Examples of Bing Xin's contributions to various forms of literature

Bingxin is the founder of modern Chinese women writers, her short stories created the "problem novel" creation of the first; her poetry formed the "popular era of small poems"; her newsletter has a wide and far-reaching influence; her prose is fresh, beautiful, and has long been fragrant in the literary world. Her prose is fresh, beautiful, and has long been fragrant in the literary world. Her works have been translated and published in Japanese, English, German, French, Italian, Czech, Russian, Lebanese and Luo. In her later years, Bing Xin created a lot of works, and most of her works faced the life and touched the social problems, and there was a new peak period. As China's modern famous writer, translator, scholar and patriotic democrat Bingxin, she vomited blood, all her love to the generation of readers, her works and character, into a symbol of truth, goodness and beauty, won the readers of the heartfelt love and respect

Bingxin is the century's peers, is the "May 4" She is the founder of the "May Fourth" Literary Revolution, and is the earliest and most widely read female writer in contemporary China. Her novels, poems and essays were fully launched at the beginning of the construction of the new literature, and immediately received the warm welcome of readers and the keen attention of the critics. 70 years, she has always been concerned about the social life, and she has been working incessantly. 80's, her creative life is once again rejuvenated, her novels have won the National Award for Outstanding Short Stories, and her prose writing has also embodied the true color of pure fire.

The critics' keen attention to Bing Xin's creative situation began in 1919 at the beginning of the construction of modern Chinese literature. Over the past seventy years, with the change and development of modern and contemporary Chinese literary trends, Bing Xin's research has also traveled a long and winding road. During the May Fourth period, the initial realist criticism of "for life" initially affirmed Bing Xin's use of "love" to answer the question of the nature of life. During the "May Fourth" period, the initial realist criticism of "for life" initially affirmed Bing Xin's creative motive of using "love" to answer the essence of life. While affirming Bing Xin's concern for the current state of society and her "good heart", she also emphasizes the weakness and impotence of the "philosophy of love" in explaining and transforming the dark reality of society. This reflects Mao Dun's unique contribution to the study of Bing Xin's thought and advocacy of proletarian revolutionary literature. However, by applying the special standards of proletarian revolutionary writers to the universal demand for progressive democratic writers, and by overemphasizing the function of literature in directly transforming reality, it has led to the limitation of insufficient understanding of the positive significance of Bing Xin's humanitarian thought. Some other left-wing critics, on the other hand, often start from the vulgar sociological point of view, and extremely unfairly denounce the "philosophy of love" as the "old thought" which is contrary to the spirit of the times and negate it comprehensively, while the criticisms of Bakin and other democrats based on the humanitarian standpoint to a certain extent make up for the criticisms of Bing Xin. To a certain extent, to make up for the Bing Xin humanitarian thought of the positive significance of insufficient understanding of the defects, affirmed the positive value of its human nature, unfortunately, this affirmation has not become the main theme of the study of Bing Xin's thought. In a long period of time, the research on Bing Xin's thought has a low evaluation of the shortcomings. The research on Bing Xin at the beginning of the founding of the People's Republic of China, on the one hand, made a more in-depth, comprehensive and specific study of Bing Xin's creation; on the other hand, more is the development of the proletarian revolutionary literary movement advocating the period of the "left" error, swollen into the basic denial of Bing Xin's early creative thinking, and even the Cultural Revolution period of the complete obliteration of the idea.

