The Historical and Current Characteristics of“Plague Writing”-Rereading Chi Zijian’s Novel White Snow Crow in the Post Epidemic Era

Chi Zijian’s novel White Snow Crow is about the pestis in Northeast China from the autumn and winter of 1910 to the spring of 1911,focusing on the living conditions of people in Fujiadian,Harbin,under the shadow of the pestis,and thus connects the vicissitudes of Harbin in the development of modern Chinese history.Re-reading this novel in the context of the post-epidemic era not only allows us to immerse ourselves in the specific temporal and spatial fields described in the text with an immersive reading mindset,feel the heavy impact that the disaster has brought to the people of Northeast China,but also provide us with a different perspective to observe the current social reality.In particular,the social problems shown by the novel through the pestis and the description of ordinary people’s life experience under the plague still deserve further discussion.

Narrative Devices, Spiritual Enlightenment and a Community of Common Kindness: Interpreting Chi Zijian's Urban Writing in the Stories of Harbin

In her latest novel,the Stories of Harbin(Yanhuo Manjuan),Chi Zijian strives to portray an urban life imprinted with her personal experience.In order to effectively connect the various aspects of urban life and showcase its liveliness,she creates three special elements of narrative devices:A volunteer ambulance,Yuying Courtyard,and a sparrow hawk"Little Harrier."These elements are beyond ordinary things as they assume the narrative ethical functions of providing possibilities for the unfolding of storylines,summarizing general urban life experiences and uniting a community of common kindness.Chi depicts the architecture,culture and geography,as well as the residents'daily life,hardships and destiny within the city.In addition,from outside the city,she shapes the image of Huang E,a unique child of nature,which not only enriches the character categories of Chinese contemporary literature,but also provides spiritual enlightenment to resolving the plight of urban life.The urban writing of Chi carries forward the spiritual guidance and the modern introspective consciousness embedded in her previous writing and blazes a new trail for urban writing in Chinese contemporary literature.

"Northeast China in Literature"Depicted by Chi Zijian——Rereading Puppet Manchukuo,The Last Quarter of the Moon,and White Snow and Crow

Chi Zijian's literary narrative of northeast China over a century essentially embodies a serious and concrete historical record of the Chinese nation.It also makes efforts to explore the profoundness and vitality of history,the presence of northeast China,and the culture and spiritual philosophy of the region.Undoubtedly,such narrative is self-perpetuating,just as is the historical process of northeast China.Puppet Manchukuo(Wei Manzhouguo),The Last Quarter of the Moon(E'erguna He You'an),and White Snow and Crow(Baixue Wuya)written by Chi Zijian are all important contemporary literary works worth"rereading"time and again.

Divinity and Devilism: A Charming World Constructed by Chi Zijian in the Novel At the Peak

tNourished by the natural scenery of the Daxing'anling Mountains when growing up,Chi Zijian has grand literary beliefs and tends to build worlds flled with divinity to bridge ideals and reality in her literary creations.Her novel At the Peak(Qunshan zhi Dian),published in 2o15,creates a poetic and distant place with an air of mystery.The most prominent feature of her cogitation on divinity in the novel is the depiction of a charming world where every being has a spirit and this is reflected in the transcendental mood of the language used in the novel.Together,these features constitute the unique aesthetic characteristics of the divinity narrative in Chi's novels.In her works,active construction and passive deconstruction appear simultaneously,and the contradiction displays her respect for and concern about reality.Nonetheless,the romantic and poetic flavor of literature arises out of the crevices of pain precisely at the point where secularity and fairy tales collide and when despair reaches toward hope.This is the charm of At the Peak.

"Fourth World," "Third Nature," and the Poetic Imagination of Eastern Ecological Wisdom: An Analysis of The Last Quarter of the Moon by Chi zijian

tIn her novel The Last Quarter of the Moon,Chi Zijian,while narrating the history of the extinction of the Evenki people,constructs a"spiritual time"that contends with linear time and the"Third Nature"filled with the universal love of humanity,creating a"Fourth World"where humanity and nature come together in a spirituality that goes beyond life and death.This represents a profound ecological consideration and offers enlightenment for the psychological crisis of contemporary times.With poetic language,Chi expresses her estimation of the course of human civilization and the contemporary crisis of spiritual ecology,thereby constructing the ecological wisdom of the Oriental peoples with poetic aesthetics and imagination.

Encountering Yourself in a Fairy-Tale World: Fairy Tale Narrative of Short Stories by Chi Zijian

The short stories written by Chi Zijian always breathe life into the daily trifles of ordinary people with hope and compassion,exploring a spiritual power that overcomes suffering and universal love beyond life and death.Through the mysterious connection between humanity and nature,her stories attempt to paint a landscape of the real world of interconnection and inter-transformation.It is essentially a form of fairy tale narrative.Consequently,the essence of"poetry"is achieved in the dialectical unity between childhood and maturity,lightness and weight,constituting a foundational dimension of the artistic spirit.

