Today Critics | Zhang Xiaoqin: The Hidden of Time and Geography

Editor

Creation and criticism, such as the wings of the birds, the two axes of the car. The development of literary creation is inseparable from the prosperity of literary criticism, and it is inseparable from the dedication of generations of literary critics. In 1998, "Southern Literature" launched the "Critics Today" column, and more than a hundred critics have been introduced so far. Critics with different personality said "my concept of criticism" with their keen, talented, smart, and agile. Hundreds of articles have accumulated a kind of sensitive and angry criticism.

Now China Writers Network has re -launched these articles and shared with you, so stay tuned.

1

Today Critics

Zhang Xiaoqin (shooting time: 2017)

Zhang Xiaoqin, born in Gansu in 1975, Ph.D. in Lanzhou University, and post -doctoral Chinese department of Peking University. He is currently a professor and doctoral supervisor of Beijing Normal University. Former professor and doctoral supervisor of Northwest Normal University, the third visiting researcher at the Modern Literature Museum of Modern Literature, the Beijing Literary Federation of Literature and Cultural Federation in 2021, and the young scholar of Flying Scholars in Gansu Province. He has published works such as "Research on Contemporary Ecological Literature in China", "Strikes to Exist", "One Lights Like Bean" and "Great Wild West" and other works. Literature Awards, the 16th Chinese Contemporary Literature Research Award, "Contemporary Writer Review" 2017 Outstanding Thesis Award, the Gansu Provincial Philosophy and Social Science Award, and the youth teachers of the Gansu Provincial College of Higher Education.

My concept of criticism

Time and geography secret

Zhang Xiaoqin

My interest was once in Chinese classical literature. When reading those ancient scenes, there are always light, as if a bunch of strong light in the dark house in childhood. As a result, a strong desire was to express this bouquet of light in text. However, I always say that the dilemma of expression made me look at the theory. Listen to the class and go to the library to swallow the classic works of Western literature and art theory, as if this can clear the light. It seems that the reading at that time was still interesting, but such reading and sorting out helped me open a new world.

In this process, I was surprised to find that the spirit of modern western literature was similar to the spirit of Chinese classical literature at some moment. For example, Heidegger's interpretation of the time of time for being thrown in time is so similar to Zhang Ruoxu's signs of sending flowing water in the Yangtze River. How people obtain and lose time on this shore are the issues that they think together. In the exploration of the relationship between individuals and time and existence, people in different times and regions have reached an agreement. Under the leisurely nose of Chen Ziang's chanting, Eliot's expression of the "cruelty" of April can be regarded as a way to measure an infinitely long river with a limited individual life.

Enter the river of time through literary criticism, or can enter literature and the world from the overallness of time, return to ancient times, and find the extension of the classical spirit in the present, giving it meaning. As Crozi said, "All history is contemporary history." Naturally, contemporary criticism is not limited to contemporary text. Letting the writers of the past era and contemporary literary criticism jointly constitute a new aesthetic and enlightenment relationship, which is the career difficulty of contemporary critics. To a certain extent, the spirit of Chinese classical literature has been incredible and inevitable in contemporary literature. Therefore, literary criticism can only have a deeper significance only across contemporary literature itself.

Most of our generations of literary criticism have similar experiences, starting with the original intention of literature, and then receiving a process of professional standardized training, systematic reading and learning Western literature theory, or mixed with ancient Chinese literature theory. In the process, it will also be educated by those modern criticisms, that is, the understanding of the author, the search and cognition of the masterpieces. However, the actual situation is that everyone who is engaged in criticism has different tendencies for text, because their interests and cultural identities and self -awareness are huge. As far as I am concerned, literary criticism is also an important way to roam my western land and explore its cultural geography.

The growth and study in this place made me realize that the west is not only in the sense of geography, but also in the cultural sense. The cultural spirit generated by the west is actually penetrated in all aspects of Chinese literature today. Mr. Qian Mu has given a class in Peking University. He has such a metaphor when he compares Chinese and Western culture: Qin and Han culture is surrounded by tens of thousands of lights around this room, breaking one, and the rest is still bright. In today's western geography and culture, Qin and Han culture will definitely have more relics.

