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Baoshui Village, a full-length novel by Qiao Ye, presents to its readers an open, sensitive, holistic, and reflective experiential texture thanks to the writer’s years of preparation spent “going into” and “immersing herself in villages,” as well as her rural narrative focusing on the complexity, contemporaneity, and problem of rural revitalization. The novel employs dual-narrative technique of recounting emotional and village history to advance its plot, paints pictures of village life with polyphonous scenes of village gossip, and engages in participatory observation through the use of the narrator to construct an open subject consciousness that discovers blind spots, surprises, disparities, and paradoxes in the rural experience. By selectively reconstructing the experiences of three archetypal villages and creating the new literary image of a “rural construction expert,” the novel conveys a realistic attitude that values the subjectivity and endogenous power of the countryside. In doing so, this method takes the structure of reality as its core and calls for a pragmatic standpoint that suspends any judgment, so as to “read” the Chinese countryside through the texture of reality.

Bibliography

As one of the representative Chinese writers who was born in the 1970s, Qiao Ye’s writing exhibits considerable diversity and varied understandings of literature across genres. In her full-length novels, Qiao Ye is exceptionally innovative and exploratory, and each novel is distinct in subject matter and style. However, her medium-length and short stories tend to be more conservative, characterized by a simple and natural style, imbued with the charm of literary tradition. This artistic stance in writing style is different from other writers and unique to Qiao Ye, which is not only indicative of her vivid artistic individuality but also holds value for further research into creative writing and stylistics.

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Chen Yan’s new novel The Comedy is a continuation of his writing of the life and destiny of the artists in The Protagonist. Through shaping characters of the Chou (role of the clown) and describing the joy and sadness experienced by them,his new novel presents the artists’ mixed feelings of sorrow and joy and reveals the crises and dilemmas encountered by traditional art against the background of modernity along with the possibility of transformation and conversion. Like The Protagonist, The Comedy follows Chen Yan’s consistent realistic narrative techniques; unlike the solemn and grand aesthetic style of The Protagonist, however, the new novel develops its narrative with a comic approach more in tune with the characters’ identity and inner spirit and shapes the characters and the story based on the dialectics of comedy and tragedy, thus enriching Chen Yan’s original narrative style and contributing a new aesthetic experience.

Chen Yan’s novels are steeped in traditional Chinese culture. The Comedy and The Protagonist draw on and use traditional national art resources such as Chinese opera and drama to discover anew and create “tradition” from a modern perspective. Traditional Chinese opera and drama shape the narrative aesthetic nature of Chen Yan’s novels both explicitly and implicitly. The difference between opera and drama, lyrical and impressionistic style, and narrative and action also forms its diverse narrative aesthetic style. The origin and distinction of style and form between Chen Yan’s novels and traditional Chinese comedies and modern Chinese novels are profoundly influenced by time and history, which essentially determines the spiritual structure and narrative aesthetic of Chen Yan’s novels.

Novel writings in China in 2023 display a tendency toward locality which exhibits two characteristics: One is the “sense of hometown,” and the other is the “integration of locality with modernity.” Qiao Ye’s novel Baoshui Village is a representative work that achieves “modernity” through “locality.” How contemporary novels portray the changing countryside, and how they handle and grasp the relationship and proportion between change and constancy; how to find the right way to integrate the geographical, ethnic, and modern aspects of a novel; how locality generates modernity; and how modernity can accommodate and activate locality are not only theoretical questions that need to be deeply explored but also issues of writing that need continuous exploration in practice. In this sense, Baoshui Village is worth cherishing.

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In her novel Baoshui Village, Qiao Ye narrates from a keen female perspective about the awakening and transformation of contemporary rural women, portraying the great changes in rural China in the new era. The “Baoshui Village” in the novel is not only a rural space as the object of writing, but also provides a significant background against which the great changes in rural China are depicted. It also serves as an important means to advance the plot of the novel and provides a way to organize the time of the novel. In the novel, Qiao Ye connects the village and the world outside the village from the dual perspectives of the heroine Di Qingping, to create a new relationship between people and countryside, and between rural areas and cities from a perspective of totality to paint a new picture of rural China.