Re-Comment on Stories of"Custom History"——A Sampling Analysis of Chi Zijian's Stories

Chi Zijian's stories connect to the origin of her life's journey,which is the"Earth Spirit."Such a connection renders her stories characteristic of"custom history"by demonstrating how the writer reflects reality from her own perspectives,voice,and methods of narration.The narrative style adopted by Chi Zijian is different from that of other modern stories in which nature is allowed to take its course.Chi Zijian's short stories employ many"accidents"and"coincidences,"bringing the audience back to the storytellers'time of Chinese classical novels.From a writing perspective,a majority of Chi Zijian's stories are about lower-class society and are a custom history for the silent population in the north of China.

Chi Zijian's Novels from the Viewpoint of Ecological Aesthetics

Chi Zijian's novel The Last Quarter of the Moon(E'erguna He You'an)is an excellent historical novel themed around the life of the Evenki people.It depicts the important theme of"looking back at home"and reveals a yearning for"poetic dwelling"shared by many contemporary people who feel lost.The novel's unique perspective explores the"origin"of home and shows the close relationship between the lives of the Evenki people,the landscape,and their fate on the right bank of the Argun River.The unique grounds on which the novel stands can be found in its inquiry into the"uniqueness"of home,vividly describing the Evenki people's special living"place"and their unique approaches to birth,death,marriage,and funeral.In this recollection,the novel shows us the unique ecological beauty of Evenki homeland,including the feminine beauty of harmonious well-being found between people and nature,as well as the masculine beauty of the struggle that exists between humans and nature,which are both reflected in the"ecological sublimity"of the primitive religious ceremonies carried out by two generations of shamans fortribalbenefits.

女性视角下的“日常小史”——论《额尔古纳河右岸》的历史书写

《额尔古纳河右岸》聚焦女性的日常生活,建构了以女性为主体的“日常小史”。“日常小史”的叙述者“老女人”与现实原型的裂隙,折射出作者将女性、自然、少数民族折叠在日常生活话语中的写作意图。而“三位一体”的历史叙述具有多重视点和丰厚意蕴,使得历史的不同面相以日常生活为核心辐射开来,构成了对现代性的质疑和解构。但是这种解构只存在于文学虚构的思想文化层面,就现实境遇而言,三者的异质同构性还表现为边缘性的文化姿态以及注定融入主流、走向消亡的历史命运。

摆渡人与月光澡——迟子建《空色林澡屋》读札

迟子建2016年的中篇小说《空色林澡屋》讲述的是一则发生于神秘原始森林乌玛山区的神奇故事。“我”带领一支勘察小分队对休养生息后的森林进行实地勘察,山民关长河一路给我们当向导和护卫。在这段旅途中,还镶嵌着一个女人皂娘和神秘澡屋的传说。整篇小说充满了残忍的幸福、疼痛的温暖与破碎的美好,人性之光与人性幽暗之处共同勾勒出人性的多维景观。通过分析主人公皂娘的“大母神”形象,小说中月亮、澡盆、船等意象以及“真”与“假”的二元叙述话语来探究这部主题颇难索解的小说,以此来阐发迟子建创作的精神高度。

论迟子建的“孤独感”写作

阅读迟子建的作品,我们时常可以感知到一种挥之不去的孤独意识,它并非体现为鲁迅式“荷戟独彷徨”的孤独者形象,也有别于萧红式冷漠残忍的呼兰书写。迟子建笔下的字符蕴藏着温情式孤独,其产生伴随着必要的丧失。她突入社会生活的底部,于悖论处书写历史的断裂性,善借想象之羽翼达到“入乎其内,出乎其外”的效果,由此升华为迟子建的孤独美学,从而开辟了一条新的文学批评视野,为中国现当代文学的发展注入活力。

精神困境、人性救赎与叙事革新:论迟子建《烟火漫卷》的救赎书写

迟子建的《烟火漫卷》是一部深度挖掘人性与叩问灵魂的救赎作品。该作以个体的精神困境反映了道德滑坡、生态破坏与传统精神文明衰颓三个方面的问题,通过罪感人物的“自救”与“渡人”,提供了人性救赎与复归的可能。与迟子建以往的救赎作品相比,《烟火漫卷》在主题呈现、对话形式、叙事技巧和救赎方式等层面皆取得了叙事革新。这不但促使迟子建的救赎书写更臻于完善,而且该作也因此具有了里程碑式的意义,成为当代救赎文学不可或缺的范本。

论迟子建小说的东北叙事

从《北极村童话》到《额尔古纳河右岸》再到《烟火漫卷》,迟子建长久以来钟情于讲述东北的故事,从小人物的命运出发再现东北的历史,于文学世界中还原东北百年来的沧桑巨变。她讨论现实世界中社会发展的困境,以小说的形式揭开东北的真实样态。迟子建的小说是中国当代文学的独特存在,也是振兴东北不可缺少的文学力量。