I have always believed that today's criticism requires a map, especially a map west. This is not to narrow the vision of literary criticism, but another meaning of literary criticism. David Danmush's interpretation of world literature allows us to look at Western literature, that is, world literature is an oval refraction between ethnic literature, and this reflection is dual. The relationship between western literature and Chinese literature is like the relationship between national literature in world literature. Ethnic literature is not the opposition of world literature. Similarly, western literature is not the opposition of Chinese literature. Western literature should be accepted by greater cultural space to become China Literature and even part of world literature. When we only consider one single text or a group of texts, we may have felt this relationship. However, if we have a longer time and larger geographical category, we will see more thoroughly. This is the ideal state of Chinese criticism in my mind. Only in this way, I can swim in a deeper time and space, explore and find more secrets of time and geography. The article is published in "Southern Literature", No. 5, 2017

Critical Impression

Today's sun is sufficient, better than everything

——The literary criticism of Zhang Xiaoqin

Chen Xiaoming

Xiaoqin comes from the northwest, a talented woman in the west. She may sing, and she may sing well, and read her poems.

"Open the door, the elder brother and husband of the expedition/Beidou star shine on the return journey/wolf bark, the horses are quiet/arrived at the night/drunk leaning on Qilian." ("Zhiyuan Fang (or previous life)")

Life in the northwest seems to implement a barbaric time. There, history always makes people feel the quality of life:

"The dew in the northern grassland in the front/one autumn is in the back/wind over red dress/memories like salt, soak the blood ..." ("Zhiyuan Fang (or previous life)")

Of course, Xiaoqin is not gloomy. On the contrary, she likes bright, the north is bright, and the northwest is the northwest.

There are bright, hearty and even bold in desolation:

"On the plateau, we do n’t talk about the past, and only expose the sun. Only the peony is appreciated ./ Because it’ s always a long rope for the sun,/today ’s sunlight is more than everything.” (“On Plateau”)

So, what else is needed? Xiaoqin also wrote literary criticism, and she should say that she mainly wrote literary reviews.

Should be talked about her literary reviews, or about her literary reviews.

Xiaoqin's doctoral dissertation is to do "ecological literature". In 2013, he published a doctorate paper "Research on Contemporary Ecological Literature in China". Dr. Xiaoqin's mentor is a famous critic Mr. radar. It is the spirit of the teacher. Mr. Radar appreciates Gao's doctoral dissertation in the preface. He said that the book of Xiaoqin has not only the exploration of ecological philosophy and ecological ethics, the search for Chinese and Western in the spirit of ecological literature, as well as the contemporary ecology of China Detailed interpretation of important text of literature. He believes that in this book, Xiaoqin "The most attractive writing is the study and evaluation part of the ecological texts. The unexpected perspective and perception, some analysis exceeded the limits of the ecological literature itself, and went to the existence level. "Mr. Radar's evaluation is willing, including his expectations for Gao's, and also clicked Xiaoqin to do it. Features of literary reviews.

Xiaoqin has a very sincere and pious love for literature. This seems to be equivalent to nonsense, but it is not. Some people do literature because of a profession. Some people love literature. They are literary ideas, or literature that loves literature. It is a need for literature. And some talents love literature from the heart, so they have unlimited tolerance for literature, can understand infinitely diverse literature, and read words, just like the spring breeze, such as returning to the hometown; even occasionally only words are enough to be happy. These people may not be able to study with literature, but they love their lives. Xiaoqin is such a kind of person, and she is lucky to use literature as her career, so she can read the joy and love of literature in her lines. It is why she can understand her doctoral dissertation to choose ecological literature. Xiaoqin grows under the Qilian Mountains. The rolling mountains there are the most beautiful mountains and rivers in China. There may be barren and difficulty, but the natural ecology is part of life and life. Like people, like people, they are all spiritual. I also know that ecological literature in Europe and the United States always has to have concepts such as religious theology, or natural deeds, or all things. But Xiaoqin was in the northwest, and it was the land she grew up in Sri Lanka since she was a child. It was something around her. Witnessing the Taoism. She should understand the murmur. In her doctoral dissertation, there were writers such as Shen Congwen, Jia Pingwa, Han Shaogong, Yu Jian, Alai, Zhou Tao, Chengyi, Ma Lihua, Du Guanghui, Guo Xuepo, Jiang Rong and other writers. However, there are few writers from the West, and I want to read her more concentrated research on ecological literature in Gansu in the West. Ecological writing must have a particularly feeling, and it is worthy of paying special attention.

