Illuminating A Small Corner In The Great Era

Ru Zhijuan is an important writer in Chinese contemporary literature world.She spent the old and new eras,and had a deep understanding of families in different contexts.She has experienced incomplete native family,warm revolutionary family,worker or peasant and soldier families that intervened due to work needs,and personal small families involved in political movements.The special life track made the writer feel deeply about the family,and most of her novels were based on family trivia and sexual love or warm feelings among family members.Therefore,taking "family" as a clue and cognitive framework,and cross-referencing the writer’s family memory and the family picture in her novels.Observing family-writing content and the track of the writer’s creative transition in two stages before and after.And clarifying the writer’s outlook on life,revolution and creation,re-examine the contemporary issues raised constantly by writer using "family" as the latitude and longitude.The first chapter: From "Family" to "Family in Literature".Exploring the ways in which Ru Zhijuan’s private experience and family memory intervened in the novel.Revealing the psychological motivation and external environment of the writer who chosen the "family" field,namely the original family trauma and the policy of "Deep into life".In the twist between the real and the fiction,the author’s creation not only reflects the history of family and country changes,but also provides a model for "seventeen-year literature" with different tone and style,in the process of being misplaced with the times to fit the times.At the same time,Ru Zhijuan’s novels also shook with the narrative of traumatic literature in the new era.The second chapter: "Publicizing and Fissures of the Same Structure of Family and Country".This part aims to interpret the revolutionary family picture constructed by Ru Zhijuan in the context of "seventeen years".From a revolutionary standpoint,Ru Zhijuan used the family metaphor of "party father" and "widow and orphan" to integrate personal small family and China,and promoted the view of the same structure of family and country,which based on the principle of contemplating for personal interests and valuing national interests.At the same time,she presented the contradictions between mother and daughter,husband and wife,and concubines,which are obscured by the concept of the structure of family and country,with the natural emotional appeal of women.This highlights the conflicts and rifts between the family of blood groups and the country of political entities.Between the publicity and the rift,Ru Zhijuan’s novels show the paradox of the existence of new Chinese families.The construction of a harmonious family also destroys the inherent reasonable feelings of the family.And at the same time,this brought the anxiety of imbalance between the family and the country,which is difficult for Chinese housewife who have struggled to fight for the ownership and sovereignty of the country.The third Chapter: "Family Reconstruction in the Perspective of Trauma".This chapter explains the family landscape that Ru Zhijuan conceived after returning to the literary world in the new era.And compared with her previous creations,this part discusses the writer’s perspective changes about creation and history,family ethics and family-state relations,before and after the "revolution".The homogeneity of family and country is the consistent value basis of writers,and the traumatic tone is the variation.Based on the marriage law of the 1980 s,the writer opened up a space for marriage and love narratives in his own writing subject matter,touching the distress and depression of two generations of the family.Not only that,the writer also payed attention to the distorted family feelings and lack of morality embodied in the youths who grew up in the "Cultural Revolution" stage.And Ru Zhijuan examined the younger generation who succeeded.