论迟子建创作的文化视野及意义

迟子建的自然人文描写和其中的精神流动作为一种生活态度和精神信念,决定了她创作的现实主义精神实质和异域冲突的最基本叙述形态。自然人文与城市文明的书写是迟子建作品中最突出的亮点,并由此支撑起了她的精神想象,借此表达其对现代城市文明的思索以及对物质与精神、文明与道德之间悖论性发展的文化思索。迟子建创作中的多元文化叙述空间增强了作品的文化意蕴和思想深度,也精彩地呈现出作者以异域文化为参照的民族文化认同。

论迟子建《烟火漫卷》的多重“寻找”意蕴

迟子建的长篇小说《烟火漫卷》聚焦北方冰城哈尔滨,描写了形形色色的世态人生。作家以“寻找”为主题,表达了对人性温情的追寻、对城市生态和谐的探索、对城市文化底蕴的坚守、对女性意识的强调。

论迟子建的民族志书写理念

迟子建以其丰硕的创作实绩,成为中国当代文坛的优秀作家之一。她的文学文本与其他作家相比具有很大的差异性。之所以存在这种差异性,主要源于其独特的民族志书写理念。东北地域苍莽辽阔、多民族杂居的自然环境,以及文化遗风流传浸润的人文环境,共同铸成了迟子建的民族志书写理念——一种与东北古老而生生不息的自然崇拜精神血脉相连的、充满着“热度和力量”及“繁华奔流”的理性观念。她通过文学的手段对人类的生存进行形而上的本真意义的追求,突出地展示人类共同的心理困惑和精神危机,以期通过对人类历史命运和现实生存状态的描写,反映人类共同的文化问题。从这个层面而言,迟子建以民族志书写理念为指导的文学创作可视为其寻求文学活动对人类文明和人自身发展的意义而进行的尝试和努力。

作为“记忆之所”的哈尔滨——以迟子建笔下的城市书写为中心

在时代新潮的冲击下,城市文学再度成为热点话题。迟子建作为当代颇有影响力的城市书写者,致力于通过日常审美实践发掘哈尔滨空间表象下的城市精神脉搏,以此观照现代人的生存体验。借由地缘性社会文化的视野,迟子建构筑了一系列各具特质的哈尔滨城市地标,并将凝聚着个体生存体验和群体普遍认同的集体记忆嵌入其中,使之成为哈尔滨想象的原点,由此勘探宏观空间场域内部的微观肌理。作为“记忆的场所”的哈尔滨,与充满现代感的都市消费景观拉开距离,以更通达、灵性的城市精神承载着时代大变局中的文化记忆,进而成为理解中国社会现代化转型的一个重要切口。

回响于对话中的疗愈之声——论迟子建《喝汤的声音》中的对话关系

《喝汤的声音》是迟子建的新作,结合巴赫金对话理论对其进行分析解读,可挖掘出小说中的多重对话关系及深层内涵。作者在叙事空间上架构一组对话关系,指涉民间的历史容受力与无意识遗忘问题,再通过叙事主体的对话关系,建构个人与集体的身份认同通道,实现族群身份的强化和稳固,最后在虚与实的叙事策略对话中,为边缘性历史记忆赋权,重塑社会文化权力关系。

哀愁体验·空间想象·欲望言说——异域启示与迟子建小说创作

外国文学对迟子建的小说创作有直接的启示作用,其中以俄、日、法三国的影响为甚。迟子建的创作秉承俄罗斯文学强健的现实批判意识和生态伦理精神,在对人类生存世相的描摹中展露出哀愁与悲悯之意。迟子建的空间书写与日本文学有共通之处,借助传统的田园牧歌式的景象呈现来建构个人化的乌托邦世界。法国文学通过言说个体欲望以破除禁忌的创作立场丰富了迟子建对于人性的思考,她试图在灵与肉的二元对立中探寻新的平衡。整体而言,迟子建的小说创作立足于传统审美经验,对外国文学的接受体现出多元交融、和凝为一的特征。

一幅诠释生态美学思想的文学画卷——论迟子建《候鸟的勇敢》

20世纪90年代,当对工业文明反思和超越的“生态文明”时代到来时,中国学者在中西美学思想的基础上提出、构建了新的研究空间———生态美学。生态美学研究人与自然和谐共生,思考人之生态本性的建构,探讨人诗意栖居的存在状态。正当生态美学思想从哲学到生态学再到美学层层推进研究之时,当代作家迟子建悉心创作了长篇小说《候鸟的勇敢》,该书从自然生态维度的审美书写、人物形象的生态本性建构、独特的生态空间构建和生态人文主义精神的传达四个维度,以生动的文学画境具体诠释了当代生态美学的思想,为读者带来一场穿行于文学画卷和美学思想之间的阅读盛宴。