It is also because of this attitude towards literature, and because she directly experiences the true meaning of exploration of literature, Xiaoqin's literary review has a lively directability, and she can experience literature from perceptual naturally. She felt particularly feeling about such words: "For the sake of the two mountains, there are many bamboo, and the green colors come here. The old boatman casually picks up a close name for the poor lonely chick, called‘ Cui Cui ’.” "Cui Cui grows in the wind, so the skin becomes dark, and her eyes are green mountains and green water, so the eyes are clear as crystal. Naturally, she is both long -term and educated her, so it is innocent and lively. Things. People are so good, like the yellow elk on the mountain, never want to be cruel things, never worry, never breathe. "Needless to say, this text is a widely elaborate text in the history of modern literature, especially the fascination. Xiaoqin also loves the texts that write people in the natural background. She commented: "Shen Congwen said in Cui Cui's appearance very intriguingly. Human life was naturally bred. People grew up in nature. Natural character and temperament. The most important thing is 'Naturally raising her and educating her', that is, naturally not only can nourish people, but also educate people. This sentence is essential for understanding Shen Congwen. For a long time, when people mention nature, people often pay more attention to its material functions, because it is natural to raise people. This does not need to be demonstrated, and the spiritual function of nature is completely ignored. This is ignored in China. It is particularly obvious in the history of modern literature, and Shen Congwen is an exception. He has a natural closeness with nature. In Shen Congwen, it is not just the only habitat of human beings, but also the best enlightenment of humans. It can be said that he found and emphasized that he emphasized and emphasized It has the spiritual function of nature. "This focuses on the symbolic meaning of nature. Of course, Xiao Qin has increased attention to western literature in subsequent research. In recent years, she has been involved in many Northwest writers. She often has influential well -known writers Lu Yao, Chen Zhongshi, Jia Pingwa, Yang Xianhui, Shi Shuqing, Liu Liangcheng, etc. Leave waiting. Xiaoqin pays attention to the nourishment of the writers in the northwest, their cultural heritage, regional marks, their unique life experience and feelings, and their wildness that breaks through the fences ... All of these are given the history of Chinese mainstream literature, Give a modern theoretical paradigm, literary modernism and postmodernism, and these topics constitute the topic of Xiaoqin's continuous writing. In the thinking about modernity, she saw that modernity brought to northwestern writers more reflection and criticalness, and saw their worries about the survival, confusion and loss of people in the poor spine state. Essence Xiaoqin also noticed that in many western writers, there seems to be a song singing. It is a memorial service for nomadic civilization and farming civilization. Essence She is particularly concerned about Jia Pingwa's creation. She wrote nearly ten comments on Jia Pingwa. These theories are very individual, with her entry angle, her understanding of the natural ecology and customs of the Northwest, her culture and text of the Western in the West, and the text and text of the Western region, and the text and text of the Western region, and the text and text of the Western. The unique literary style preference, she can notice the special attention of Jia Pingwa, who grew up in Shaanxi to "butterfly", or image. The heroine is simply Hu Die. She can see the atmosphere of the earth and the dust on the loess plateau again, but she slowly expands the fierce survival reality with the "ink" painting. Her careful reading was quite fully performed when analyzing Jia Pingwa's "Old Student". She saw several profound images: inverted river, stone caves, angelica, pigeons, hairstyles, dogs, dreams ... Comments, her views and judgments are based on careful reading, so they are durable, credible, and powerful.

Xiaoqin's literary criticism has a strong poetic, we will see that in her pen, two pictures that are slowly unfolded: one is the picture of ancient, romantic, and full of spiritual faith, and the other is Struggling in the pain of the conflict of modern civilization. She tried to explain that the previous picture scene could be used as the rescue of the latter scene. I also noticed that Xiaoqin is not just a cultural superiorist in the northwest region. On the contrary, she will pay attention to those writers living in the northwest to examine how their personality and artistic character and the Northwest collision are more. Powerful artistic energy. Indeed, the iconic writers and poets of Western Literature are outsiders, such as Zhang Chengzhi, Zhou Tao, and Ma Lihua. How should such questions answer? Why can they create greater achievements than local writers in the west? Xiaoqin once explained to me that they not only looked at the west with the eyes of foreign people and other people. At the same time, they must have touched a great picture and were strongly summoned.

