Hovering In The Dark And Clear State

"Modernity" is a topic that has been heatedly debated in the circle of Chinese contemporary literature in recent years. The preface of the thesis systematically analyzes the dynamics of the theory of "modernity", compares the difference between the origins of modernity in Chinese and western culture and discusses theb impact that modernity has on the development of Chinese contemporary literature. The "aesthetic modernity" in Chinese contemporary literature, which has not aroused enough attention by Chinese and foreign researchers, will help us appreciate the mystery of the eternity of the great works and understand the cultural standpoint of the writer and its influence on the writer, pushing forward the transformation of research of the 20th century Chinese literature.Cao Yu was one of the few writers dedicated to the exploration of "modernity" in the history of Chinese contemporary literature. "Modernity" was the focus of the playbooks during his early years, in which he ceaselessly pursued the meaning of existence and illustrated the conflicts between . culture and individual, instinct and volition, ideal and reality at the bottom of modern people's soul, reflecting the writer's profound insight on life. Anti-tradition was the basic cultural standpoint of Cao Yu's earlier works, which constituted the entire linguistic context of those works. What Cao Yu insisted on was an aesthetic value beyond politics and morality, in which he pursued the formality of works while sticking to the independence of art, pioneered the exploration in the stage play without reservation, helped Chinese stage play complete the initial phase of development in a short period, hence promoted the modernization of Chinese stage play.However, Cao Yu failed to carry his radical anti-tradition standpoint to the end. In July 1937, puzzled by the influence from the country, his family and personal emotion, Cao Yu began to change his anti-tradition standpoint to traditional standpoint, resulting in the transformation of aesthetic value. In tragedies, the focus shifted from the description of tragic fate of people to that of the country and nation, with the benefit of the state becoming the sovereign value principle of that period. In the portrait of females, the tribute paid to modern females was replaced by admiration for classical ones. Meanwhile, the writer's anti-tradition standpoint started to waver, while the puzzlement from the two aspects of sense and sensibility was truthfully reflected in Beijing People.Since 1949, along with the change of world outlook, Cao Yu's writing motive, objective and even his approach have been transformed again. The writer forsook his originally most valued standing point as an intellectual, and became a litterateur to illustrate policy and follow strictly the wills of higher-level leaders. His dramaticpattern undertook drastic changes in terms of its nature correspondingly: Therefore, subject was given first priority, resulting in insubstantial characters, insipid arts and the loss of bis original overwhelming artistic attractiveness.The transformation of Cao Yii's writing approach is the representation of "literate survival model" instead of a unique case for himself. The cause of this particular model can hardly be attributed to the pressure of political environment, or simply the personality of the writer. As a matter of fact, the starting point of "anti-tradition" of Chinese writers stems from their "traditional" views of value, and therefore endows their "anti-tradition" a traditional nature. Traditional views of value (comprising views of life value and literature value) determine that writers return to their "traditional nature" gradually from the superficial manifestation of "anti-tradition", which shall be recognized as the determinant reason for modern Chinese writers' transformation as a group.