An Analysis of Reception Aesthetics in The ordained

Any literary work is a potential text and has a calling structure with uncertain meaning. Reading and understanding literary works need to start a dialogue between the summoning structure of works and readers' reading expectations. Wang Zengqi's novel The Ring is a masterpiece under the influence of reception aesthetics. Studying its text content and literature and art can fully prove that readers' acceptance of the text is a process of recreating the meaning of the text and realizing the meaning of the text.

Summoning structure; Looking forward to vision; Water town; Poetic novels; dream

I. Call and Expectation

The real existence of literary works only exists in the process of its presentation, and only exists in the perfect performance of the works through the re-creation or reproduction of readers.

"There are two levels of literary works, which we can call artistic pole and aesthetic pole: artistic pole is the text of the work, and aesthetic pole is the reader's realization of this text." [1]27 From the perspective of reception aesthetics, the core of the reading process of every literary work should occur in the interaction between the calling structure of the work and the reader's reading expectation. The actual position of the work exists between the text and the reader, who puts himself in the historical horizon of the text, and in the process of reading and understanding, starts a dialogue and integration with the literary text by virtue of his own ideological concept, moral sentiment, aesthetic taste, acceptance ability and other expectations. Therefore, the process of readers accepting the text is the process of recreating the meaning of the text and the process of realizing the meaning of the text.

The meaning of the work is excavated from the text by readers in the process of reading. Before the work is read and understood, the work is only a potential text with considerable blank and uncertainty, which constitutes the calling structure of the work. Only in the specific activities of readers' reading can these gaps and unfixed points be supplemented and improved, and the meaning of the works can be generated.

Literary works reflect the life world. "The life world is always the same world, including the existence of others." [2]252 This is an existing world, a meaningful world created by writers in the real and infinite historical world. In this world, the existence of human life has become one of the basic facts, and the historicity of literature appears at the diachronic intersection. Its past and its future become inseparable structural factors, and all the worlds unify to establish the meaning of the work in the field of literary expectation, memory and expectation.

The so-called horizon of expectation is a kind of cognitive structure and expectation cognition formed by many factors, such as subject and object, history and present, self and others, before readers enter reading acceptance. This is the reader's anticipation and expectation of the work, and it is the expression of the appreciation level and acceptance requirements of literary works formed by the reader's original interest, experience, accomplishment and ideal in specific reading. Therefore, it is the basis of literary acceptance activities, which often determines or affects the direction, level, level and effect of readers' acceptance, so it can also be called pre-reading comprehension.

Wang Zengqi is a writer who noticed the subjectivity and openness of novels very early. From the 1940s, he emphasized that the novel "needs enough space for readers to express themselves calmly" [3] 169. In his later years, he clearly pointed out that the status of the author and the reader of the novel is equal, and the reader is free, so readers should be close to the characters. These views echo with reception aesthetics. Wang Zengqi believes that the completion of the text of the work does not mean the completion of the creative process. He believes in reception aesthetics and encourages readers to feel involved. He advocates that the author can continue to think after the text is completed, and readers are willing to continue to think like the author, so that readers can enjoy both appreciation and thinking. [3]170 At the age of 60, he published the novel "Taking the Ring" in the No.1 1980 issue of Beijing Literature, which is a work that caused the literary world to shake and readers to react strongly in the new period, and it can also be regarded as a masterpiece under the guidance of the theory of aesthetic "blank" and "isomorphism".

What kind of life world does Fire show, what kind of artistic conception of life is described, what kind of "blank art" is left behind, what is its significance, and are these questions likely to arouse readers' interest in reading again? This paper attempts to understand and analyze them from the category of reception aesthetics.

2. Water towns, folk customs and pastoral songs

Wang Zengqi said, "The scenery described in the novel should be seen not only by the author, but also by the eyes of the characters written. The feeling of the scenery must be the feeling of the characters. It is inseparable from the characters, only the writer's own feelings. The author should put himself in the other's shoes and empathize with the characters. The color, sound, image and atmosphere of the novel must be in harmony with the characters written. In other words, every word of the novel permeates the characters. Writing about scenery is writing about people. " [4] 175 The story of Empress Dowager Cixi takes place in a water town full of simple folk customs, and the characters reveal a quiet and simple atmosphere in the water background.

