The denial of natural human nature and the deconstruction of traditional family ethical relationships in Red Rock?

Chuanwai students? Hey hey, the division brother to give you Kan it. When it comes to characterization in Red Rock the first thing you can relate to is, of course, the similar images in the revolutionary model plays. The **** of these images is both the task of character typing, flattening, that is, in the Jiang Sisters of a class of task image embodied in only the light of the revolutionary martyrs, but not the slightest invisible to its first as a human being and the existence of human nature, she seems to be a family, no family, no motherhood, no motherhood popped out of the stone people. For the antagonist like Pu Zhigao, he is bad in the end, and he cannot find the other side of his human nature as a human being. Such typecasting of characters is undoubtedly quite in line with the artistic characteristics of neo-classicism, and like neo-classicism reflects a strong political ideology. And it is precisely because of the influence of such a powerful zeitgeist*** name that its artistic appeal must have been greatly diminished. According to Goethe, this kind of characterization is a type that "seeks the particular in order to be universal" rather than a typical that "sees the universal in the particular". The type, as a primary form of the typical, is the carrier of the author's strong ejection of subjective consciousness, so that the character has lost its vivid and real side, lost all the instincts and passions inherent in human beings, and has become a megaphone of the times and ideology.

In "Red Rock," the image of "Little Carrot Head" (Song Zhenzhong), which is supposed to be the most energetic, the readers can still only see the tough image of a small revolutionary, but not the slightest childlike innocence as a child, and even the warmth of affection between a child and his parents, which is supposed to be strongly reflected, can be seen in him. The warmth of affection. Here affection has been alienated into a revolutionary family **** with faith connection. However, the concept of family ethics, which accounts for a considerable proportion of traditional Chinese cultural concepts, seems to have disappeared, and one can only learn about the kinship relationship from the characters' relationship in the characters' titles, and there is not the slightest hint of kinship and ethics in the characters' behaviors and inner activities. This is the author's conscious deconstruction of the concept of family ethics. As we all know, the ultimate goal of Marxism is a ****productivist society with great material abundance, comprehensive development of the people, and elimination of exploitation and private ownership. The family is undoubtedly a manifestation of private ownership, and in order to realize ****productivism, the family must be eliminated, and in order to eliminate the family, it is necessary to dismantle all the traditional "cannibalistic" ethical and moral relationships. So for this clear purpose of writing "Red Rock", it is inevitable to dilute the characters of affection and human desires of the depiction of the characters are molded into "great, bright, correct" flat characters.

Will "Red Rock" achieve its intended purpose by dealing with its characters in such a way that it denies natural human nature and deconstructs traditional ethics? Obviously, this is not an either/or choice. As far as the creative subject is concerned, there is no doubt that socio-political motives play a decisive role in his motivation for creation, which leads to the fact that throughout the process of conceptualization and solidification of the text, the name of the times*** has been leading him by the nose. So his narrative perspective is almost a single omniscient and omnipotent external perspective, the narrative attitude of praise and blame is distinct, the narrative tone is sprawling and unreserved, almost without frustrating the reader's horizon of expectation, the middle of the road neoclassical style novels. In this way, as far as the era of its publication is concerned, the 60's was a time of strong ideology, and readers were prone to aesthetic empathy and "sympathy" for the tragic artistic effect, whether consciously or unconsciously. But in the long run, when the era out of the ideological domination of the period, when the nature of man once again rise, the new era of the new background of the "Red Rock", can no longer perfectly convey its tragic meaning, lost the sublime sense of beauty. Because according to the British empiricist aesthetician Bok, the sense of the sublime comes from man's fear of his own lack of realistic conflicts of interest. When man is no longer a political zealot, restored to "man" itself, it is difficult for him to realize the inhuman situation in the White House and Jagdish Cave, and difficult to realize the sublime beauty that the author intended to convey from the flat characters of Red Rock. Moreover, Schaafzbory once asserted that only an enlightened political climate is conducive to the development of literature and art, should be focusing on the artistic image building in the era of **** name side effects.

So "Red Rock" for the denial of natural human nature, for the deconstruction of the traditional family ethics, although in the then special background of the times, to achieve the author's expected ideological conveyance of the effect, but as far as artistry is concerned, he is more than worth the loss. Therefore, the 19th century critical realism strongly advocated the "typical" rather than the "type" of the neoclassical period. The "typical image" is the universal ****ness contained in its unique personality. First of all, it is a vivid and real person, and secondly, it is a symbol, a kind of representative. To take a simple example, a group of audience in the theater to watch a play about the shooting, suddenly someone came in and loudly told everyone at the door someone was shot, then the vast majority of people will run out to see the scene. This is what British empiricism is trying to tell us, the more real it is, the more artistic it is. And this "truth" is "typical", which is the artistry that contemporary Chinese realist literature lacks.

Finally, I wish you all the best for your final exams~~please pay your respects in advance~

PS: Don't be afraid of failing your exams ah, Lao Deng is quite good~!