Liu Qingbang, one of representative writers of Chinese contemporary short stories, has paid constant attention to the living state of the grassroot class in Chinese society. With an adamant humanistic concern, Liu has devoted to the projection of the destiny of the underclass.This essay will, with numerous countrywomen characters he created as clues and close reading as approach, explore, in combination of his creation concept, Liu’s construction of humanistic ideal and pursuit of aesthetic value.This essay is divided into three chapters. In Chapter One, an analysis is involved on the value and connotation of the countrywomen characters based on the narrative origin of Liu: Basically, two types of female characters contrast in Liu’s works----the fairy one living beyond the reality, and the fallen one trapped within reality. Spiritually exhausted by the impetuous and roaring urban life, Liu was in urgent need of a mental habitat, a land he later found, along consolation and hope, in the recollection and imagination on his ideal homeland. However, instead of resting on his under-built ideal homeland, Liu, as a writer with conscience and moral integrity, has also borne on mind the bleak reality confronted by increasing female immigrant workers, the prototype of the fallen one which turned into being under his strong pen. In Chapter Two, it provides a resorting and explication with another tone on Liu’s female characters in light of the origin text: three types are resorted, namely, the chaste rural lass, the lost urban women and the industrious mothers. Besides, this part also involves a paraphrase to unveil the unspoken and hidden plots in Liu’s works, and an invitation to learn the living state and destiny of Chinese contemporary rural female. In Chapter Three, an elaboration will, approaching from Liu’s outstanding narrative arts, be addressed on the magic of Liu’s interchanging narrative persons, delicate details, and literature-oriented folk language. Lastly, the Conclusion Part briefs on the merits and demerits in Liu’s work and his significance of contemporary literature. |