Water is the source of all things, and people can't live without water. The fascination with water is the fascination with the origin of life, and the water town complex engraved in Wang Zengqi's heart has been fully released in his works. Wang Zengqi said in response to Ms. Anne Curie's question, "Why is there always water in my novels?" Even if there is no water written, there is a feeling of water. I didn't realize this problem before. Here's the thing. This is natural. My hometown is a water town. I grew up near the water, and all I saw and heard was water. Water has influenced my character and the style of my works. " [4]2 17 The author's hometown is Gaoyou, Jiangsu, and water filled his childhood. He has observed canals, ships and fishing since he was a child. The natural water world has become the source of the author's life, and nature has also become the background and tone of his works.

"Beauty can naturally arouse a direct interest, that is, a moral interest. Discovering beauty in the form of natural beauty, in turn, leads to the idea that' nature created that kind of beauty'. Where this idea attracts some interest, there is the cultivation of moral sentiment. " [2]065 There is a magical coupling between nature and characters, which is a natural creation in the author's creative process. When we discover the beauty of nature, it is precisely in the reader's mind that there is a beautiful order and expectation. We find the readers themselves in art and get the confirmation of information in works.

Ming Hai in The Dowager was going to become a monk in a temple, and his uncle led him across a lake. What a big lake! Then "cross a county", "When they reach a river, there is a boat waiting for them. "So, Minghai and Xiaoying met for the first time on the water." Uncle rowed and rowed, only to hear the paddle paddling:' Wow-Xu! Wow, xu! "The rhythm of water beats in people's hearts. It's a bright and cheerful morning in March. When I arrived at the Waterlogging Temple, "there is a river in front of the door. Outside the door is a big threshing floor. There are high willows on three sides. " Later, "Qiu Zi always ran to Xiaoying's house" and "Xiaoying's house is like an island, with rivers on three sides and a path leading to the squatting water temple in the west". After a long time, Qiu Zi and Xiaoying began to have an "unprecedented feeling". Akiko often goes to town by Zhao's boat to buy incense, oil and salt for the nunnery. "。 In his spare time, Zhao goes boating; When busy, Xiaoying goes and goes boating with Akiko. Minghai went to the temple, and Xiaoying rowed off; When Minghai came back, Xiaoying shook the boat. Although the author doesn't write many words directly in the water every time, he can still see the fresh, natural, peaceful and generous side of Jiangnan water town. The fluctuation of water has produced ripples of love between two little heroes, and the background color of water makes people live in the natural life of the water town.

As the saying goes, one side of the soil and water raises one side. In the author's pen, the burning water town world is not only so beautiful, but also the rural customs here are so simple and quiet. The Bodhi Temple, which was supposed to be solemn, has now become a water temple full of secular dust. Monks who should be bound by rules and regulations now live a carefree life on earth. "There are no clear rules in this temple, even these two words are not mentioned." Because this place "people don't get sick, cows don't cause disasters, and there is no drought or flood that causes locust disasters, and the days are very prosperous." The people of Anzhaozhuang have lived in this transcendental paradise-like environment for generations, carefree and harmonious. Thus, in the quiet and clear peach blossom lake, in the peaceful and tranquil genre painting, Minghai appeared in front of the bright and brave Xiaoying, and his vitality was completely liberated. His hazy first love was as vigorous as spring grass, just like. People and nature, people and customs live in harmony, even in front of ceremonies full of sacred religions, they are full of true and happy human nature. The fresh and bright scenery of the water town and the quiet and natural folk customs constitute a melodious and wonderful pastoral.

Three. Poetic Heart, Poetic Language and Poetic Context

When we are bathed in the quiet, light, soft and comfortable world of commandment language, our inner world can't help being intoxicated with poetic language. When we read the end of The Dowager, we will applaud like Mr. Li Qingquan, who discovered this work at the beginning, and sincerely exclaim that it is "beautiful and spotless" [5]2 15:

Reed flowers only spit new ears. Purple-gray reeds are silvery, soft and slippery, like a string of silk threads. There are sticks in some places, which are red, like small candles. Green duckweed, purple duckweed. Long-legged mosquito, water spider. Wild water chestnut has four small white flowers. Startled up a green pile (a kind of waterfowl), wiped the reeds and flew away.

After being consecrated, Minghai and Xiaoying, a pair of children in the water town, can no longer hide their love. Minghai paddled desperately, and Xiaoying began to attack love. From quiet questions to loud responses to quiet conversations, the scenery in the reeds becomes cheerful. Uneven length, odd-even and changeable, constitute a cadence, long rhythm and charm. Whether it is the color and image of reed spike, duckweed and wild water chestnut flower, or Zhuang Qing's voice of "pouncing on Lu Lu badminton", it clearly tells us that "language itself is art, not just a tool" [4] 166. It not only makes us feel the strong poetry brought by the simple language in the natural world, but also makes readers full of life breath of expectation and prediction of the protagonist's fate.