In the new period, Bing Xin's research changed a long period of coldness and stagnation, gradually overcame the long-accumulated "left" errors, and developed in depth from different perspectives and in different ways, obtaining new discoveries and new conclusions, and presenting a new phenomenon of vigorous development, with a total of more than 250 papers on Bing Xin's research appearing in the new period. **In the new period, there were more than 250 research papers on Bing Xin, and the "Compilation of Modern Chinese Literary History - B Series" also included "Research Materials on Bing Xin" (edited by Fan Boqun and collected from 1919 to 1982), and three biographies of Bing Xin appeared successively. Fan Boqun and Zeng Huapeng's "Bing Xin's Evaluation and Biography "3 focuses on evaluation rather than biography, and examines in detail the path of Bing Xin's literary creation from 1919 to the crushing of the "Gang of Four", clearly outlining the course of Bing Xin's ideological development, and investigating the intrinsic qualities and development of Bing Xin's creative style. Based on the theory of realist literature and with dialectical materialism as the guiding ideology, they combine Bing Xin's creation with the changes in the worldview of the main body of the writer and the changes in the environment of the times, focusing on exploring the social, historical and artistic values of Bing Xin's creation, and affirming Bing Xin's outstanding contribution to modern Chinese literature. The second biography is Xiao Feng's Biography of Bing Xin.4 This work is characterized by the combination of commentary and biography, combining the writer's life path from birth to the early 1980s with the path of creation, and endeavoring to "write a living image of the character". The third biography is Bing Xin by Zhuo Ru.5 Zhuo Ru's biography emphasizes on biography rather than evaluation. Based on rich and informative historical materials and with deep understanding, the author enters into Bing Xin's thinking and emotional world with full respect, and draws out the major twists and turns in the life and the subtle tremors in the mind of this clear and pure oriental talent with poetic writing, which is characterized by beautiful writings, and Zhuo Ru's biography is written from Bing Xin's birth to her return from overseas in 1951. Relevant parties also set up a "Bing Xin Research Association", founded a research journal "love" magazine, organized a symposium on Bing Xin's works, the organization selected and compiled "Bing Xin Research Materials" (1919-1993), "Forever Bing Xin" (memoirs) and other books, "Bing Xin Memorial Museum" is also in preparation for the construction of "Bing Xin". At present, the "Bing Xin Memorial Hall" is also under construction. Works published, Sichuan People's Publishing House, Hong Kong Sanlian Bookstore, the Straits Literary Publishing House published a multi-volume anthology of Bing Xin's works, the Shanghai Literary Publishing House published a 6-volume "Bing Xin Anthology", the 10-volume "The Complete Works of Bing Xin" will also be launched by the Straits Literary Publishing House.

Bingxin research in the new period has made an essential leap compared with the past, and a brand-new outlook has emerged. But in terms of the specific aspects of the study, there is still an extremely unbalanced situation. The current research status with the "national treasure", the literary world of the noble personality, creative achievements and great influence is still very disproportionate. Now there are all the possibilities to Bingxin research into the richness and deepening. The purpose of writing this article is to analyze the current situation of Bing Xin research, confirm the achievements, point out the bias, tracing the reasons for the new expansion of Bing Xin research to contribute to their own modest efforts.

This paper is divided into three parts: creative thinking, artistic achievement, and creative psychology.

I. Creative thinking research?

The initial research on Bing Xin's thought in the new period started from the political vindication. Bing Xin's life before and after the idea of continuous development, sublimation, but humanitarianism is its basic core, her "philosophy of love" in the new period before a long period of time was characterized as "essentially bourgeois humanitarianism, humanism in the reflection of literary creation," "and the new period," "and the new period," "and the new period," "and the new period," "and the new period," "and the new period," "and the new period. For a long time before the new period, her "philosophy of love" was characterized as "essentially a reflection of bourgeois humanism and humanism in literary creation" and "contrary to the demands of the times",6 and was put on trial and trampled upon. The research of the new period began, first of all, to vindicate the "philosophy of love" politically with a stumbling step. The prerequisite for this vindication was a change in political concepts. In other words, according to historical facts, the national bourgeoisie and petty bourgeoisie of the New Democracy period were reincorporated into the anti-imperialist and anti-feudal united front, so that the bourgeois ideology was no longer completely rejected as reactionary. On this premise, critics successively put forward the "Philosophy of Love" and the "Literature of Mother's Love," which did not represent the mainstream of the revolution and had an "idealistic tendency". Although "philosophy of love" and "literature of motherly love" "do not represent the mainstream of the revolution" and have "idealistic tendency", they are "the reflection of humanitarianism in the field of new literature" and "consistent with the mainstream of the anti-imperialist and anti-feudalist revolution rather than contradicting it".7 This political vindication washed away the extreme "leftism" that had been poured on Bing Xin's creative works. This political vindication washed away the extremely "left" sewage poured on Bing Xin's creative work, which is of great significance, but the value system is still literature attached to politics, and the value of literature is measured by the value standard of the political revolution, which inevitably fails to give a higher evaluation to Bing Xin's "Philosophy of Love". Because Bing Xin's "love" after all is not the unique proletariat vanguard of class consciousness. In this way, in order to give a higher evaluation to the "philosophy of love" politically, some commentators have argued that in Bing Xin's early "system of fraternal thought, love for the motherland was put in the first place".8 This is obviously not in line with the reality of the work. Bing Xin is undoubtedly a patriot, but in her system of fraternal thought, she takes the love of nature, the love of children, and the love of motherhood as the answer and comfort of life. Patriotism as a quality of character naturally often overflows from her words, but in most cases this is not something she deliberately advocated and thought about.?