Western literature is a product of a specific era, including the northwest and southwest, and even the vast grassland of the north. In the 1980s, the vast, magnificent and exciting heroism of western literature secretly coincided with the spirit of changing the times. Promoting western literature is the narrowing of Western writers and literature. Perhaps such a kind of understanding has the support of its theory, but in terms of literature itself, it is a last resort to sort out the geographical and historical connection with the geography and history of the writers. The high and low of western literature lies in the judgment of the critics themselves. If the writer is inferior to the west, he is unwilling to ask for the label of this "western literature". If the writer wants to be proud of the west, he will be named Western writers. In this regard, Chen Zhongshi and Jia Pingwa are examples. They have never been inferior because they were named Western writers. On the contrary, in "White Deer Plain", Chen Zhongshi also expressed his contempt for south through Mr. Zhu. Another example is Zhang Chengzhi. Zhang Chengzhi was born in Beijing, but in his "Farewell to the West Haigu", he declared that the civilization he believed was a culture centered on the world. They are proud of this. Xiaoqin's criticism text is with the northwest 冽 and openness. She has a kind of persistence and tenacity. She does not seek the gentleness and tenderness of women, but she is pursuing the arrival of thoughts, the capable and spiritual of the text. Xiaoqin has the ability to intervene in complex texts, and also has the ability to tap simple text into the implication of history and theory. Of course, poetic and insights are the most vibrant elements of her literary criticism. The great feelings of Northwestern people and her sensitivity constitute the texture of her criticism.

What is related to the geographical coordinates of the western part is Xiaoqin's sensitivity and attention to time. Looking at Xiaoqin's contemporary literature research, it can be seen that she has a deep strength to pioneer, pioneer writer Mo Yan, Yu Hua, Su Tong, Ge Fei, and a little bit Some of the latter Ai Wei, things, etc. are the objects she is concerned about. At the same time, young writers Liu Jiandong and Jiang talked that Taiwanese writers Zhang Wankang and He Zhihe and other pioneers were also the objects she was concerned about. I think that Xiaoqin's attention to pioneers is largely due to her attention to time, and this kind of attention can be seen to a greater extent as a youth critic. Thinking.

When discussing Gefei's "Stealing Cloth", Xiaoqin's discussion about dreams is actually thinking about existence and time. Xiaoqin's criticism text often shows emotional colors. In this part of this part, she seems to be completely thinking about dreams: "Dream is the experience of the body, the soul is walking; It is a metaphor, and it is the body. Dream is Zhuang Zhou, and it is a butterfly. "Later, she made a judgment about the relationship between the non -works and the dream:" There is always an uncertainty in the work of Ge Fei's works, which makes people make people make people make people make people make people make people make people make people make people make people make people make people make people make people make people make people make people make people make people make people make people. Think of dreams. Dreams are of great significance to Gefei's literary world. The life experience conveyed from Gefei's works is in line with the experience of life in Chinese classical literature. "Starting from the various broken dreams in the work, she concluded: Gefei's thinking about death is thinking about the time of existence.

Xiaoqin's overall judgment of some writers is also based on the thinking of time. The most typical is "The Hidden Dive of Time River -Yu Xiaowei". The time in Yu Xiaowei's works obviously triggered her thinking about time, and their resonance was based on theoretical basis of Heidegger's existence and time. "The actual throwing this can only 'and lose time, only because it is given some kind of' time 'as a bloom and stretching time, and this kind of given is rooted in rooted in rooted in rooted on The development of this time is carried out. "Xiaoqin used a large paragraph to discuss Yu Xiaowei's short story" Funeral ", because this is a novel that specializes in the death and funeral of ordinary people. Essence She believes that this novel is a philosophical novel that pushes the death of death to the extreme. The dead woman is the target of the funeral. During the process, he also experienced the death of others. Although the death of others at most is only on the side of others, Yu Xiaowei pursues the significance of death through this novel to realize the existence of death.