Wang Zengqi's novels are often poetic and picturesque, and the brand-new images contain rich artistic conception, which is full of this aesthetic tendency in The Commandment. The work emphasizes not the plot, but the artistic conception, not the characters, but the impression. Try a scene description:

In the evening, they watched the fields together-the rented rice collected by Laoan was also basking in the fields. They sat side by side on a stone mill, listening to frogs playing drums and cold snakes singing-this place thought the mole was called earthworm, so it called earthworm "cold snake". Listen to the spinning girl spinning, "sand-",watch fireflies fly around and watch meteors in the sky.

The atmosphere here is almost ethereal and illusory, and there is a romantic brightness between poetic illusion and reality, which also reveals the joy of banter and beautiful spiritual experience.

Being ordained is almost a poetic novel with no clear plot, which is the revolution of Wang Zengqi's novel from plot mode to emotional mode. "The author focuses on the rendering and contrast of a certain atmosphere. In a sense, people and things have become a' background' and the background has become a' prospect'. " [3] 159 This poetic tendency coincides with the author's aesthetic view of "atmosphere is character", which proves the author's ideal pursuit of "the temperament of a novelist is also the temperament of a poet". Therefore, the characterization of the characters in the legendary swordsman is often a few strokes, which highlights the cultural soil on which it depends in a specific atmosphere, making the characters and atmosphere become a colorful whole with a different sense of history and three-dimensional sense.

Philosophical hermeneutics tells us that "the existence that can be understood is language". The writing of "Being ordained" is handy and arbitrary, full of lyrical colors and customs. At the beginning of the work, it describes the customs and life of the water town in the south of the Yangtze River, becoming a monk in Minghai, chanting in the temple, the leisurely life and ordinary life of monks in the temple, and the love songs of young monks. Then it introduces the life of Xiaoying's family in the water town, the diligence and kindness of the farmers, and the croaking of frogs on the threshing floor. There seems to be no obvious causal relationship. Natural artistic conception is full of peaceful artistic conception of life, and the inner destiny of characters is intertwined with clean literary language, which has strong and impulsive vitality in seemingly unremarkable content.

The language of The Commandment has not been polished and exaggerated, but is close to spoken language and life. Even the dialogue between characters is crisp and neat, which is very precious. Let's take a look at the dialogue between Minghai and Eiko when they first met:

Qiu Zi heard someone talking to him. It's that girl.

"Are you going to become a monk in the Laoan?"

Qiu Zi nodded.

"When the monk burn scar oh! Aren't you afraid? "

Qiu Zi don't know how to answer, vaguely shook his head.

"What's your name?"

"Minghai."

"at home?"

"The name is Qiu Zi."

"Qiu Zi! My name is Xiaoying! We are neighbors. My home is next to Shuishui-Shuishui Temple. -here you are! "

Xiaoying threw the leftover half of the lotus to Minghai, and Xiaoming peeled off the shell of the lotus and ate it one by one.

One is shy and passive, the other is lively and active, and their simplicity and alertness, frankness and frankness can be seen between brevity and conciseness. "What is fixed in the form of words is promoted to a meaning domain in front of everyone, and everyone who can read it participates in this meaning domain at the same time." Between the lines of [6]507, readers naturally participate in the understanding of the works, and the extremely ordinary dialogue is like hearing voices and seeing people. In ordinary language, generation shows extraordinary vitality and charm. Because of this, even though the plot of the novel is empty and the language is poetic, it still maintains the rich characteristics of the novel.

Four. Fairy Tales, Dreams and Humanity

According to the expectation of traditional reading, Wang Zengqi's "Commandment" naturally involves that since people become monks, they need to abide by the rules and regulations of becoming monks, such as not killing, stealing, drinking, eating meat, telling lies and being immoral. However, there are many paradoxes in the life form of the novel, and everything the monks say and do seems to challenge all conventions. We don't need to repeat here how they kill, steal, drink and eat meat, even if it is a passion, it is strong enough. Not only will you get married in the future, but you can also get married in the temple. Even the abbot of Yin Shan Temple has a little wife. After a sacred fire, there will be one less big girl and one less kannika nimtragol. Wang Zengqi said: "I think monks are human beings, and their life is also a kind of life. As human beings, secular desires are not lacking, but in different ways. " [4]206 In his works, a peaceful and simple life picture scroll, a fresh and elegant natural scenery, weaves a colorful fairy tale world, what we can feel is an almost free and unrestrained life state.

