, cultural history, and even artificial intelligence fields in the field of artificial intelligence. I am very interested in this topic. In 2009, I collected a lot of information about this aspect and prepared to discuss in -depth discussions, but in 2010, I suffered a huge blow in emotion. , Later, I did not follow this topic anymore. However, in my 2014 essay collection "The Love of the Ruthless World", there were still some traces of emotional depression at the time, and the words of emotional deconstruction. Therefore, no matter how powerful the reason is, people are flesh and blood, and they cannot be affected by emotion. The most ideal way to face this state is the so -called "virtual" and "sincerity" of Zeng Guofan: "Ling Ming has no, things come in response, not in the future, not mixed at the time, not to be in love", but I still do n’t do it. arrive. Rao Xiang: Judging from your publishing dozens of books, the content of each book is different. From relatively personalized movie viewing and reading notes to the current cultural reviews, to the academic monographs of the samples Essence In these years, you feel like you can't write everything. It is very widely related. Even your prose has won the Qi Jun prose award of October Magazine, which is called "multi -faceted literary world". From your different styles, we can still see the difference. How do you position your different types of writing?

Liu Daxian: Prose essays, academic theory, criticism and comment, text genre different, readers have different expectations, different forms of expression, but there are no grades in value, all of which are different types of writing. The difference between humanities and social sciences and natural sciences is that it naturally has a generality or penetration, and it will not be limited to a narrow perspective and a single thing. A fulfilling humanistic writer should not set himself as a "expert" in a specific field. It is easy to lose the overall vision and thinking. "The person who" is "the" Little Man Confucianism "in" The Analects of Confucius · Yong Ye ", or the" 饾饤 "like Kong Yiji. However, there are indeed different forms and style differences in different styles. I think the most fundamental thing in writing is "rhetoric", which is to express your concepts and emotions frankly. No thoroughly, there are defects during rhetoric, these are not problems, because there is no perfect. As for the writing, they have their own destiny, accept all praises and abuse, recognition and criticism, and then "choose their good ones and change it.

Rao Xiang: Your first job is to edit the "National Literature Research" in the Institute of National Literature of the Chinese Academy of Social Sciences, and it has since been associated with ethnic minority literature research. This is undoubtedly a field that you have cultivated for a long time. Some people praise you to bring ethnic literary research to version 2.0. What theories and methods do you mainly introduce in your ethnic literary research, and what inheritance and theoretical innovation? "The Republic of Literature" and "Thousand Lights Mutual Photo", in terms of the title of the book, does it also reflect your attitude towards ethnic literature?

Liu Daxian: Needless to say, the study of ethnic minorities was late, and the employees were sediment. The research level was generally relatively low. When it was born, it had a relatively clear equal political concept and cultural assistance. Because of this, it basically follows the discourse of mainstream literature, especially "folk literature and art" in academic concepts and methodology. It often provides objects and materials, but rarely produces methods and theories that can nurture mainstream literature. From the mid -1950s to the present, the development experience in the past 70 years has experienced several paradigm transformations. In addition to the disciplines of ethnic minorities, Mr. Fei Xiaotong's "multi -one" theory and "beauty and beauty, beauty of beauty; beauty with the world, the world's unity" It is proposed in the study, but the historical research results of ethnicology. When I started to contact this field, it was the time when the Duke of the 21st century was a long way to do, and then I had a fledgling courage at that time. ), "Inspection of Chinese Minority Literature Discipline" (2006) attempts to reflect and build theoretical reflection and construction, the main discussion is to emphasize "multiple symbiosis", which obviously has postmodern, posterior colonization, Foucault theory, and minority in the United States. Traces of ethnic doctrine.

