Take Jia Pingwa as an example to explain the changes of local literature since the new period?

Thirdly, the narrative turn of Jia Pingwa's local novels.

Jia Pingwa is one of the most important writers in contemporary China. The narrative turn of his novels represents the aesthetic evolution of local narrative in China's contemporary novels to some extent. The following interview, taking his novels as an example, analyzed the thinking track of intellectuals' choice of cultural values in rural areas and China.

1, the cultural roots of rural society

The cultural roots of Jia Pingwa's Shangzhou World and the introduction of western cultural thoughts in the mid-1980s are the results of the pursuit of literary localization. Judging from Jia Pingwa's personal experience, the cultural root of his Shangzhou world is also the natural development of his life experience. Reflecting on his own thoughts, he said: "The poorer people are, the more thoughtful, sensitive and stubborn they are, and they are disgusted with the rich and the city. This is the gene left by our parents, which makes us have the virtue of farmers since childhood. When I stopped being a farmer, I had been a middle class in Xi 'an for more than 20 years. My peasant nature has not completely receded, and I am obviously disgusted in my heart, but sediment emerges unconsciously in my behavior. "

[4] As a writer, Jia Pingwa traveled to Shangzhou many times, and his rural experience will inevitably lead to his childhood memories.

Jia Pingwa's historical exploration of Shangzhou culture is based on his reflection on modern urban civilization. His novels of this period, such as Love in Shan Ye, Tengu, Late Rain, Blackstone, etc. In the quaint cultural atmosphere of the countryside, we have created three figures with good moral qualities, such as the Big Three, the Heavenly Dog, Tian Jian and Blackstone, all in order to resist the vicious transformation of human morality and ethics in the process of urban civilization. It shows Jia Pingwa's efforts to transplant the benign values of traditional culture into the construction of urban civilization, and his reflection on modern civilization has become the center of his next local narrative.

2. Reflection on modern civilization.

In 1990s, the theme of Jia Pingwa's local novels has always been the conflict between urban and rural civilizations and people's living conditions in this conflict. Jia Pingwa wrote short stories such as Taibai Mountain and Smoke, focusing on exploring the mysteries of characters. The novels Du Fei and White Night are constructed by the image of urban people's living conditions, revealing a certain era atmosphere at the end of the century. Wasted Capital shows the spiritual confusion of traditional intellectuals in the transitional society. Starting from The Wasted Capital, Jia Pingwa raised the banner of criticizing urban civilization. The novel White Night shows the profound qualitative change of people's psychology caused by the floating life in the city. Jia Pingwa reveals the absurdity of human nature in urban civilization, and shows the author's disgust and curse at floating life in a city where material desires are rampant and people's spirit is lost. He said: "In today's social development, great changes, great hopes and unprecedented materialistic evils coexist. The stupidity and corrosion of materialism have seriously affected people's souls and are incompatible with artistic spirit. We must do literary resistance and discover human weaknesses and crimes. " [5]

In Tumen, he began his spiritual pursuit of cultural homeland. Tumen describes a place called Renhou Village on the outskirts of Xijing, which was gradually annexed by the city in the process of urbanization. Jia Pingwa denied the disadvantages of urban civilization from the standpoint of cultural value of rural civilization. However, he also realized that urbanization is the trend of historical development. In essence, the reflection on modern civilization is still his expression of rural homesickness.

3. Exploration and confusion of China's cultural regeneration.

Starting from "Gao Lao Zhuang", Jia Pingwa consciously established the text form of national fables, thus opening the exploration of China's cultural regeneration. "Gao Lao Zhuang" is a cultural local novel, which interprets the history, present situation and future development trend of China culture in the form of a fable in which a small village symbolizes a big nation and society.

Jia Pingwa's last full-length fable novel in the 20th century is Missing the Wolf. Jia Pingwa said to himself, "Missing the wolf means missing the budding life, the hero and the balance of the world." [6]

In other words, the author only takes the "wolf" as an opportunity to express the schizophrenic mood in people's hearts in the materialized era under the background of market economy. That is to say, on the one hand, rationally affirm the transformation and sublation of modern urban civilization to traditional rural civilization; On the other hand, he has a spiritual attachment to the traditional rural civilization. In memory of the wolf, through allegorization, expresses people's psychological internal injuries and spiritual demands in the process of modernization. From the perspective of the relationship between characters in the novel, Jia Pingwa, through the analogy and comparison between Fu Shan and Rotten Head, shows the sublimity of human divinity (rationality) and the predicament in the real life environment, as well as the unrestrained and rampant lust of human beings. The high image has the function of integration, thus constructing the trinity of the characters in the novel, outlining the emotional category of the complex era at the end of the century, and mapping out the serious imbalance and division of human reason and emotion in the transitional society.

Since the new century, Jia Pingwa's most influential masterpiece is the novel Shaanxi Opera. He wrote: "I took the story of Qingfeng Street as a monument, and I lost my memory of Dihua Street and my hometown." [7]

Therefore, some people call it "the end of local narrative". Jia Pingwa wrote "a mess of days" with "intensive narrative style".

[8] Thus, the scene of the end of traditional rural life is presented from the deep. The decline of traditional culture has three manifestations in the expansion of urban civilization: first, the decline of traditional lifestyle. Simple folk customs, the atmosphere of respecting the elderly and respecting the virtuous are gone, while bad habits such as moral decay and forgetting interests and righteousness are prevalent. The second is the disintegration of traditional rights protection organizations. The third is the decline of traditional culture. Shaanxi opera is the soul of Qin people's culture, but with the development of market economy, Shaanxi opera gradually declined, and finally it can only be reduced to mourning. Facing the ruin of the ultimate land, Jia Pingwa clearly realized that it was inevitable, but did he devote himself to another civilization with a decisive attitude? His rural complex is firm, so he is confused and wandering. The dual narrative perspective in his works is the concentrated expression of this contradiction. Jia Pingwa said frankly: "Xia Feng's experience from rural areas to cities is similar to mine, but his personality and aesthetic pursuit are very similar to mine."

[9]

Jia Pingwa's local novels reveal the nostalgic complex of the times. Jia Pingwa, as a farmer and a cultural person, is always good at linking the decline of rural areas with the loss of traditional culture in China. His local novels have the dual characteristics of strong homesickness and exploring the regeneration of China culture.