| This thesis is divided into seven chapters which is to be discussed:The first chapter:It is usually thought that a theme is a stable part of the meaning of the literature work, which occupies the predominating position. But different from topic, subject matter, content, meaning and motive, it always emerges with all forms, plenty of perceptual characteristics and aesthetical meanings and is the topmost epitome of the connotation that is showed by the whole of the form and the content of a literature work. It usually arises with a set of images, motif, stereotype, character, mode of structure etc.Just as what Prusek's criticism had pointed out, the Chinese classical literature is highly-standardized not only in the form, but also in the literary theme, which results in the scarcity of Chinese poem's individual creative idea to such an odd extent. Chinese modern literature's rebellion from the Chinese classical literature is an all-sided reform in the face of the shortcomings of this traditional theme system. In order to construct the literary world of culture connecting the society, the readers and the new culture with the literature, the authors must start with the coalescent part that unites the content with the form. This was just what the new theme system needed to do. The general literary theme of 20th century is centered by the motif-theme structure of modern city and rural China. It has super organic connotation, luxuriant images and symbolic colors, commanding innumerable literary connotation of Chinese people. In 40's. these two became the most frequent literary center images and jumping-off point of composition. Around this core of imaging and text constructing appeared communities of literary themes about different subjects. From this the point, the 40's is a big colliding time of the city-country theme. All the spirit crystal about it were churning together and all the writers employed all kinds of styles and aesthetical imaginations.The second chapter:In the 40's, the big social alteration caused by wars and other factors deeply influenced the literature situation. As a result of the changed relation between cities and countries, people's feeling of cities changed much. In the motif-theme structure of modern city and rural China, the status of country heightened a lot. This altered the status of city, too, which had been looked as the modern literature's supreme headquarters and the new literature's cradle. Under these circumstances, the rural nature of China-type city were protruding, which led up to the strongly moralistic point of view and the scanning vision towards dissidents, when they looked back to the city. The country theme now took her place before the city with a preponderant moralistic pose. City theme and its accomplices of intellectuals, in some ironical writings, fell into historical comedic fate.The third chapter:The system of the literary themes of the 40's drew close towards the trend of collectivism that were centered by nation consciousness and class consciousness. And popularity, popularization became the goal of the time, thereby adapted to the impact on literature writing brought by the circumstances of the war. Comparing to the reeking city atmosphere of the 30's, the 40's is actually a time of country. To the writers of the liberated area, the writers of left-wing and the writers of democracy, the relation of the country and city as the conception of the symbol of the culture, began to become flexible, not unchain, but be joined with a variety of theme connotations and the nature of them as independent indications transformed. Looking from the mode of creation of literary theme, it is the special approach of gaining the qualification of approaching the system of literary themes by the liberated area, the special political area of the 40's, that drawing on the original nutrition of rural culture and melting it into the construction of the idealized political literature.The fourth chapter:Under the intertexture of the regional politics and the local... |