After years of circling around in a narrow political fence, literature had to clash to find a broader horizon, and in the mid-to-late 1980s, people gradually shifted from a social and political grasp of literature to an aesthetic and psychological one, and shifted to re-examining the history of modern literature from a broad cultural perspective. This opening up of literary concepts also brought a brand-new turn to Bing Xin's research. People found that:?

Bing Xin's depiction of love and beauty in the literary world at that time and the critical reality of literature actually played a complementary role; there is no critical impact of the tide of reality, not enough to wake up the people in a deep sleep, to the existing society with a destructive blow, there is no love and beauty of the trickle into the hearts of the people, but also not enough to comfort and sensitize the soul of darkness, to improve the degree of order of mankind itself. The latter is a devastating blow to the existing society. Although the latter's blow to the existing society is far less direct and powerful than that of exposure literature, at the cultural level, the blow to the existing society is far less direct and powerful than that of exposure literature. But at the level of culture, it makes a deep intervention in reality. Therefore, the viewpoint that denies or belittles this kind of expressive theme on the basis of its relation to reality is untenable.9

After decades of stormy weather, Bing Xin, the singer of "love", has finally received the recognition she deserves. Looking at Bing Xin's creation from a cultural perspective has also made researchers pay more attention to Bing Xin's inheritance of the nation's outstanding cultural traditions and the significance of this inheritance in the construction of the new literature of the May Fourth Movement. Some commentators suggest that "the philosophical essence of Laozhuang, which is derived from traditional Chinese culture," "enables Bing Xin to maintain a transcendent and optimistic understanding in the face of the intense contradictions of love and hatred." In the mid-1980s, feminism, a world-wide trend of progressive thinking, flooded into the country. It has also triggered a more focused attention on the femininity of Bing Xin's creations and her views on women and the family. Liu Siqian, in his article "Bing Xin: The Truth of the Disoriented Oriental Woman", argues that:

The concept of family in Bing Xin's novels of family problems, the deeper psychology is the sound psychology of the role of women centered on the unbroken bond of motherly love. The apparent level of the concept,...... is traditionally male-centered, but the inner, psychological level is natural and female.12?

Female as a gender is not only natural, but also historical and social. Thus feminist studies tend to always intermingle with the study of culture. Many commentators have examined the ****ness of women writers' creations and the characteristics of Bing Xin's creations in a comparative study between Bing Xin and other modern women writers. The exploration of Bing Xin's creative femininity, her view of family and women's view has expanded the depth and breadth of Bing Xin's ideological research, but the study of feminism in China is still in its infancy, and there is still a process of digesting and absorbing Western theories, as well as taking into account the similarities and differences between Eastern and Western cultural concepts. Some theorists are not immune to the misunderstanding of confusing oriental characteristics and femininity with feudalism and slavery, and attribute Bing Xin's female image to "a 'lady-like' woman who likes to attach her soul to external objects or other people". This is obviously a misunderstanding of Bing Xin's early novels and a failure to see the spirit of the "May Fourth" era in Bing Xin's novels. On the contrary, the positive images of women in Bing Xin's novels are all modern women who consciously and actively take up social and family responsibilities. In modern society, Bing Xin has explored how to deal with the relationship between gender equality and gender differentiation, and how to create a good image of modern women. This aspect of the study is obviously still not enough, is waiting for deeper expansion.

