The Research On The Suffering Aestheticization In Reflective Literature Of 1980s

This paper analyzes the misery narration in reflective literature in the early 1980s from a new perspective of the suffering aestheticization, by drawing on achievements of the study on misery narration in contemporary literatures, particularly in reflective literature. Proceeding from the premise of historical generation of narrative subject, era thought and cultural environment, it attempts to reveal the esthetic transformation mechanism of the misery narration in reflective literature, which acts on the physical and mental tribulation encountered by the two major subjects of intellectuals and peasants in narrative behaviors in the way of text re-read, and define the significance of literary history and rethink the literature ontology via combining the reception and reflection of readers after a work's forming.The three parts included in this paper concentrate on the research of the suffering aestheticization in reflective literature. The first part:Experience and Witness--Genesis of the Misery Narration. Subjects of the misery narration in reflective literature mainly are intellectuals, who were persecuted in the 1950s "Anti-Rightist Movement" and abandoned to the bottom of life, such as Wang Meng, Zhang Xianliang, Cong Weixi, Gao Xiaosheng, and etc. After returning to the literal world in the late 1970s, they chose literary creations to chronicle the ordeal a generation had experienced. Generally, creative themes fall into two categories:intellectuals and peasants. Introspection literatures reflect the 50s that is earlier than the 10-year Cultural Revolution, even the age of democratic revolution, and they have a more profound depth than scar literatures in terms of the exploration on history and social criticism. The second part:Distance and Transcendence--Esthetic Transformation of Misery Experience. There are many artistic expressions of intellectuals'self-spiritual coronation in introspection literatures. Patriotism and loyalty become personality characteristics of tragic protagonists, and are used to render the sense of sublime, which is a kind of self-humanity distillation afterwards. Due to the distance of utterance narration, traumatic memories of tragic protagonists are transformed into the rumination on existent sufferings in literature descriptions, and as the starvation of physical sufferings are depicted with a meaning of contemplation, which enables hunger aesthetics to be a great landscape in new period literatures. Literary works such as the Afforestation Tree of Zhang Xianliang all display the spirit dance in purgatory when performing hunger experiences, which indicates that the misery narration has come to the edge of life philosophy. The third part:Deviation and Returen--Periodic Meaning of Suffering aestheticization. The biggest difference between introspection literatures writing sufferings and revolutionary literature advocating collectivism is that the description of introspection literatures tends to focus on individual lives; pours sympathy into the misfortune of individuals; corresponds to the ethos of humanitarianism in the new enlightenment era. When dealing with the relationship between literature and living, the transformation from reflection of ideogenetic objective life to specific inner life of individual implements a gorgeous turnaround of narrative literatures. In fact, the relationship between "how to write" and "what to write" has been already adjusted since the beginning of introspection literatures. Therefore, the misery narration in introspection literatures possesses perceptiveness.The key of the suffering aestheticization research is not on cognitive function of literary, but rather about how to produce cognitive function by esthetic function. It has solved several issues on introspection literature study, such as whether creative consciousness of the author's individually different resorting creation is complied with mainstream value in overall literary trend of the age; How is individual survival experience of the writer limited by overall thought atmosphere of the age, abduction of literary criticism, and pressure from public acceptance in artistic expression; What is the opinion of researcher on different academic choices of literary typology, and whether it is possible to achieve value judgment in artistic analysis; Whether ideological resources and literature experiences of 1980s could realize energy transformation and so on, under social ideology condition of the new age and the relationship with literary narrative.