Writer Houpu Novel "Drag God" Symposium is held online

Author:Cultural and Art News Time:2022.07.12

Culture and Art Network-Culture and Art Daily (All Media Reporter Zhao Mingke) On July 10, the "Reconstruction of the Great narrative of Deng Yiguang Literature and Art Studio, Yang Zhengguang Literature and Film and Television Art Studio, awakened the" divineness 'in the heart'- —Houpu's novel "Drag God" seminar "was held on an online video conference, and scholars from all over the country spoke at the seminar. The meeting was chaired by young critic He Jiang.

The novel "Drag God" was published by the writer's publishing house. It presented a axis of the modern history of the Chaoshan Plain and the spiritual changes of people's spiritual changes with more than 600,000 words. The work is based on the two Opium War as the main background, spanning for more than sixty years. With the multiple emphasis on people and ghosts, it explores the spiritual conversion of Chaoshan people's soul home and even the Chinese nation. The novel is based on the rise and decline of Zhangshubu, and strives to describe the fate and legend of Chaoshan merchants and business gangs represented by the protagonist Chen Heshou.

Members of the Party Group, Vice Chairman, Secretary of the Secretariat of the Chinese Writers Association, Secretary of the Party Committee of the Chinese Writers Publishing Group, and Director of the Management Committee, Wu Yinqin gave the opening speech. To the tribute to the works of classic writers, the novel tells the history of the ethnic group and reflects the wisdom of writing the classic. At the same time, it is pointed out that the novel "Drag God" is a complex fusion of realistic literature with a variety of elements such as modernism, magical realism, pioneer consciousness, cultural awareness, and historical consciousness. It has a unique style. Very new aesthetic experience, worthy of research and summary.

The famous commentator Zhang Yanling believes that "Drag God" tells how the three major ethnic groups of the La, Dai, and Chaozhou people have conflicts in the life of the sea, mountains, and Jiangwan, and find their respective guardians. Legendary story. With the help of magical realism, ghosts, and gods, the author shows the folk forms of Chaoshan local officials, people, and bandits in the sixty years. The novel exudes a strong tide and sea charm, and also reflects the unique spiritual nature of the Chinese nation. She thinks this is a novel that cannot be ignored, wild and divine. The well -known scholar Meng Fanhua is most interested in the structure of "Drag God". The interpretation of this double -line interpretation makes the work very "novelization", which provides a vascus space and imagination space for the novel. Professor He Shaojun of Shenyang Normal University believes that "the so -called epic means not only the objective presentation of history, but also to be poetic and deeply expressed. I understand the deep expression of poetry as the subjective consciousness of the author. For the soul of history, "Drag God" is obviously full of poetic, which means that the thick garden is controlled by the narrative with a strong subjective consciousness, and the "Shenzhen Pixing" has played an important role here. "

Xie Youshun, a scholar of the Yangtze River and a professor at Sun Yat -sen University, talked about the three impression of his novels, and believed that this work was "ambitious, figure, and his own pursuit." He Xiangyang, a well -known critic and poet, praised the work. She said that "" Drag God "is full of vitality, which is both mixed and plump, showing the fate of the little people in the great history, and then to the Haohao Changhe into the sea, so the works are very large. The courage. It is not only a typical southern narrative, but also a more typical Lingnan narrative. Mysterious, magicism, and realism are mixed together. The mist is hazy and lively. There is both a large pattern and a slightly realistic feeling. " At the same time, she used four sounds to describe the structure and rhythm of the novel, showing the way of narrative ways with outstanding sounds. She finally concluded: "Houpu is a very good writer. I think at this point, he uses this book to prove herself again." Contemporary writer Deng Yiguang mentioned that Houpu's "Drag God" is not simply a simple way. Talking about the historical issues of Chaoshan, as well as the practice of "departure culture", a conflict expression of modernity.

Chen Tao, editor -in -chief of Chinese Writers Network, believes that "Drag God" is a work that can be read repeatedly and can interpret it with multiple dimensions and multi -faceted interpretation. He explained in depth from the structure, subject matter, hometown narrative, and historical sense of the work. He Zhongming, director of the Chinese Department of Jinan University, commented from the perspective of the Guangdong -Hong Kong -Macao Greater Bay Area. It feels that the marine civilization and culture of this work is very strong. It has a very unique personality even in contemporary Chinese literature. Professor Shen Xiayan of Jinan University believes, "In the title of" Drag God ", more importantly, it shows the power of man. In fact, there is a very important thing in the Western Renaissance. Created people? In this novel, Houpu also tried to answer this question. "

Xu Chenliang, the editor -in -chief of the "Contemporary" magazine, said: "The beginning of" Drag God "can make people feel that this is a very impactful work. From its subject matter, volume, and literary ideas, the author can see the author. The creative personality and creativity, this is a long article with ambition, difficulty, and will. "He also pointed out that, in view of the special cultural geomorphology created by" Drag God ", and its opposition and integration with other fields, The complex relationships including pirates and missionaries and other groups can make this work completely compare with the southeast marine history and Southeast Asian history. Young critic Yue Wen said that this novel is obviously a local narrative. It is a space narrative around the space like Zhangshubu, full of various emotional details. In these details Charm. This work is not only rich and rich, but its speculative spirit has built this novel, making it very powerful. Yang Qingxiang, a professor and poet of Renmin University of China, believes that "Drag God" not only continues the writing style of the 1980s, but also involves the writing of entrepreneurial history. Essence Young critic Song Song said that in addition to the folk position, the work of "Drag God" also reflects a very strong feelings of home country, and its creation fits the general trend of the international trend. He also believes that "this work still has the potential of film and television adaptation." Chen Peihao, a professor at Fujian Normal University, feels that "Drag God involves ghosts and gods, but it also shows a generation dimension. The spiritual power of the spirit is similar to the spirit of the wine god. "Critics Rao Xiang interprets this novel from the level of social and historical, the level of literature, and the level of speculation, and discover the value and significance of culture.

Shenzhen critic Yu Aicheng praised the "Drag God" and believed that the novel "is the masterpiece of the writer, the epic masterpiece of the Chaoshan people, the ethnic secret history, and the ethnic fable writing. It is also the writing of the encyclopedia." He believes that "the boldness of the author is to use the plot story of the transition and use the" dragging god "... thus becoming an important" text "of the book, and becoming a core concept of the author's understanding and evaluation of religious beliefs. It is related to human nature and human nature, which is the projection of human desires including redemption. " Young critic Lu Yao felt that the spirit of the protagonist Chen Heshou was trinity with the spirit of the "Drag God" and the spirit of the Chaoshang, and the theme of "Dragging God" was realized through the structure of this "three gods". From the perspective of narrative, the design of the "three self -description" structure expands the narrative time and space and dimension of novels. It is the full consideration and response of "readers' acceptance". This is the author's ambition to create an ambition.

Houpu expressed his gratitude to the evaluation of experts and scholars, and thanked the teachers who helped and guide the "Drag God" in the creation and publishing. The group, because tens of millions of readers live in tens of thousands of interesting souls, they are much stronger than the author and even more amazing. It is precisely because of these millions of interesting. The soul makes the classics a classic, and the master becomes a master. Take this opportunity, I want to pay tribute to the literary "nightman 'present!

Writer Houpu