The concept of "philosophy of love" was proposed by Ying in the early 1930s. He defined its content in terms of "mother's love," "the great sea," and "memories of childhood".13 Since then, "the philosophy of love" has been influenced by Bing Bing's philosophy of love. Since then, the "Philosophy of Love" has been recognized by Bing Xin herself and the academic world. The specific connotation of "philosophy of love" is generally understood as "mother's love", "love of nature", "love of children", and the focus of the research is on "love of mother", "love of nature", "love of children", and "love of children". The focus of research has been on the evaluation of its ideological value, but less on exploring the internal composition of the "philosophy of love", less on carefully analyzing "mother's love", "natural love", "children's love", "love of nature", "love of children", "love of mother", "love of nature" and "love of children". less to carefully analyze the rich connotation of "mother's love", "nature's love" and "children's love". This is obviously an approach of abandoning the essential for the essential. Giving up the in-depth debate on the connotation of the "philosophy of love", in fact, also fundamentally blurred the understanding of certain important issues, such as, Bing Xin's "philosophy of love" of the Oriental characteristics, the characteristics of the Fourth of May, the relationship between Bing Xin's humanitarian thought and Western humanitarian thought, the relationship between Bing Xin's humanitarian thought and Western humanitarian thought, the relationship between Bing Xin's humanitarian thought and Western humanitarian thought, and the relationship between Bing Xin's humanitarian thought and Western humanitarian thought. The relationship between Bingxin's humanitarian thought and Western humanitarian thought, the position of Bingxin's humanitarian thought in the whole modern Chinese literature, and so on. There is still no fundamental change in this aspect in the new period. In fact, Bing Xin's "mother's love", "love of nature", and "love of children" have both sensual and philosophical meanings. Bingxin in the reality of the boredom, hide in the arms of the mother to seek relief. Her "mother's love" is first of all a kind of secular human affection, originating from Bing Xin's own emotional experience, she then sublimated this emotional experience to the philosophical level, that it constitutes the essence of world harmony and friendship, and used it to fight against the disappointing reality. The "love of children" also has two levels of meaning. On the sensual level, the beauty of human nature is realized from the innocence of children and the affection between children. The philosophical dimension is its more important connotation, which is to use the pure state of children's ignorance as opposed to the adult world where knowledge is a lingering source of boredom, and to praise the connotation of "nothing" as a great "something". It is understood as the highest state in philosophy, and the aesthetic interest and philosophical thoughts connected with it are the poetic praises of "silence", "tranquility" and "death". Bing Xin's love of nature is more from the nature of love of beauty, from the "universe", "life" poetic sense. On the one hand, people worship the mysterious beauty of nature, and on the other hand, harmony with nature, induction, **** with the composition of the universe of the great harmony. Here, nature is not like a mother's embrace, children's world and the reality of society as a direct confrontation, but the harmony between man and nature, people in the embrace of nature to obtain a sense of peace indirectly with the people in the reality of the sense of disappointment constitute a contrast to the comfort and appeasement to people. Bing Xin sings of mother's love, children, nature and the harmony of the universe in her creations, so as to resist the emptiness of reality. Her "philosophy of love" is obviously different from the philosophers to construct a logical and strict philosophical system, Liu Siqian called "the religion of art", she said: ?

She did not, like some philosophers, reduce her own experience to an abstract essence within the framework of conceptual categories, but always held on to her own vivid experience, which she elevated to a universal belief about the human universe through logical refutation, thus upholding the value of love in a universal philosophical sense.14

But generally speaking, in the research of the new period, people focus on the "philosophy of love," but still on the "philosophy of love," and the "philosophy of love" is not the same as the "philosophy of love.

But in general, in the new era of research, people are still focusing on the evaluation of the "philosophy of love" is right or wrong, and more neglect to explore the specific connotation of the "philosophy of love". This is obviously the end of the matter.

In the new period of bingxin's creative thought research, obviously there is another important issue that has been ignored, that is, bingxin's new period of creative thought research itself. Academic attention is still only Bing Xin's early creative thought. In the new period, bingxin, like many excellent intellectuals with conscience, experienced the torment of "cultural revolution", not only did not indulge in personal grudges and gains and losses, and did not fall into decadence and disappointment, but also strengthened the sense of anxiety about the fate of the motherland and the people, she started from the deep patriotic heart, after reflecting on the history of the clear rationality, on the one hand, both optimistic and understanding to believe in the future, and on the other hand, she was optimistic and understanding to believe in the future. On the one hand, she was optimistic and reasonable to believe in the leadership of the Party and the bright future of the country; on the other hand, she had a clearer and more sincere understanding of the many ugly phenomena that still existed in our country at the primary stage of socialism. In this way, her love for the motherland and the people is often expressed by her deep hatred for the ugly phenomena in society and her strong concern for the fate of the country. This is especially reflected in her passionate concern for intellectuals, education, embodied in the "I request", "how to", "I whimpered at the end of the National Gothic" and other loud and clear essays. In the new period, Bing Xin's "thought of love" developed significantly compared with the previous periods, with more realistic content and power, which Fan Boqun and Zeng Huapeng called "the regeneration of the phoenix after the fire".15 However, on the whole, the research of Bing Xin's creative thought in the new period has never formed an in-depth discussion situation, but it has never formed an in-depth discussion situation. However, on the whole, the study of Bing Xin's creative thought in the new period has never formed an in-depth discussion.