Hans Robert Jauss believes that "if a literary text needs to be an answer first, or if later readers look for an answer in it first, it does not mean that the author himself has given a clear answer in his works. This answer feature of this paper provides a historical connection between past works and their subsequent interpretations. It is a structural model-from its acceptance point of view, it is not a constant value in the work itself. " [7]87 The description of Luhuadang mentioned above at the end of the article is an incredible situation. The author uses the poetic "Reed Flower Dang" to imply the beautiful love between Ming Hai and Xiaoying, which is in itself a denial of discipline, a true and natural embodiment of natural life, and a hymn of life from "receiving precepts" to "breaking precepts". The reader's expected answer or meaning has obtained a strong visual impact or ideological baptism in the contradiction and entanglement, and it is the uncertainty of the work that determines the profound thinking brought by the aesthetic experience. Because of this, the work left a suspense for readers at the last signature: "1August, 980 12, I wrote a dream 43 years ago."

What kind of dream is this? What was a dream 43 years ago? Has this dream reappeared now? The author himself said, "I wrote it more than forty years ago with the feelings of an 80' s person. The appearance of "Being ordained" is the sum of all kinds of emotions of China people in the 1980s. " [4]207 We can't guess what Wang Zengqi's real intention is to return to the literary world in the new period. More than 40 years later, this dream still exists. Is it just what the author said that "the first love is a vague feeling of love"? According to the author's own introduction, there is indeed a Zhao family in life, and Xiaoying later worked as a nanny for his younger brother in the Wang family. So, how can this "feeling of love" be described in this context? Besides, did feelings change a lot in the 1980s? Do you miss or yearn for the local life at that time, or do you have other attempts? These reading expectations hit the reader's soul again.

After Wang Zengqi had the impulse to write, someone once asked him why he wanted to write such an article. "I didn't answer at the time, but I was a little excited and said,' I want to write! I must write it beautifully, healthily and poetically! "When I finished writing, I said,' I wrote about beautiful and healthy human nature.' Beauty and humanity are needed at all times. "[4]207 It is not difficult to see that even though the time has reached the 1980s, the author's mind still retains the love and humanity that he expected in his childhood without distortion, bondage and repression. 1980, the author is 60 years old. Forty-three years ago, it was the age when Minghai became a monk four years later. This can't be just a coincidence, but the author's ingenuity. In an age of innocence and kindness and too many dreams, life is always so colorful and beautiful. Whether the fate of life has changed profoundly with the passage of time, and whether people's spiritual world has been disturbed and distressed by the outside world, readers need to re-understand. As for Wang Zengqi, he used novels to explore the beautiful poetry in people and affirmed the value of human nature. This is the expectation of a dream, perhaps it is just an idea needed for reform and opening up. In Wang Zengqi's "Being ordained", not only a group of monks in the temple are so free, but also the Xiaoying family's life is happy. From Zhaozhuang in the temple to Yin Shan Temple, from the earth to Buddhism, they all show the natural catharsis of emotions and desires, as well as the freedom and purity of this world and the future. This greatly enriches the health of human nature and aesthetic pleasure, and the realm of life between man and nature, man and man, and man and society is nothing more than such a seamless whole.

Gadamer said, "When we understand an article, the meaning in this article attracts us just as beauty attracts us." Before we wake up and test the meaning requirements put forward by this article, the meaning of this article has already played its role and produced attractive results. [6]634 As readers, we can't get rid of all the pre-understandings, but with the further understanding, all the pre-understandings will have a new round of re-understanding. The love between Minghai and Xiaoyingzi in the conflagration grew inadvertently and without trace, and finally released the desire to break the ring in the conflagration story and found the refuge of the soul. In the face of love, human life forms have the original strength of primitive wildness and the enthusiasm and courage to pursue the beauty of life. This is a holy and simple vitality, and it is an isomorphism and agreement between the beauty of nature and the beauty of life.

Verb (abbreviation for verb) vision and meeting place

Ethel said, "The reader's role is pre-constructed by three basic contents: the different horizons shown in this paper, the advantages that readers integrate from these horizons, and the intersection where these horizons meet." [1]27 There are two important concepts here, one is vision and the other is meeting place. Literary works are conceived to convey the author's ideological world. When reading and understanding literary works, readers often accept and interweave different text horizons, including narrator's vision, character's vision, plot vision and fictional reader's vision. When these horizons converge in one place, the intersection will produce the meaning of the work, and the effect of the response of the work can be truly obtained.

