What are the linguistic features of Yu Hua's novel "Brothers"?

Artistic features of Yu Hua's novel:

Fan Meizhong said, "There is basically no unique discovery of life to human nature to life in 'Alive', and the only writing of suffering and failure, the destruction of this physical life is a fiasco rather than a tragedy. So 'Alive' simply lacks the things that make literature literature, and for me it is indeed a novel with no value and no literary character."

Similar to Fan Meizhong's hero is Zhao Yuebin. His <> is a relatively comprehensive discussion of Yu Hua's novel writing, ranging from short and medium-length works to three full-length ones. He says, "Yu Hua's novels convey a tendency of 'precious life' with the storyline of uncertainty of woe and fortune; as a human being, staying alive becomes the first priority, and others can be ignored." For this reason, he criticized Yu Hua's novels from the perspective of comparing traditional Chinese and Western cultures with each other, using the Western image of tragedy as a comparison.

The first time I read Zhao Yuebin's "Endure and Struggle--A Test of Yu Hua" was on one of his personal websites. After reading it for the first time, I felt it was not bad. After carefully re-reading it, I felt it was rather thin.

The center of the article is to discuss the numbness of the characters in Yu Hua's work, although a lot of western sentences are quoted, and used appropriately, but because of the usual intention, no deeper connotation of the work has been explored. The whole article seems to be rather one-dimensional. Not rich enough. In terms of ideology, there are the trappings of thought, but did not analyze the complexity of the process of thought influence on the characters, due to space relations, I will not go into detail. I appreciated the "hollow man" remark, although I had read it in a 1996 article by a friend of mine commenting on pioneering writers.

Again, Zhao's focus is on the search for the real person, whereas the people in Yu Hua's novels are abstracted from their essential nature, and lose the essence of what it means to be a human being. At this point, I think Zhao's research on Yu Hua is forward-looking and unique. It deserves praise.

In addition, Zhao's writing is rather loose in expression and not logical enough. This is very much to my liking. I admire logical articles, but I appreciate free and loose articles more. This has to do with my natural laziness. It's an advantage and a disadvantage. I like to express myself freely. A little bit of sensibility. Zhao Wen is more emotional than rational, the former more than the latter.

Overall, Zhao Wen is a good essayistic commentary. Sometimes I like this kind of commentary better than I like the more specialized ones.

In addition to the above review which mainly talks about the ideological nature of Yu Hua's works, Over Tie's "Yu Hua: Compromise of a Kind", also analyzes in particular detail the characteristics and problems of Yu Hua's novels at the artistic and technical levels. For example, the loss of the mother tongue, the application of the zero degree narrative technique, the brilliance of dialog and metaphor, the filtering of realpolitik, etc. In particular, the novel's linguistic flaws are discussed extremely eloquently. This essay is the most unique in that group of reviews.

In addition, there are two other frank and lovely essays: You Qing's "Dying to Live" and Wan Er Hua's "A Brief Reading of Three Guan's Story of the Selling of Blood". They express the author's real and strong feelings after reading "Alive" and "Xu Sanguan's Blood Selling Story" respectively, which are worth mentioning for their strong feelings and fluent language. These two articles are useful for us to study the popularity factor and mass appeal of Yu Hua's works from another angle.

Third, Xie Youshun's Study of Yu Hua and Its Value This article is one of the occasional harvests of my study of Yu Hua, and is included here as a rich supplement to the article "I Look at Yu Hua". It is a text-analytic commentary that takes the structure of the article I am commenting on as its main body, and crystallizes it in a step-by-step manner by extracting the threads from the cocoon. My personal views and thoughts flow between the lines and are reflected in the way I speak.

In Xie Youshun's more than a decade of literary criticism, contemporary writer Yu Hua is one of the writers he has paid most attention to. As early as 1992, when he was still a second-year university student, he began a study of Yu Hua, which was published in the journal Contemporary Writers' Review in 1993. In particular, he noted Yu Hua's unique value as a pioneering novelist and his singular literary style.