The study of artistic achievements?

The study of Bing Xin's creative method is a new topic in the new period. Although previous reviews have not positively addressed Bing Xin's creative method, academics have always measured Bing Xin's works against the standard of realism in literature and art. By incorporating the rich and colorful literary creation into the framework of one creative method, it is inevitable to cut the feet to fit the shoes, and to regard the romantic quality of Bing Xin's creation as a shortcoming. Researchers of the new period, on the other hand, paid attention to analyzing Bing Xin's creative method from the actuality of his works, noting the fact that the creations of writers of the Literary Research Society and the Creation Society were interpenetrating each other. Liu Shanting's "On the Romantic Tendency of Bing Xin's Pre-Creation, "16 using the Romantic art standard as a comparison, argued the Romantic tendency of Bing Xin's pre-creation from the three aspects of the subject matter and theme of the glorification of nature, the subjective coloring of the artistic expression, and the aesthetic style of natural frankness and honesty and compared the creative styles of Bing Xin with those of modern writers such as Lu Xun, Guo Moruo, and Yu Dafu, and pointed out that the method of Bing Xin's pre-creative creation belonged to the "He also compares the creative styles of Bing Xin with those of modern writers such as Lu Xun, Guo Moruo, and Yu Dafu, and points out that Bing Xin's early creative method belongs to the type of "oriental classical egoistic romanticism.

Artistic style research, in the twenties and thirties, the review has emphasized Bing Xin's creation of "gentle", "elegant" tone. 60's, Fan Boqun, Zeng Huapeng made a comprehensive, detailed examination, to Bing Xin's poems in the In the 1960s, Fan Boqun and Zeng Huapeng made a comprehensive and detailed examination of Bing Xin's poems, using the image of the goddess in her poems, which is "full of tenderness, slightly sad, and wanting to speak and stay," to summarize the characteristics of her creative style before the founding of the People's Republic of China (PRC) and to point out that her creative style tends to be more bright after the founding of the PRC.17 This generalization not only contains the characteristics of the emotions of Bing Xin's creative work, but also the pursuit of the arts, which was recognized by the researchers in the later period. While inheriting these achievements, the studies of the new period are characterized by a multifaceted and in-depth approach. Some articles emphasize that "Bing Xin's early creative style is not a single", that "it has both euphemistic, subtle and elegant side, but also the side of passionate grief and anger", the former is mainly reflected in the "Flourishing Stars", "Spring Water", "Sending Little Readers", the latter is mainly reflected in the "problem novels", the latter is mainly reflected in the "problem novels", the latter is mainly reflected in the "problem novels". The former is mainly embodied in "The Star", "Spring Water" and "Sending a Little Reader", while the latter is mainly embodied in "Problem Novels "18.

