Transformations And Genesises Of Tsao Yu’s Dramas In Contemporary

From "Thunderstorm", "Sunrise", "Wilderness", "Peking Man" in the stage of modern literature to "Bright Skies", "Courage and the Sword", "Wang Zhaojun" in contemporary, Tsao Yu’s dramas transformed a lot. The author began to pay more attentions to works’ political stands, theme meanings and class viewpoints, while abandoned his own individual writing which was out of heart, also shelved for following characters’ logical nature and refining the contradictory of real life.The transformations of Tsao Yu’s dramas in contemporary came from social-political factors and writer’s own factors. Therefore, on the basis of studying Tsao Yu’s dramas’ transformations in contemporary, this paper will further investigate the genesises behind of that, so as to make a review. Meanwhile, this paper hopes to unearth all of the modern Chinese writers’ situation in contemporary.Introduction part mainly introduces the research status of Tsao Yu’s dramas’ transformations in contemporary, then makes a reflection from the writer’s psychology, time bound and evaluation according to the former. Meanwhile, this part will briefly introduce the ideas and methods like literary sociology and individual science in this paper.The first chapter describes Tsao Yu’s political choices and transformations of dramas in contemporary, because the latter was closely associated with the former. Tsao Yu’s social activities in contemporary reflects his political choices, which include becoming a political "insider" from "outsider", criticizing and self-criticizing based on "people’s position" as well as "surrendering to the truth". These political choices made Tsao Yu pay more attentions to the correct of works’ political stands, theme meanings and class viewpoints.The second chapter is mainly to explore the external impetus from social-political level. Communists’ moving, Mao language’s inspiration and literature’s institutionalizing are one thing; effects of political ideology like "praise", "distinct" and "instrument" are another thing.The third chapter focuses on Tsao Yu’s own factors to explore the internal motivations of his transformations. Mood’s transformations in family and nation, "revolution" as well as tastes of aesthetic standard are one thing; effects of psychology and character like sincere while naive, timid and cautious as well as soul’s depression are another thing.The last chapter is the evaluation of Tsao Yu’s dramas’transformations in contemporary. This chapter will make a review of Tsao Yu’s dramas’transformations in contemporary from the change of art’s evaluation system and Chinese intellectuals’ confident and persistent to "modernity", rather than to make a good and bad judgment of Tsao Yu’s contemporary works by "literary" or "political" measures. Only when we sort out the complex process of knowledge production and intellectuals’psychological mechanism, we may exceed to theoretical supposition and to identify the real key of Tsao Yu’s dramas’transformation in contemporary, also to identify the real crux of history.