With the gradual deepening of this field of understanding, especially the re -understanding of the Chinese revolution in the 20th century, I gradually made some amendments to the multi -symbiosis around 2009. The theory of "Republic of Literature" in 2014 is to refresh the connotation and extension of ancient words, combined with the localization of republics translated in modern times in the process of Chinese revolution, and proposed a variety of national literature. Methods and methods: three -dimensional view of history and region, comprehensively examine the different text forms of interviews, sounds, pictures, and texts, and cross the barriers of verbal and written, fields and literature, society and literature. The "Thousand Lights Mutual Photo: Mutual Lights Mutual: The New Century Literary Literature Creation Ecology and Criticism" published in 2017 is a specific work based on this idea. On October 14, 2011, the 6th National Ethnic Literature Creation Conference was held. When I gave a keynote speech, I summarized the ideal picture of multi -national literature: "Thousands of lanterns each other, Vientiane together, from him, not him. Second, the dependence is common. "If these are theoretical and methods, then they are from local materials. I have gone out of the enthusiasm of foreign fashion theory when reading. Back to history, there are constant collisions, exchanges, and interoperability between various ethnic groups in China. As a result of the metamorphosis of Yixia, the identity and identity have never been fixed and consolidated. This is also the vitality of Chinese culture. Essence Rao Xiang: Your latest published book "Eight Banners" puts research objects from 1840 to 1949. The literature, emotion and society of the flag people in the great historical turning of the great historical turns in the past 100 years. Although this is still a minority The category of national literature research, but it is more obvious from the macro historical style in the previous works. It seems to be more proactive. With more historical details, the scope of discussion is not limited to literature in literature. Is there a change in methodology?

Liu Daxian: If you do not enter the specific historical context, it will be difficult to go deep, especially the ethnic minority literature. Only when the modern Chinese empire is involved in the process of transitioning to modern sovereign countries can we clearly clarify the "(minority) nation" And the occurrence and development of its literary discourse. In the process of groping, I read some modern historical works. From Chen Xulu, Wang Rongzu to Sang Bing, Mao Haijian, and Luo Zhitian, I also established a connection with many Manchus scholars due to work. In fact, the relevant materials collection and the writing of papers have been successively started since 2004, but the more complete ideas formed the National Social Science Fund in 2012. At this time, the discussion of the domestic academic community on the "New Qing History" and "Da Yuan History" is also lively. The research on the flag people and the Manchu must be related to cultural identity, political forms, nationalism, and changes in conceptual changes. In terms of literature, it also includes the dimension of history, politics, society, and emotions. Aesthetics and history, political and literature, ideas, and feelings are combined. In this way, writing has become the story of China. It needs to cut into specific historical events, character lines, and work details. It is obvious in the methodology. "Cultural Studies" and "emotional steering" during the visit to the United States after graduating from doctorate, such as "emotional steering" and other factors.

Rao Xiang: When it comes to "cultural research", in the past few years, it has become popular in China. Even universities have set up the "Department of Cultural Research". Although the popularity seems to have declined in recent years, as a research method, it has updated the perspective of literary research and expanded the boundary of literary research. I am even more interested in the "emotional steering" during the visit to the United States. I vaguely feel that this visit to the United States has the meaning of "turning" to your life, not even in academic research. I still remember that in the summer of 2013, we participated in the forum organized by Renmin University of China and Columbia University. At that time, you had been back to the University of Columbia for two years. During the tea break, Mr. Li Tuo criticized your speech just now that he did not express it clearly, and Ms. Liu He on the side maintained "loving" to maintain you. They obviously favors you.

Liu Daxian: "Cultural Research" has ebb tide in recent years. This phenomenon is that my understanding is that those methods and theories have internalized into daily research and criticism. The actual actual "Chineseization"; on the other hand, "cultural research" has moved to "historical", that is, it not only focuses on instant phenomenon criticism, but also increasingly inclined More academic. The study and life during the visit to the United States is really significant to me. The growth of growth and smell is the second, mainly to benefit a lot in the training of thinking and expression. Li Tuo and Liu He are very close to the two teachers, but they will be very strict involved in academic discussions. They often "criticize" me ruthlessly. Looking back, I miss the sincerity and sincerity, and my heart is full of gratitude.