The proposal and development of the concept of "Bing Xin's body" reflects the results of research on Bing Xin's artistic achievements. In the early thirties, Ying put forward the concept of "Bing Xin's style". He briefly described Bing Xin's prose-poetry qualities and syntactic features in terms of "poetry-like prose words" and "Chinese syntax derived from old-style words", thus recognizing Bing Xin's unique contribution to the construction of modern Chinese literary styles.19 After that, the concept of "Bing Xin Style" was introduced and developed. Since then, the name "Bing Xin's Style" has been used by the research community, and in the 1980s, Fang Xide took the two aspects proposed by Ying one step further, and made a detailed and practical investigation from the angles of genre, vocabulary, and chapter structure, thus enriching the meaning of "Bing Xin's Style". He thinks that "Bingxin's writing is a very important part of his life". He thinks that "Bing Xin has changed the conventional narrative function of traditional novels in terms of description content, structure and core meaning, and introduced a lot of lyrical function for novels, thus creating a new style of "lyrical novel". This is mainly the result of Bing Xin's "courageous exploration and practice in the strong lyrical literary tradition." "The lyrical way of visualizing subjective emotions, the fusion of poetic and philosophical feelings, and the use of visionary aesthetics and inter-colouring of landscapes and nature make Bing Xin's prose "possess the characteristics of prose poetry". He concludes that "Bing Xin is an excellent lyric stylist of modern times. "20 Fang Xide has clearly taken Aying's rough generalization of Bing Xin's style one step further. Although this kind of inquiry is extremely valuable, it has not yet fully revealed the rich connotation of Bing Xin's style. The "body" in "Bing Xin's style" is the style of writing, which refers to the writer's creative style, i.e., the uniqueness of the writer in the content and form of a series of works. Bing Xin has created a large number of popular and excellent works in her more than seventy years of creative career, and her creative style has both fixed and unchanging qualities and constantly developing characteristics, and she has her own unique pursuits in the themes, subjects, genres, structures, languages, methods of expression, and other aspects of her works. Thirty Years of Modern Chinese Literature, co-authored by Qian Liqun and others, includes the poetic and graphic beauty of Bing Xin's prose, emphasizes the contribution of language, and expands the ideological content of the "Philosophy of Love," but it is limited to the length of the history of literature and fails to expand the content of this work. However, limited to the length of the history of literature, the study fails to go into detail and depth.21 Compared with the actual situation of Bing Xin's creative work, the current study of "Bing Xin's Prose" has not yet been finalized. Compared with the actual situation of Bing Xin's creative work, the current research is relatively crude in revealing the connotation of "Bing Xin's Style". "As a unique style, Bing Xin's contribution, limitations, and position in the construction of the modern Chinese prose genre are all subjects worthy of investigation.

Corresponding to the neglect of Bing Xin's creative thinking in the new period, the exploration of Bing Xin's artistic achievements and artistic style is still mainly limited to the creation before the new period. In the new period, Bing Xin's creative style also changed significantly with the change and sublimation of her thoughts. Her idea of "love" is often expressed by her strong hatred of social evils and deep concern for the fate of the country, and her understanding of the realm of life is also more open-minded and penetrating, so that her lyrical style of singing about love and beauty is bound to be gradually infiltrated or replaced by miscellaneous writings featuring social criticism and civilization criticism, and her writing is also bound to be changed from a gentle tone to a more gentle style. Inevitably, her writing and ink should be gradually tended to be hardened by the original gentle tone, and tended to be concise and refined by the original repetitive chanting. This artistic transformation in the old writers of universal significance, Ba Jin, Sun Li, Guo Feng's creation also show **** the same characteristics, but the new period of research on this lack of due attention.

Third, the study of creative psychology?

The concern about Bing Xin's creative psychology mainly centers on the suitability of Bing Xin's thinking for poetry, and how to explain Bing Xin's poetic features of prose and novels, both of which are related issues. in the 1920s, Liang Shiqiu argued that "Ms. Bing Xin is a writer of prose and novels, and is not suited to poetry". He analyzed the psychological aspects of her creative work as "strong in expression but weak in imagination" and "rich in reason but thin in emotion".22 Researchers during this period engaged in a heated discussion on whether Bing Xin's emotional qualities were cold or hot, which did not result in a definitive assessment but deepened their understanding and opened their minds. Although no definitive assessment has been formed, it has deepened the understanding and opened the mind. Later, Bing Xin also said that she had "no overflowing emotions".23 In the 1960s, Fan Boqun and Zeng Huapeng categorized Bing Xin's emotional characteristics as "overflowing undercurrents".24 In the 1980s, Sun Ge reintroduced the idea that Bing Xin's emotions were "cold or hot". In the 1980s, Sun Ge revisited this topic. She analyzed the basic mood of Bing Xin's small poems as "quietness mixed with sadness", and analyzed the specific qualities of "quietness" and "sadness" in terms of personal temperament and relationship with reality. Combined with the artistic standard of poetry, Sun Ge thinks that "Bing Xin's weakness lies in her lack of poetic imagination and expressiveness, but not in her lack of emotion". Because "stillness is not equal to coldness". "Bing Xin lacks the ability to deform", "but is able to tame unintegrable emotions", "her poetic feelings are too harmonious to allow any extreme emotions", thus "The irreplaceable uniqueness of Bing Xin's poems lies precisely in the fact that they hint at another level beyond the humanistic spirit of the May Fourth period, that is, the attachment to traditional culture expressed while criticizing the feudal system." "Although Bingxin has a poetic mind, she is unable to ride the light horse of poetry with ease." 25?