To a later date, a series of commentaries on Yu Hua published by Xie Youshun (in 1996, for example) showed his keen insight and judgment. From the initial exploration of the novel's formalization to the subsequent dissection of the novel's spirituality, his research on Yu Hua has become more and more in-depth. This step-by-step process left a deep impression on me. Especially in his later "Yu Hua's Theory", he put forward such propositions as "encounter is not survival" and "elimination of suffering", which are useful prescriptions for the further improvement and sublimation of Yu Hua's creative work. The first is a good prescription for the further improvement and sublimation of Yu Hua's creative work.

These unique propositions point directly to "ultimate care". This is something that has been lacking in Chinese culture and art for thousands of years, and it is being paid attention to by more and more thinkers in contemporary China (e.g., Ren Buimei, Liu Xiaofeng, Moro, etc.). The difference between Xie Youshun and some contemporary Chinese literary critics lies in the fact that he, like those scholars who think about the "ultimate care," brings the ethic of heaven (the divine) to the earth. What distinguishes Xie Youshun from some contemporary Chinese literary critics is that, like those scholars who think about "ultimate care," he has brought the ethics of heaven (divinity) to earth and to his writing, and this meaning is extraordinary.

This is the secret of Xie Youshun's sharp, profound, pointed and extraordinary literary criticism. It is the secret of life, the secret of humanity.

The encounter with survival and the dissolution of suffering is just a small tree in his vast thought. This is the central idea of Xie Youshun's series of "Yu Hua Theory". The following is an example of one of the articles to analyze and illustrate. The title of the article is: Xie Youshun, "Yu Hua: The Philosophy of Survival and Its Problems to be Solved". (This article is also titled: "Yu Hua: The Philosophy of Survival and Its Unresolved Problems," hereafter referred to as "Yu Hua's Theory."

Xie Youshun's "Yu Hua's Theory" opens with a perceptive and bold speculation about the difficulty of writing that Yu Hua, whose writing has been put on hold for a number of years, has encountered. It goes on to analyze several manifestations of his difficulty. It exemplifies the difficulty in Yu Hua's novels, but also uses it to compare the revolutionary significance of Kafka and Proust's transcendence of Balzac's traditional perceptions.

In the following five chapters, Xie Youshun delves deeper and deeper to reveal the breadth, depth, and inherent crisis that led to this difficulty. In breadth, it is the harsh environment of the world, and "the tragic situation of man in this world". And he digs out the key word of this tragic situation: violence. He explains the state and essence of violence in Chinese culture, as expressed in several of Yu Hua's short and medium stories. And he affirms the significance of this discovery for contemporary Chinese literature (with the year 1988 as his masterpiece), but also questions Yu Hua's aesthetics of cold violence.

Next, Xie Youshun further meticulously delves into the inner structure of violence. He also provides an in-depth textual analysis of several novels, mainly from the year "1988".

After that, in the fourth section, "Suffering and Its Way of Relief," he probes the psychosexual injuries in Yu Hua's novels about violence. This section examines three of Yu Hua's masterpieces, Shouting in the Drizzle, Alive, and Xu Sanguan's Story of Selling Blood. He uses these three works to respond to the subtitle of the chapter, "The Extreme Relief of Suffering," and it is clear that his focus is on the word "relief". It is a cry and a plea for help from suffering that is too deep.

This is how Xie Youshun analyzed the above three works.

The way of relief in Crying in the Drizzle is reminiscence. But this reminiscence of good things is illusory and superficial. Xie Youshun has ingeniously and brilliantly called it "superficial warmth". It can only partially alleviate suffering. For example, a lonely child's warm recollection of his innocent childhood - how can one live forever in the illusion of memories?

"Alive" - Since memories are illusory, there is always some degree of reality in being alive. Eyes can see, hands can touch, feet can walk. Yet even being alive in the flesh is extraordinarily difficult. In the face of nature's natural and man-made disasters, man is like a straw, unbearable. The protagonist Fugui's resilience and tenacity to survive make him come back from the dead again and again. However, has he really lived a warm and happy life? Xie Youshun says that he merely dissipates suffering and is passive - enduring. There is a world of difference between this and the "suffering" of Faulkner's Hustle and Bustle. Suffering just disappears falsely.

