Revolutionary Era Mirror

An important composition of contemporary novel is the narratives about revolution. The same revolutionary story and history scene may produce very different revolutionary image in different age of telling story. So the narratives about revolution implied the history of conflicts between discourses and reflected the process of a kind of discourse altering, inhibiting and repelling another kind of discourse. This process also reflected the evolution of the aesthetic modality, narrative standpoint and history consciousness of literature.This dissertation is divided into five parts, whose content can briefly recited as following:Chapter one mainly discusses the change of revolutionary narrative that is determined by the variance of culture context. Revolutionary narrative in literature integral age is intentioned to establish the history of national origin, mold citizen's personality of that age and respond to realistic political ideological struggle and some anxieties of national modernization, which is a collective narration of national discourse in essence. After entering into the New Era, because of the improvement of relationship between politics and literature, emergence of enlightening thoughts, entering of the external Modern /Post- Modern ideological thoughts and the public culture-consuming demands in the condition of market economy, not only the grand narrative has changed, but also appeared deconstruct-revolution narrative and commercial revolutionary narrative to attract the public appreciation interests.Chapter two mainly discusses the revolutionary narrative that has been dominated by political discourse for seventeen-years. In the era of literature subjected to politics, the review about revolutionary narrative could not be independent of hero type, revolutionary history, the epic and the legend etc. This chapter gives consideration to these topics, mainly discusses revolutionary family and female, revolutionary narrative altering individual narrative, revolutionary narrative presenting characteristic of mythical thought and some rejected and inhibited narrative. Which reflects the culture aesthetic characteristic in the age of political controlling revolutionary narrative.Chapter three mainly discusses the revolutionary grand narrative after entering into the New Era. This kind of narrative aims at patching up and expanding the people' s revolutionary history memory through widening history view and realistic-approach history consciousness, all of which are in the standpoint of nation and people. At the same time, it also takes into account the intellectual view and the appreciation need ofthe masses that is primarily embodied in excavating history true facts, expanding revolutionary history boundary, enriching the normal human feelings in revolution and mixing with plural aesthetic interests.Chapter four mainly discusses deconstructive revolutionary narrative since 1980s and 1990's. Narrating revolution means choosing discourses. When the traditional revolutionary discourse was deconstructed, edge revolutionary discourse emerged. Sacred class heroes have become the common people even incarnations of vicious desire. The revolutionary dynamics about nation and class liberation were rewritten to the dynamics of the personal selfish desires. The warm revolutionary family became the enemies of revolution and the politic relationship in revolution, clan and country also were rewritten.Chapter five mainly dissertates commercial-consuming revolutionary narrative since 1990s. In this chapter, narrating revolution has become a landscape of consummating history and politics. Recalling revolution appears to have some kinds of custom appreciation psychology. Revolutionary stories of the father generation have become an act of personality comedy and romantic love-feeling play. The parody and rewriting about revolutionary classic made the revolution become a stage on which the sensual desire was presented; the revolutionary heroes in the collective memory have become incarnations of the sensu...