Title” class=”text-big-title”>a dying “country”
Although as a derogatory “popular novelist”, Eileen Chang knows better than many “serious writers”: art is not a pursuit of truth and truth, but only a mirror image of the soul; Remembrance is not the resurrection of the old world, but the collage and integration of the cultural representations of the old world. The moment of art is just a rare moment of “sorrowful eyesight” in the chaotic reality.
The narrative style of Zhang Ailing’s novels is acting as such a “remembrance”, as an act of entrusting the past to the future in the remembrance; leisurely sinking in “Dream of Red Mansions”, “Jin Ping Mei” and Pearl Buck’s “China” Between the narrative discourse of the novel, there is the narrative flow between the feudal civilization fragmentation and the semi-feudal and semi-colonial China’s fashionable, “not very healthy” but “singular wisdom” fringe narrative. She knows that in culture there is only the appearance of a woman, not the real body of a woman. But she did not shout or protest. Because not only a woman, everything to her is just a world in a mirror – floating, shining, lifelike, but at any time due to the last rays of sunlight, or the shadow of a huge black shadow in the backlight, forever The ground went dark and disappeared into a long black hole.
In the selection of “60 Chinese Century Literature”, Zhang Ailing ranked second, second only to Lu Xun. Countless contemporary female writers regard her as the grandmother.
Zhang Ailing’s world is a dying country, full of the breath of death. But this is not a fresh smell of rotting corpses, but the powdering of a dry corpse, a kind of erratic smoky agarwood crumbs if there is nothing. The kingdom of death is not full of death-like paleness, but full of colorful colors. The stagnant and heavy colors suspend the narrative space of the novel in an radiant color. Because “China’s tragedy is noisy and ostentatious”; because “the sorrow in Peking Opera has a clear and fiery color.” (son), and “impose all kinds of top-secret spiritual Abuse”. Because that is the only way and way for her to avenge the patriarchal society.
Stills from the movie “The First Incense” directed by Xu Anhua
Like Su Qing, Zhang Ailing also borrowed from the patriarchal society’s “authoritative mother’s discourse”. The difference is that Su Qing borrowed the words of motherhood and maternal love in the 19th century, while Zhang Ailing borrowed from the 20th century. , Psychoanalysis the words of the demon mother in this article. In Zhang Ailing’s narrative, the ideal mother only exists in the imagination, which is only the dream of the daughters. At the moment when the devil is dead, she “thinks she’s pillowing her mother’s knees” and “whispering” she yells: “Mom, Mom, your old man is in charge of me! However, she will understand almost immediately : “The mother she prayed for and the real mother were basically two people. ”(“Love in the Fallen City”) That is just a phantom “at the window” in the dream, an old one on a faded album The photo before marriage. This is love, an illusory love, the pursuit of the “former Oedipus mother” in the Freudian sense. In the photo, the woman is not so much a mother as She is a daughter. If Eileen Chang’s only story is to escape, then the dream of escape and escape is her daughter’s privilege.
As the structure and rules of a patriarchal society, it seems that only a daughter can escape the country of death through intermarriage with a heterogeneous man. So she can hope that she can struggle to bet herself in the gambling of life. However, the only one who can escape in this way is “Love in the Fallen City”. Because in the category of Levi Strauss, exchange one