| Taking the urban writing of puppet manchukuo literature(1932-1945)as the research object,this paper attempts to put forward the concept of "thwarting the fable of modernity",and treats it as a through-going perspective to examine the miscellaneous texts,as well as a general theme to examine the ways in which the works of relevant writers interrupt or escape from the fable of modernity(a kind of modern ordering of story-world-existence).In the context of "literature","frustration fables" of modernity has its specific point,namely digestion or deviating from the Japanese colonists to impose the northeastern city of a positive form of modernity(active form)-colonists on the run through this form of regulation,make the urban utopia(the city of the future,the city of the opportunities," paradise of kingly way ",etc.)is generated.And its defeat itself undoubtedly has the significance of decolonization.Centering on the topic of " thwarting the fable of modernity",this paper is divided into six parts except introduction and conclusion:Chapter one is the definition of " thwarting the fable of modernity ",and expounds the basic meaning,political significance and historical basis of this core concept.First of all,to clarify the basic meaning of the concept,"thwarting the fable of modernity" refers to the allegorical ordering that interrupts,deviates,deconstructs or overcomes/escapes modernity.It is a methodological perspective to observe the object of this study : to establish a channel of communication between text and history,and to examine the way in which the author’s works thwart the fable of modernity.Secondly,it reveals the political significance of the concept : first,it interferes with the logic of "police";The second is the significance of "decolonization" in the context of colonial society and history.Finally,it illustrates the historical basis of the concept,which begins with the following specific historical content:the presentation and frustration of urban modernity in the puppet Manchukuo.Chapter two investigates the "picture of the divided city " revealed by the literature of the puppet Manchukuo.First of all,the definition of "divided city" is clarified,that is,urban social division and its spatial manifestation(spatial isolation and spatial polarization).In addition,through the discussion of Franz Fanon’s discussion of the divisive form of colonial cities,this concept is re-understood in the context of colonialism criticism,which serves as the theoretical and historical starting point for the subsequent text analysis.Secondly,it analyzes the divided street images in the puppet Manchukuo literature,including "bifurcated city road","exclusion and conflict in the street" and "dark narrow street picture".By depicting the images of divided streets,the authors point out to the readers the various points and lines of division in the space of "unity","uniformity","sharing" and "harmony",and show how the social distance between the rich and the poor can be transformed into spatial isolation.Finally,it examines the urban "underground" world image in related works,indicating that it is the "heart of darkness" of the slum’s imagination.The authors depict the image of the "underground" world with the contrast of parallel spaces and the irony of "being-in ",which further highlights the isolation and polarization of urban space.Chapter three discusses the "contradictory smell landscape" in related works.The writers of the Puppet Manchukuo are not only visual travelers in the urban space,but also olfactory wanderers and "olfactory detectives".In this way,their urban writing can touch on the irrational,marginalized,invisible,misplaced and leaky parts of the city.First of all,"urban flavor" not only represents urban modernity,but also indicates that the smell is out of control,which is the embodiment of frustrating the "pure dream" of modernity.Secondly,while highlighting the urban atmosphere and representing the modern order,the aroma of "modern" is often associated with dislocation,flesh,sexual desire and moral indulgence.Therefore,"modern taste" has a strange aspect: it indicates order,but also brings out of control;Both the taming of scent and the frustration of reason;Both suppress body odor and stimulate body odor;It betrays nature and makes public animal passion.Finally,these works reveal to us the division and oppression of smell: smell creates a hierarchical division between "sanitary" and "unsanitary";The odor eliminated by urban space does not disappear completely,but shifts part of it to other places,which are borne by the city/modernity others.Chapter four takes The novel Harbin of Jue Qing as the object of investigation and discusses the "dizzy city" revealed by it.The description of the city in Harbin is mixed and contradictory: it is a "screen/cover" of the reality of the colonial city,meaning that it forms a "screen display"(development)and also a "cover".On the one hand,due to the control of culture,the urban map that reveals the source of urban crisis and the real contradiction relationship is(partially)hidden in the novel,forming an unintentional collusion with the rhetoric of "new Manchuria" or contributing to the presentation of the modern imagination of "Manchukuo".On the other hand,the novel’s multiple "urban vertigo" mocks the promise of order in " paradise of kingly way " and dispels the modern myth of "Manchukuo".The logic of modern allegory(organic narration)is doomed to be paralyzed in the paralyzed characters and fall into crisis in the action crisis of characters.Chapter five analyzes the "Abandoned capital and doomsday imagination" in related works.When "the pursuit of modernity" dominated everything,the manchus experienced "the fall of modernity".Their urban writing shows the decadence of all levels:the decadence of glitzy uptown life and the decadence of shabby underground world.As such,they bring the bleak revelation of "new ruins" : refusing to "predict" the arrival of the new world,the new world is only the new ruins.This is a picture of the barbarism of the modern/colonial metropolis.The destruction of the abandoned capital in their writing is not an exception of the "paradise of kingly way ",but an inevitable convention.Although they could not grasp the historical hub as MAO Dun did,so as to explore the possible path of urban rebirth,they also repeatedly exposed the conventional crisis in this " paradise ".Chapter six discusses the elements of "ghosts" in the urban writing of puppet manchukuo literature.In the context of this paper,"ghost" is a combination of "ghost" and "monster",which have overlapping and different theoretical context.This part follows the discussion of "ghost" and "strange" to demonstrate the "ghost" of the city in related works.In the urban imagination of the writers of the Puppet Manchukuo,there are not only ghosts and ghosts,but also monsters out of control and fierce monsters.Ghost elements are everywhere in the city,which not only indicates the absence of urban justice,but also reflects people’s deep fear and anxiety when facing the city.First of all,the puppet manchukuo literature in the city is a "ghost city",and "ghost" is a metaphor for the city of the other,"haunted" is the "haunted" : he is in the form of ghosts/spirits(secretiveness,fearful and invasive)infested cities,interrupt city "normality",real life threatening urban daily order.Secondly,the city in the related works is a "monster city",that is,in the overall image and structure form of "monster"--the abnormal characteristics of suture,patchwork and hybridity.Finally,the cities in the related works have the "modern monster" that represents the violence of modernity,which not only engulfs the urban residents,but also erodes the local world,bringing it an endless turbulent historical fate. |
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