The Hsu San Guan's Story of the Selling of Blood - a further dismantling of suffering. Its approach is humorous (in my opinion, it would be more apt to say comic). Xie Youshun says Yu Hua attempts to use humor to establish a new relationship with reality, thus dissolving the negativity in his earlier works.

After reviewing the three full-length works, Xie concludes that reminiscence, patience, and humor are Yu Hua's main narrative methods for alleviating life's hardships. But this approach is full of Chinese wisdom and limitations.

In the fifth section of his article, Xie continues to take Yu Hua's three novels as the main object of analysis. He points out that Yu Hua's novels only show what happened to them in their lives, but do not raise the existential question of existence -- the question of soulfulness and spirituality. Xu Sanguan's pursuit of the metaphysical significance of "equality" and the metaphysical suffering of life in Shouting in the Drizzle and Alive all begin with encounters. Their way of resistance is still patience. The nothingness, thickness, and numbness that follows a life of living. At best, there is a little Zhuangzi-like self-deluding escapism.

The last chapter of Xie Youshun's "Yu Hua's Philosophy of Survival and Its Unanswered Questions" - "Opinions" are sometimes more important than "facts". In my personal opinion, it is the most important, innovative and alarming thought in this article. It is like a torch in the cold night, illuminating the gray and ambiguous sleeping thoughts.

Xie Youshun said that choosing the lightness of dissolution and rejecting the heaviness of suffering are the limitations of Yu Hua and most Chinese writers. He agrees with Li Zehou's view about the combination of Chinese and Western cultures that will lead China to a new world of humanization.

And Chinese writers focus only on presenting facts, but neglect to express their views on them. That is to say, they lack a high degree of spirituality to look at reality. Therefore, what they reveal is only the facts on the surface. And there are facts behind the facts. And so on. The truth of things is y hidden. Xie Youshun says to move from the level of facts to the level of values. That is, to bear, to suffer, to persevere. Penetrate reality (facts) with the spirit.

For truth is greater than reality. Therefore, Xie Youshun said, it is Kafka who gave meaning to "Amoeba", "The Hungry Artist", and "Litigation". He pointed out that Kafka's "view" of "facts" influenced the writers behind him. In addition, Xie Youshun points out that several important characters in Yu Hua's novels survive with only facts but no views (meaning), a miserable situation far from the truth. This is also a writing problem faced by writer Yu Hua.

In another of Xie Youshun's articles reviewing Yu Hua's "Shouting in the Drizzle," "Judgment of Despair," he also puts forward the phrase "skin warmth," by which he means the faint and fragile human warmth Yu Hua writes about in his novels, whose radiance and heat are limited (see Xie Youshun's article "Judgment of Despair"); as he does in another article, "Judgment of Despair" (see Xie Youshun's article "Judgment of Despair"), he also points out that Yu Hua's novels have been written in a way that is far from the truth. article); as he points out in another article, "The Time of Rewriting Love," "we have to be sober enough to reject a utopian illusion of love and all norms of relativity of value without ultimate reference, so that it will be conducive for us to remove all obscurations and gain insight into the nature of love." Love in this context can also be extended to love in a broader sense - one of the meanings of "ultimate care" as I understand it.

In summary, Xie Youshun's "Yu Hua's Philosophy of Survival and Its Problems to be Solved" is rigorous in logic, insightful, fluent in narration, vivid in language, meticulous in analysis, complete in structure, and refreshing in style, and it is the one that I personally appreciate more than the others in the series of his commentaries on Yu Hua's works.

As I said before, some of the views on Yu Hua's works have already formed public opinion. Some of the articles on Yu Hua even give the impression that they are similar. Perhaps we can ask Xie Youshun, and other friends who have commented on Yu Hua's works, to go deeper and more unique in their reading of his works, and to go to the next level.

Fourth, Summary In summary, Yu Hua's works and the study of Yu Hua's works ****together constitute a unique landscape of contemporary literary creation and criticism, or "Yu Hua phenomenon", or "Yu Hua research phenomenon", which is worthy of wishing for the healthy growth of Chinese literature for creators and critics. It deserves the attention of creators, critics and readers who wish for the healthy growth of Chinese literature.