Fang Xide also combines the psycho-emotional characteristics of Bing Xin's creative impulse with her conception of poetry, examining why the lyricism of Bing Xin's prose is a "visualization of subjective emotions." He thinks that "the opportunity of Bing Xin's prose creation is often the trigger of poetic feeling", and the reason why Bing Xin insists on melting this poetic inspiration into the art form of prose is mainly due to the fact that she believes that poems are always metrical, and that "the poet's talent determines that Bing Xin's poetic feeling can only be written freely and naturally, but she is often worried that the smooth poetic feeling will be blocked by the metrical style". But she was always worried that the fluency of her poetic feelings would be challenged by the rules", so she "turned to prose, which could be written more freely". "Thus, Bing Xin's prose is, by its very nature, poetic prose. "26 The main feature of these comments is that they combine Bing Xin's psychological characteristics, such as her thinking and emotions, with the norms of different art forms, thus deepening the study of these two aspects.

In the study of Bing Xin's cultural psychology and artistic temperament, Mr. Mao Dun suggested in the 1930s that "'extremist' ideas were not to her liking. "27 In the new period, Liu Siqian further confirmed that her cultural attitude was "sound and steady" and that her artistic temperament is "a classicism that blends and absorbs the humanistic spirit of the East and the West." 28?

Other aspects of Bing Xin's creative psychology have yet to be explored. Bing Xin herself once said that her early preference for singing about "love" and "beauty" was not because she did not perceive the dark side of society, but because she felt that society offered too many disappointments and too many blows, and that she wanted to discover the beautiful things in life to encourage and comfort people. This conscious choice is out of the desire to help the world, and whether it is to sing the beautiful or expose the darkness, are beneficial to the world, conscious choice of "love" and "beauty" of the song, there must be the writer's own psychological factors in the role of coaxing. This may be explained by the writer's childhood family life experience and later life experience. Bing Xin once said:

I think my childhood life is happy, cheerful, first of all, healthy. All the love I deserved, I got, and all the people I should have loved, I loved.29 ?

Conclusion ?

In the new period, with the political reversal as the starting point, Bingxin's research has made great progress in all aspects of creative thought research, artistic achievement research, and creative psychology research. Ideological research by the political vindication to the cultural value of the discussion, and to open up the Bing Xin creation of women's consciousness, Bing Xin's view of women, the family view of the new field of research, thus appearing a multi-dimensional vision of the three-dimensional research pattern; artistic achievements of the study noted the Bing Xin creative method, the diversity of the artistic style unity of the characteristics of the body of the "Bing Xin" connotation of the "Bing Xin" made a great progress. In the study of artistic achievements, attention was paid to the unity and diversity of Bing Xin's creative methods and artistic styles, and the connotation of "Bing Xin's Body" was explored in depth. In the study of creative psychology, along the tradition of combining Bing Xin's psychological characteristics such as thinking and emotion with the norms of different art forms, further careful analysis was made and new conclusions were drawn. At the same time, there are still many neglected areas and many urgent problems to be solved in all aspects of research. As far as the general situation is concerned, Bing Xin's early creative works, i.e., those of the 1920s, have received sufficient attention from critics, while the research on her later creative works has been relatively quiet. In terms of specific aspects of research, in the study of creative thought, there is a lack of in-depth analysis of the connotation of the "philosophy of love", the use of new research methodology, the shortcomings of the forced comparison; in the study of artistic achievement, the rich connotations of "Bingxin's body", In the study of artistic achievements, the rich connotation of "Bing Xin Style", the status of "Bing Xin Style" in the development of modern Chinese prose and other issues need to be revealed in depth; in the study of the psychology of creative writing, there is the problem of too narrow a surface, Bing Xin favors the singing of the psychological basis of "love" and "beauty", and Bing Xin is too narrowly focused on the psychological basis of "love" and "beauty". "The psychological basis of Bing Xin's preference for singing "love" and "beauty", Bing Xin's psychological changes in the various periods of creation are subjects that have yet to be explored; Bing Xin's literary theory and literary criticism activities, Bing Xin's creation in the new literature in the new period of the influence of Bing Xin has not yet received the attention it deserves.