During the depths of the time for criticism, Xiaoqin seemed to have a soft spot for Chinese classical culture and traditional feelings. When she studied Jia Pingwa and other writers and other writers, she was often linked to traditional. She will mention the impact of the overallness of "Altar" and Chinese culture on ordinary people; when it comes to "Lao Sheng", she pays attention to the dual historical space of "Shan Hai Jing" and the century -old China; "At the time of seeing the loneliness of the Chinese soul for thousands of years; as a Northwest, when she talked about" Southern ", she could consciously trace back to the North -South differences of Chinese literature. Different, by the Northern and Southern Dynasties, the discussion of the North and South in the "World Speaking New Language • Literature", and the recent discussion of Liu Shipei in the "Different theory of Northern and South Literature", and the Jingpai culture and sea -faction culture have shown different traits since modern times. In the contemporary contemporary, Su Tong, Yu Hua, Ge Fei, Ye Zhaoyan, Wang Anyi, Sun Ganlu, Bi Feiyu, Fan Xiaoqing, Ai Wei, and the younger literary geography of the south built by many writers such as Lu Min and Zhu Wenying. I also found that some of Xiaoqin's articles have classical colors, such as "Awakening of Lao Lao Dream Butterfly", "One Lantern Difficult to remove Millennium", "How long is the folk coming", etc. This may be Xiaoqin and more. Different young critics. At the intersection of time and geographical coordinates, Xiaoqin focused on thinking about the literary situation of this era, the authenticity of literature, the overall direction of the new century novels, and her intergenerational dilemma and sound. She is not pessimistic or extreme about the fate of literature in the new media era. In her opinion, each generation will always judge, admire, or dissatisfaction with the time of her time. Often the probability of the latter judgment. She takes the literature of Hesse to clean up the literature of that era as an example, leading to the anxiety of our era: reading classics, or was it swiped? Every time the emergence of new media will have a great impact on literature and even panic. In fact, when humans face every new media, there will be a question: Is literature alive? Is it still in the new media? In the "Postcard", Jacques Drida believes that the important feature of the new telecommunications era is to break the two -point method between the inner and outer world that used to occupy the dominant position in the era of printing culture. In the kingdom of telecommunications technology, the entire so -called literature era (even if it is not all) will no longer exist. Philosophy and psychoanalysis are unable to escape, and even love letters cannot be spared. " Hillis Miller had a strong response: "There is anxiety, doubts, worries, and indignation. There may be a desire. What will it look like in the world of humanities. It is tantamount to living in the end of the world! "J • Hillis Miller's" Literature is dead? The so -called "end of the printing era" is the embarrassment we are facing today. However, Xiaoqin pointed out after the argument: "When everyone becomes a writer, everyone becomes readers." Because readers in the traditional sense also died. Only when the reader surpasses this person to become a writer, when he feels extremely lonely, he will find a new spiritual protection, and he will naturally sign a new contract with his spiritual beliefs. When any new media appears, it will impact the existing media and culture, but there is no doubt that the new media is beneficial to accelerate the spread of literature.

Regarding this, I wrote an article more than ten years ago that literature has penetrated into various aspects of social life, which plays a potential and concealed dominance. A certain way is attached to the literary ghost. This is "the ghostization of literature". The new media era literature still exists in her own way.

Xiaoqin was born in the mid -1970s. She often claims to be the standard "post -70s". She starts from her own group, and has also thought about the dilemma and sound of the 70th generation engaged in contemporary literature research. In the coming, as a peers, the 70th generation critics have common growth experience, social experience, and the common cultural attitude and literary position that they have generated. At the same time, they are also facing a common predicament and the difficulties of making sounds in the predicament. The predicament faced by the 70th generation is first of all the dilemma of the group. I once said in an article: "In fact, the seams and obstruction may not be accurate enough. The generation. "" The 70th generation has no choice but to go to the end on this road. They survive in the gaps. This is their fate, but it may be an opportunity. "The main object I said is the 70 -generation writer. Criticizing this, the situation seems to be even more embarrassing. Xiaoqin said that she knew that criticism should pay attention to the importance of the people of the past. Essence Objectively speaking, the 70 -generation critics are on a break zone of social transformation. In contrast, they still seem to be easily blocked. The second is the dilemma of criticism. At this point, Xiaoqin believes that entering literature from literature is one of the way out of the literature. She seems to have been affected by Foucault's insignificant view of the development of human scientific knowledge and the implementation of power. Foucault once believed that "in the era of criticism, we should not make suggestions. Once we suggest -s Put forward a set of vocabulary and a kind of thought, which will only lead to dominance. What we should dedicate is that people may find useful parts and tools. Tools like this: New possibilities will be opened in the process. "Indeed, how to find your own criticism and make your own voice in a strong knowledge system is Face the primary problem. At this point, I have to return to the criticism itself. The problems of criticism have long existed. The authenticity of criticism is a worrying issue. Literary criticism must have authenticity, that is, it must have the true attitude of facing the work, real literary perception, and real knowledge and wisdom. Most of the 70 -generation critics have gone through the process of formatting academic norms. After the rules, they are often bonded by an academic paper. The biggest dilemma faced by the 70 -generation critics is also the dilemma of criticism of this era. The 70 -generation critics have worked hard to break through and make their own voice in the predicament. I think that the 70 -generation scholars who really engage in criticism are looking for their own criticism coordinates and finding the most suitable position in time and space. As Xiao Qin's poems say: "Today's sunshine is sufficient, better than everything." The current literary criticism has reached the era of post -70s and 80s. Broadness is enough to make the road of literature full of sunlight.

(This article comments are omitted)

(The author is a professor and doctoral supervisor of the Chinese Department of Peking University)

The article is published in "Southern Literature", No. 5, 2017

1

- END -