Xinjiang Landscape Writing In Wen Jie's Poetry

Wen Jie's Xinjiang poetry is represented by the short poetry collections "Tianshan Pastoral" and the long narrative poem "The Flame of Vengeance".These two works are the response of the literary practice to the historical appeal of the socialist transformation and construction of "newness" in the early days of the founding of the People's Republic of China.How the ethnic minorities' and regional differences indicated by the "Xinjiang" borderland are integrated with the " collectivity" of the national socialist,it is a complicated issue.This article cuts into this topic from the perspective of “landscape” and examines how the landscape writing in Wen Jie's Xinjiang poetry integrates the “landscape”of ethnic minorities in Xinjiang and “socialist landscape”.Wen Jie re-forms the natural appearance of Xinjiang in the context of socialism.The socialist landscape seen by " people with class nature" is a landscape of collective consciousness.And the change of the way of viewing determines that socialist Xinjiang is a beautiful and harmonious new Xinjiang;and the change of its natural appearance is ultimately the change of "second nature.",because the core factor in the natural landscape is people and the activities of people.Wen Jie's writing of the “landscape” of ethnic minorities in Xinjiang is generalized and obscured,and mainly written around the elements of“grassland”,“flock”,“shepherd” and “singing”,while the specific differences in appearance,religion,cultural practices etc.of ethnic minorities are less described.In this way,the image of beautiful Xinjiang is constructed.This image is very different from the image of Xinjiang in ancient and Republican period.It can be seen that the new Xinjiang landscape written by Wen Jie has its specific historical and realistic Context.This article answers how Wen Jie's poetry integrates the differences of ethnic minorities in Xinjiang and the "collectivity" of national socialism.From the perspective of the shaping of socialist landscape,Wen Jie's "Tianshan Pastoral" describes the landscape of ethnic minorities in Xinjiang.And it deliberately neglects the part of ethnic differences that may show national and religious contradictions.And only show its beautiful side,and then put the Xinjiang minority people into socialist practice.Finally it completes the integration of natural appearance.From the perspective of socialist historical construction,Wen Jie used the "Flame of Vengeance" to complete the "demonstration of revolutionary history legitimacy" of Xinjiang's ethnic minorities,and transfer ethnic and religious contradictions to class contradictions,thereby eliminates ethnic differences.Then it achieves the "identity" of historical action.In short,Wen Jie transforms the minority differences which the categories suggest the complex ethnic and religious contradictions into the aesthetic category of "Xinjiang's ethniccharacteristics",thus avoiding the underlying contradiction between the former and the construction of national socialist collective landscape.And as a result it completes the dialectical unity of specificity and universality.However,in text,the blunt discourse construction manifest as the politicization and conceptualization of the works at that time,which shows the difficulty of constructing new discourse in the early stage of socialism.