Artistic innovation of root-seeking literature

Orientation and reflection of root-seeking literature

First of all, root-seeking literature is a literary trend of thought that seeks for self, which is characterized by seeking for the self of national culture and literature and the writer's personality self. Root-seeking literature completely abandons the creative technique of analyzing life and history on the purely political level, but extends the brush strokes of exploration into the psychological structure of national history and culture, transcending the level of political criticism and reaching the level of historical and cultural reflection at once. From a macro point of view, it shows an inevitable deepening in the process of literature in the realistic period, a profound criticism of traditional culture and a yearning for the rational sky of mankind. More importantly, although root-seeking literature also writes folk customs, it does not stop at the struggle between old and new folk customs; Although he also wrote about the villagers in the mountains, he did not generally praise their simplicity and innocence; Although it also describes the people's bad habits, it does not focus on criticizing feudal ethics. Root-seeking writers' transcendence over their predecessors is reflected in their pursuit of the roots of China's traditional culture, mainly their recognition of Confucian culture and Taoist culture. For example, Jia Pingwa's Shangzhou Series celebrated the glory of Qin and Han Dynasties, Wang Anyi's Zhuang explained the charm of avant-garde culture in Chess King by Ren and Acheng, Li Hangyu's Gechuanjiang Series and Han Shaogong's Seeking Roots. Nature is one of the three major problems (nature, life and tradition) in romantic literature. "Return to nature" has become the slogan and symbol of romantic literature. Many root-seeking literary writers keep returning, looking for individuality, injecting spirituality into nature, and "seeing God in nature, seeing nature in God", thus completing the romantic inquiry. Such as Lu Yao, Jia Pingwa, Chen, Mo Yan and other agricultural urban writers have returned to their hometowns. For example, non-mainstream writers return to tradition, such as Wang Zengqi, Acheng and He Liwei. Wang returned to the Confucian tradition and cultivated his heart and nature; He and A returned to Taoist culture, pursuing inaction and being indifferent to life. In a word, "root-seeking literature" undoubtedly played a certain role in promoting the inheritance of traditional culture in China. At the same time, many root-seeking writers absorbed modernism and even postmodernism in their creation, which made great contributions to the development of China literature itself. However, root-seeking literature also has a tendency of "retro", which is obviously complicated and obscure in ideological tendency and value evaluation. Most writers tend to grasp some folk customs and deliberately exaggerate them, while ignoring the true anatomy of "nationality". Dive into the distant, primitive and wild, lacking the guiding significance for contemporary life. Ignoring the revelation of life problems and contradictions in real society leads to the alienation of works from contemporary reality, which leads to the decline of "root-seeking literature" a few years later. Although the root-seeking literature is only the "flower in the county" in the history of China literature, it gradually declined from 65438 to 0987. But after all, it is like a meteor, which once cut through the vast night sky of literature in the middle and tenth centuries and completed the romantic exploration of the vast universe of literature.