| From leaving the feudal patriarchal family in the 1930 s to returning to her grandfather and hometown Hulan River in the 1940 s,"home" has become an important path for scholars to enter Xiao Hong’s texts.With the changes of the context of the times,the writing of "family" and "hometown" in Xiao Hong’s creations may be criticized by critics of the same period as writing out of the times,or by researchers in the 1980 s and beyond as personal and aesthetic writing.However,these studies share the same set of evaluation criteria,that is,based on the "national-state" and "revolutionary narrative",Xiao Hong’s creations are placed on the edge of the mainstream of the "national".In these literary studies on Xiao Hong’s writing of "home",the experience of "country" has always been in an absent position.However,the more tension between "home" and "country" in Xiao Hong’s creations has not been fully summoned.Based on this,at the level of methodology,this article attempts to clarify the extension of the concept of "home" in Xiao Hong’s texts(traditional feudal families,the bourgeois family,native land,etc.),and restore their theoretical references and historical significance.What’s more,the article tries to break the previous research paradigm of de-historicization,and study the writings of "home" in the complex context of China in the early 20 th century,and the multiple propositions related to it.This article tries to discover the organic connection between the expression of "home" in Xiao Hong’s works and more "national" experiences,and released the tension between the two from the historical surface and the inherent history of Xiao Hong’s acceptance.Finally,this article attempts to re-examine the historical significance of Xiao Hong’s creations.The first chapter of the main part of this article explains Xiao Hong’s fear of feudal families and her disappointment with the bourgeois family under the thought of the May 4th Movement,and reveals the demands of imitating and transcending 19th-century European thoughts by China in the early 20 th century.Xiao Hong,who suffered a lot in the family field,eventually devoted herself to the idealized grandfather-grandchild structure and family complex,but she was also criticized in the 1940 s and 1950 s.The second chapter tries to salvage Xiao Hong’s writings from the marginal position of "revolution" and "war of resistance".By bridging the gaps in Xiao Hong’s early and late writings,it proves that Xiao Hong’s writing of "family-state conflict" during the period of War of Resistance against Japan is not a synonymous reference to self-loneliness in real life.On the contrary,"family" itself constitutes a literary form of Xiao Hong’s intervention in the ethics of the War of Resistance against Japan.In this way,Xiao Hong completed her thinking on the proposition of "reconstruction of family and country".The third chapter attempts to discover Xiao Hong’s keen insight into the geopolitics of imperialism in 20 th century and the capitalist world order,and discusses the uniqueness and transcendence of Xiao Hong’s "writing of returning hometown" produced by her feelings of returning home in the modern colonial context of imperialism in the 20 th century.By re-examining Xiao Hong’s creations in the period of May 4th Movement,War of Resistance against Japan,and colonial contexts,this article attempts to show that the expression of "home" in Xiao Hong’s works and the experiences of "country" are not separate.What’s more,Xiao Hong completed her thinking about the times in a very tense way.And the resulting problem consciousness constitutes an organic echoing relationship with the multiple issues facing China in the early 20 th century. |
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