What is the aesthetics of playfulness

The Aesthetics of Parody and Black Humor

Wang Xiaobo: The Aesthetics of Parody and Black Humor: A Greatest Hits of a Generation

This kind of "new storytelling" is a parody, dissolution, and subversion of the cage-like history, which is the core image of Wang's works, compared to the "Scream", which is an aesthetics more suitable to the historical situation. This aesthetic logic is not limited to literature, but also to certain other works that have had a significant impact in the last decade or two. The author summarizes this new literary trend as "aesthetics of playfulness". The popularity of "banter" in contemporary popular culture symbolizes the situation of the young generation's "dehistory". The "small era" has already come, or the pretentious lyricism, in the "phantom city" of the hollowing out of history, the unlimited expansion of the importance of the self; or black humor, to construct a "bystander" perspective, and settle down the "bystander" perspective. "The first thing I'd like to say is that I'm not sure if I'm going to be able to do this, but I'm sure I'm going to be able to do it.

I am afraid that only the double negative, dehistorical "irony" can support Wang Xiaobo's view of history in the form of aesthetics, corresponding to the heaviness with lightness. What he opposes is not only the traditional "tyranny of the king", but also the "tyranny of technology" in the modern sense. Therefore, the "freedom" he pursues is both historical and transcendent. For the time we are in, Wang Xiaobo's emergence is a great fortune for contemporary literature, and he left us a Minoan labyrinth of literature, with Ariadne's threads in an unknown direction, waiting to be surveyed by those who come after him.

Wang Xiaobo was born in Beijing on May 13, 1952, and is originally from Quxian County, Sichuan Province. He graduated from the Department of Trade and Economics, Renmin University of China, majoring in commodities in 1982, and went to the University of Pittsburgh in 1984 to study at the Center for East Asian Studies, where he received a master's degree in 1986. 1988, he returned to China, where he taught at the Institute of Sociology at Peking University and the Department of Accounting at the Renmin University of China, and resigned from the faculty in 1992 to focus on writing. 1997, he died of a heart attack on April 11, 1997, after being struck by a heart attack. On April 11, 1997, he died of a heart attack in his apartment in Shunyi, Beijing.

Representative works of middle grade novels "Golden Age", "Like Water", "Future World", "Silver Age", long novels "Love in Revolutionary Period", "Hongfu Night Running", "Wanshousi Temple", "Searching for Wushuang", etc. (later integrated into the "Age Trilogy" "Golden Age", "Silver Age", "Bronze Age"), short stories "Golden Age", "Silver Age", "Bronze Age", and "Bronze Age". He is also the author of "The Golden Age", "The Silver Age", "The Bronze Age", etc.), "Tales of the Tang Dynasty", a collection of short stories, "The Silent Majority", a collection of essays, "Donggong - Xigong", a movie script and a stage play, and a sociological book, "Their World" (co-authored with Li Yinhe). The novels "The Golden Age" and "The Future World" won the Grand Prize for Middle Stories in the 13th and 16th United Daily News Literary Awards in Taiwan respectively, and the movie script "Donggong - Xigong" won the Best Screenplay Award in the Argentine International Film Festival. After the writer's death, the "Wang Xiaobo Fever" persisted and continues to this day, with his darkly humorous literary style and belief in the value of loving the wise and the foolish having a profound impact on contemporary readers. This influence continues.