Rao Xiang: To do national literature research, a very important part is field survey. You have also visited many areas, especially ethnic minorities. I remember a prose "Four Leafs of the River" a few years ago, recalling the people and things you experienced when picking up the wind in Qinghai, the car washing worker who sang "Flower", and the one who saw you at first sight as you did. Friends of the Local Federation, the two of you, the two of you, are fascinating to read the liquor under the water underwater. Later, these essays were collected as "Yuan Dao Shu". I think that the role of Liu Daxian, the scholar of Liu Daxian, cannot be underestimated for the image and the main body of the scholar. It makes your research not be in the place where the square inch of the book. Liu Daxian: The experience of field survey is indeed due to the research of ethnic literature. Generally, the mainstream literary research methods do not pay much attention to this. I first knew that Field Work was a concentrated anthropology and sociology papers included in the papers of "cultural research". It was the first few years of the late 1990s and the first year of the 21st century. The cognition of "literature" was fission. That is, the reflection of the "pure literature" centered on aesthetic, language, and formal self -discipline. This kind of reflection has the progress of academic theory within the discipline of literature. , Forced literary research to fill in Honggou and cross the border. From the reading of theory and cases to the real "field" work is still a national conditions after work. This is the tradition of the Chinese Academy of Social Sciences. It pays attention to the docking and practice of academic and reality. Humanities research also has the orientation of social science. So far, in addition to Hong Kong and Macau, 23 provinces, five autonomous regions, and four municipalities in China have gone through. Ethical minorities have been investigating more carefully, such as Xinjiang, Gansu, Tibet, Inner Mongolia, Yunnan, Guizhou, Shanxi , Guangxi, Hainan and other places. This kind of personal experience during walking and journey is never replaced by indirect experience, making me a broad -minded "son of the earth". In terms of awareness, the integration of eyes, ears, nose, tongue, body, and meaning is complete. Texts, pictures, audiovisuals, and even real things can cover the overall understanding of one place and their culture. Traveling alone in many ethnic groups is an adult ceremony. The lonely individuals are tempering and growing in strange places away from the familiar environment, forming a self -conscious self.

Rao Xiang: "Learning from the New Humanities" is also your newly published work, and it is also a copy that I am very interested in. This book does not seem to focus on which fixed theme, but has a clear sense of problem, that is, in the era of "after pure literature", in the era of "post -literature", how can we re -think about literature, history, reality, civilization, etc. The question, and proposed the proposition of "new humanities". In different divisions, you show your outstanding theoretical literacy and speculation.特里·伊格尔顿在其《理论之后》中提出，在二十世纪各种风靡一时的文化理论热潮退去之后，新世纪的文化理论必须积极探索其一度忽视或否定的领域——爱、 Evil, death, morality, religion, metaphysics and so on. These seemingly "old" themes are more important in today's world, and their importance is better than in the past. I think your discussion also echoed Eglton to some extent, and it is an observation and reflection on the transformation and mental crisis of contemporary human civilization.

Liu Daxian: You are keen! Iglton is my favorite critic in the world. His simple and clear style, highly generalized and deeply distinguished analysis, a shot of blood, and the core of the core are all out of mind. The other is Mark Liche, and I also like it particularly. They belong to a model that cannot be reached, and their hearts. Many comments and papers now have a complete form of basic academic training, so they are very complete in form, and the posture is very full, but often Rory for a long time, but the problems, methods, and conclusions seem to be in the rules, and it feels like it feels like it. Like a high -fired artillery mosquito, sometimes a dead mosquito. This is the ineffective superposition of closed eyes, self -proclaimed, and disability, which cannot bring inspiration. I don't want to do this, so I must try my best, even if it is a rough development.

"From the end of the text to the new humanities" is indeed what you say, and the clear concern is to explore the way out of literature in cultural integration and even human literature. After taking care of the inertia of literary criticism, I still started from the phenomenon of everyone's knowledge, introduced to the world of Suberg's daily and multi -extension, emotional reality and accelerated society, post -truth experience, time experience and historical experience, Spatial transformation and cultural production, diversifiedism and authority, "traditional" heritage and contemporary lifestyle, secularization and individual status. These are the real "contemporary nature", overflowing the category of modern humanities since the Classical World View or the Renaissance, we must try to explore the door trails of description and analysis.

Rao Xiang: In addition to "contemporary", "overallness" is also the vocabulary you often mention. Regarding the current world pattern and crisis of faith, is it still possible for "overallness"?