Simply understanding the literary significance of a work is one-sided and narrow, because every reader depends on his social environment, life experience and aesthetic experience, and every work has its own historical consciousness and social characteristics, as well as the author's own unique life experience and work group. Readers are not only questioners, thinkers, but also responders. In the process of asking and answering questions, they try to listen to the answers. A work is accepted by readers for the first time, and the reading expectation mobilized is constantly changing with readers' reading comprehension. The meaning of a work will be enriched and enriched through the chain of acceptance handed down from generation to generation, and its aesthetic value will be confirmed in the process of readers' understanding.

Therefore, on the one hand, Wang Zengqi's The Commandment is a completely independent literary work, on the other hand, it is closely related to the author's life experience, life philosophy, literary spirit and ideological style. Mr. Wang's novel creation spanned the 1940s, 1980s and 1990s, and a phenomenon of "heterogeneity" appeared in contemporary literary circles, which has special research significance. It is difficult to understand Wang Zengqi's literary thought and style only by words and deeds. The most basic fact is that since the author himself mentioned the dream forty-three years ago, it naturally has an inevitable connection with his life in his youth and also has a contextual connection with his early novel Bing Yi. Besides, he said, "What about this novel? I feel a bit like Border Town. " [4]207 Think of whether the author has a lot of cross-context and style relations with Mr. Shen Congwen in the subconscious of his creation ... After the 1980s, the author published a large number of novels with the old social life in Gaoyou, his hometown as the background. Facing such a new art world, it is more necessary for us to discuss its artistic charm and literary value together. This refreshing masterpiece, The Chronicle of a Big Fight, can't be discarded under any circumstances.

The distance between the reader and the author is natural, and crossing this historical time distance can only be accomplished by dialogue on the horizon. However, in the process of reading, the potential significance of the work can never be fully realized by readers. "In the historical tradition of art, the continuous life of a past work can inspire a new understanding and restart the dialogue between the past and the present, not through permanent questions or permanent answers, but through the dynamic interpretation between questions and answers, problems and solutions." [7]88 Readers' reading horizons need to be constantly expanded and revised, so as not to confine themselves to the framework of the works in the dialogue with their horizons. It is a very important and necessary way to expand the scope of reading comprehension and study the author's works.

It is impossible for a reader to fully understand a work, and the same text will have different meanings after reading and understanding by different readers in different periods. The potential meaning of Wang Zengqi's The Commandment will be realized by different readers in different ways, and the second reading will produce different reading effects from the first reading. Some people say that this is a leisurely pastoral, and some people say that this is the horn of the charge; Some people say that this is a beautiful refuge, and some people say that this is a poetic existence; Some people say this is neo-realism, others say it is a literary pioneer; Some people say that it is a masterpiece of China's traditional culture, while others say that it is a new work of western modernist literature. All these show that the real value of a work lies not in what it says, but in what it doesn't say, and in its calling structure and meaning.

Without the active participation of the recipients, the historical life of literary works is unimaginable. Therefore, in the process of readers' reading comprehension, there will always be a reading dialogue that spans time.

References:

[1][ Germany] W. Ethel Research on Aesthetic Process-Reading Activity: Aesthetic Response Theory [M]. Huo Guiheng, Li Baoyan, translated. Beijing: Renmin University of China Press, 1988.

[2] Hans-Georg Gadamer. Truth and Method: Basic Features of Philosophical Hermeneutics (Volume I) [M]. Hong Handing, translated. Shanghai: Shanghai Translation Publishing House, 2004.

[3] lujun. On Wang Zengqi's novel creation [M]. Beijing: Social Science Literature Publishing House, 2007.

[4] Wang Zengqi. Wang Zengqi said my world [M]. Beijing: China Youth Publishing House, 2007.

[5] Lu Jianhua. Biography of Wang Zengqi [M]. Nanjing: Jiangsu Literature and Art Publishing House, 1997.

[6] Hans-Georg Gadamer. Truth and Method: Basic Features of Philosophical Hermeneutics (Volume II) [M]. Hong Handing, translated. Shanghai: Shanghai Translation Publishing House, 2004.

[7][ Germany] Hans Robert Jauss [America] Horab. Reception Aesthetics and Reception Theory [M]. Translated by Zhou Ning and Jin. Shenyang: Liaoning People's Publishing House, 1987.