Liu Daxian: The "overallness" with Hegel's tendency in the sense of Lucacch is unlikely. In the words of Max Weber, the chaotic state of "the unity of heaven and man" and "the unity of politics and education" is in the state of chaos. Modern "differentiation", or in the words of Gadenus, the so -called "modernity of modernity". Wang Hui even more clearly attributed it to the alternative of "axioms" on the "worldview": the concept of science is almost monopolized to interpret the truth of the truth. As a result, the concept of progress is drawn between the past and present There is a clear boundary. In this way, through classical studies, the newly created Song and Ming dynasties or the Renaissance humanism are no longer possible. Second, just like Kong De described human history as the development of the "era of religious superstition" and "metaphysical fantasy era" to the "era of science empirical". The divisions of science, deity politics based on religion, and republic politics based on the prerequisite of ectopic science have become irreconcilable. Third, due to the qualitative change of the concept of "things", first of all, in terms of epistemology, in terms of social division of labor, the strict division of art, morality, politics, religion, and politics is inevitable. Regardless of the level of understanding, at the level of the system, the "two cultures" of science and humanities in the field of knowledge, the separation of political and religion in the political field, the two points of public and private in the social field, and the group in the legal field become a common phenomenon in the modern world. Essence The Confucianists who "do not know" have disappeared, and they are free to travel freely between classical and current, art and science, religion and nature. To the present, this situation is particularly obvious in the situation of technological monopolies. The acceleration of society, the arrival of the echoic era, the instantaneousness of people's feelings and the fragmentation of cultural expressions are destroying the overall nature. In other words, no one will believe that no one will believe Some kind of "Tao", "God", and absolute ideas, that requires faith, and faith also appears in the so -called "worldly era" of Charles Taylor itself. But then again, since the "overall" cognition is a historical construction in a particular world view, then it may never be a real state. When we analyze the overallness from the perspective of epistemology, it becomes a result of cultural legislation and utopian desire. In other words, after the linguistic steering, it has become a rhetoric expression; if the reality and emotional steering of fusion is superimposed, then we have always tried to imagine some new "overallness" Essence The world is complicated, the phenomenon is blurred, and the information is coming. Although the understanding is equally full, the pursuit of certainty in the form of complexity and the pursuit of certainty in uncertainty has always been the inherent impulse of humanistic thinkers, and it is also the significance of its existence.

Rao Xiang: In recent years, you have become a hot critic in the Chinese literary world and have written a large number of literary review articles. But what do you often emphasize your "scholar" identity, what does literary review mean for you? How did you associate it with your academic research? What is the ideal literary criticism in your mind?

Liu Daxian: The difference between academic and comments. In my opinion, the former focuses on the production of knowledge and concepts, and the latter focuses on intervention, but the two are not completely divided. Real creation, good comments will also produce knowledge and concepts that can be inherited. I think the ideal literary criticism is the "academic criticism" of the two. In fact, we study the history of literature and even do historical materials is also a "comment", because there must be a specific historical view as theoretical support behind it. There are strong interpretation traditions in Chinese and Western respectively. Most of those fundamental themes have been established in the "Axis Age". The process of invention. In this sense, the "innovation" of humanities is actually a "comment" based on "inheritance".

I have also wrote a lot of articles about literary criticism. From the criteria to the value standard, from technical literacy to style expression, from local discourse to international perspective, from theoretical consensus to personal practice, I wo n’t go into details. I have made a type of classification of literary criticism: the "flower tree" of aesthetics and emotional dimensions, the "soul in the shell" of political and historical dimensions, and the "monthly Wankawa Wanchuan and Wanchuan Yingyue Moon Moon Yueyue "They do not contrary, they can blend and independence. The key is that the critics themselves, gall, consciousness, strength, virtue, righteousness, love, merit, that is, the talent of expression, the courage of criticism, insightful insights, the power of rhetoric, the care of ethics, the inspiration of justice, the sincerity of justice, the sincerity of justice, the sincerity Emotional and practical potential.

Rao Xiang: There is a point of view that today's serious literature is too circled, and it has fallen into a "internal cycle" of self -game. Readers are increasingly scarce and their influence in social life is becoming more and more slight. Therefore, literature is necessary to "break through lock up". Not long ago, you were also invited to participate in a "Literature Talk Show" event and rejected the championship. This may have the nature of playing tickets, because you have always been self -proclaimed by serious scholars, haha. So, how do you think of the overall situation of the current development of Chinese literature? Where is the problem of serious literature and the way out?

Liu Daxian: Haha, I don't want to be an old -fashioned pedantic master, or to play social conscience with a somewhat expression. Just like we are often joking when we are chatting, but we can't help but feel sad: "serious literature" seems to be more and more like "type literature", losing form of innovation and ideological exploration, and becoming homogeneous; and it was originally regarded as "Type Literature" for popular culture, such as Liu Cixin's science fiction novels, can touch some major themes of our time, showing profound faces. When it comes to "talk show", whether it is the creation of language, the skills of describing, and the occasional social issues, it has the characteristics of emerging literature and art. We can regard it as a long -standing "oral literature" Variations of the new media era. Compared with the increasingly introverted, losing reader and "circularization", the failure of the "serious literature" in the public domain. This new literature has a wide range of audiences due to its adaptation of fragmented dissemination. The expression, thinking habits, and even spiritual orientation of the people. These effects or more accurate consequences may not be completely positive, but we cannot ignore it, but we need to understand its production methods and concepts. Analyze and intervene on the basis. The overall situation of the development of Chinese literature cannot be blocked, but several trends can be observed: First, generalization, "literature" is scattered into a variety of art forms, that is, the integration of literature and art; It is bound to lead to the second point. Their general funding, that is, rely on the technical and power advantages of capital to guide the pursuit of the value of goods and consumption in different forms of literary production; For the persistence of literary self -discipline and the resistance to pan -capitalization, he persisted in creating creative attempts to creative literature as an elite human spiritual product. The way out of serious literature should be hidden at the third point, that is, when this is the real sense of serious literature, it is difficult to become a popular cultural product, but it does not lose its meaning, just like Lu Xun The difference from Zhang Henshui, the former must have no latter at the time, but it did not prevent it from having subsequent long -lasting fermentation and influence. This can be done, because in the various types of cultural products in our time, only serious literature is most likely not controlled by capital. It does not require other technical support or capital investment. Several people, a computer, a mobile phone or a pen and some paper) are open and the creative expression of openness and free soul. These are just rough words, not necessarily, only for one.

Rao Xiang: As a humanistic worker, in the current era, there may be a sense of power. Have you ever had nothing? What are the goals in the future?

Liu Daxian: Of course, you may not believe it. When I often have depression, I ca n’t afford to do anything, and sometimes I am very excited. A psychiatrist may say that this is bipolar disorder. Whenever this time, I treat myself, soothe myself between being swinging between irritability and depression, and so on. In the face of reality, human science often has a sense of weakness, and it is not the beginning of today. It has always been the case. It is the desire to drink ice and the night of the night. Because of the ubiquitousness of nothingness, it is relaxed that we have to "resist despair" and find ourselves to find and construct the meaning and value of survival for ourselves.

I usually do not plan the future goals, and the plan cannot keep up with changes. Maybe I am a pessimist in my bones, but just strives to cope with the current life optimistically.

Rao Xiang: In addition to academic research, what other interests and hobbies do you have in life?

Liu Daxian: The favorite is all kinds of food and cooking. I have written the gourmet column. I think one of the ways to love the world is not to exclude any food. When I was a kid, I read the novels of Confucian Vernes, and I was full of longing for Greenland. Later, in the information, I saw the pyrine made of fermented with a bird's belly with a bird's belly. It was really a dark dish. If I have the opportunity, I will try it. I have more other interests. I am also enthusiastic about reading, movies, travel, music, and art that I like to read, movies, travel, music, and art. I originally planned to write a small book in each aspect. It is about reading, "Mummy of Time: Imaging Note" and "Feelings of the Ruthless World: Movie Memory" is about the movie, "Yuan Tao: Walking" is about travel. You still remember that I have introduced you to a girl who has been engaged in public relations before. She originally studied cultural research in Hong Kong. The papers did rock music. We planned to write a book about music, but she was too busy because of her job because she was too busy at work. My own energy and time are not allowed, and the books in music and art are not completed. I can only slowly move closer to the "professional direction" of work. The older the age, the smaller the world. Although interests have to be reduced, the curiosity of strange and novelty has been maintained, which can make life less boring.

Rao Xiang: Haha, of course I still remember that girl.In addition, when I recently read the book "The Love of the Ruthless World", I found that she had already appeared in your book -in the preface of this bookMeeting to go to Mohe to play snow, but you temporarily put the pigeons, and she ran to India a circle.I think you are so deed because you are attracting each other as "literary youth".Just like "Mohe", recently, because of a "Mohe Ball Hall", it has become the "poem and distant" of countless literary youths. It is really "literary and artistic", haha.Source: "Fang Cao"

- END -