Qiao Ye's literary creations are inextricably linked with Chinese literary tradition. In her novels, she transforms many traditional techniques found in traditional Chinese literature in a creative manner, and has gradually crafted her unique writing form of “new novel of society” in her two-decade writing career. Qiao Ye’s unique artistic exploration not only enables the stories in her works to reflect the social conditions, and human nature and human relationships in contemporary Chinese society, but also presents a new, more casual format that uses hybrid discourse and intersections of identity in its literary narrative, thus forming Qiao Ye’s personalized artistic style of analytic/reflective narrative. This should be regarded as Qiao Ye’s creative transformation to the traditional discourse found in Chinese story-telling novels or pan-story-telling novels.

The Protagonist is another fulllength masterpiece of realism by Chen Yan following his previous novel The Backstage Clan. His rich experience in drama creation enables Chen Yan to skillfully employ classical literature and traditional opera librettos, and be keener on entering a narrative where novel and opera communicate without any barriers, thereby forming his distinctive narrative aesthetic. In addition, Chen Yan has proficiently created in the abovementioned books typical characters such as Diao Shunzi and Yi Qin’e, creating a blueprint for how these two novels will be passed down to later generations. Unlike The Backstage Clan, which focuses on the extraordinary nature of ordinary people, The Protagonist presents the potential of the rise of ordinary people and a panorama of man and culture by portraying the legendary lives of the protagonist and the secondary protagonist.

Academic News

Abstract

Book Description

Guan Renshan’s full-length novel Golden Valley and Silver Mountain focuses on the depiction of rural life in an era of profound transformation. Notably, the novel refers to Builders of a New Life, Liu Qing’s representative work five times. This indicates that the conception and writing of Guan Renshan’s Golden Valley and Silver Mountain are significantly influenced and guided by Liu Qing’s Builders of a New Life. This influence is manifested not only in the fact that Fan Shaoshan, the protagonist in Golden Valley and Silver Mountain, regards Builders of a New Life as a sacred existence, and the counterpart relationship between Fan Shaoshan and Liang Shengbao, the protagonist in Builders of a New Life, but also directly in the setting of characters relationships in the two novels.

The Comedy is another of Chen Yan’s masterpieces of realism after The Backstage Clan and The Protagonist. The difference is that the portrayal of He Jiabei in The Comedy echoes the theoretical idea of “typical characters under typical circumstances.” Through studies on Chen Yan’s writing in a tensive theoretical space of “typicality,” we find that he has applied several important “typical” theories to his novels. He Jiabei, as a “typical character under typical circumstances” no longer embodies the ideal value as did Yi Qin’e in The Protagonist. The function of this character regards the communication between individuals and the times, phenomenon and essence. “Typical characters under typical circumstances” is a theory generated from an analysis of realism inseparable from the “totality” of the times and history. The focus of The Comedy, a novel based on this theory, has also shifted from creating characters with distinct traits to exploring the historical essence of the era of “comedy.”

During the pre-Qin period, shi yan zhi (poetry expressing aspirations) was not a poetic concept. It primarily served to shape Confucian ideology, carrying significant discourse implications. The practices of shi yan zhi and bi zhi in religious rituals held important implications for poem reciting, a prevalent activity during the banquet ceremonies in the Spring and Autumn Period and its various forms. Together, they established the rites and music tradition characterized by yanshuo (speeches). This tradition further established the status of The Book of Odes as a classic, furnishing high-ranking officials and Confucian scholars with legitimacy and rich discourse resources to develop new ideologies. The different interpretations and applications of shi yan zhi resulted in diverse discourse models, such as duanzhang-quyi (to interpret out of context), xin’er youzheng (being reliable and borne out by evidence), wenwang yinyan (no word, no expression of thoughts) and yiyi-nizhi (interpreting a writing from one’s perspective). Through these different interpretations and applications, the scholarly-official class established multiple values and objectives, such as liyan buxiu (advocating lasting noble ideas untouched by time), xing-guan-qun yuan (stimulation, contemplation, communication, and criticism), shang you (befriending those superior to oneself), fa hu qing, zhi hu li yi (starting with feelings and control with propriety). In the process of building a unified ideology in the Han Dynasty, the “Introduction to Mao’s Version of The Book of Odes” advocated the unity of qing (sentiment) and zhi(aspiration), infusing shi yan zhi with connotations of enlightenment as well as extolment and satirical criticism. This advocacy redefined the political authority and discourse models of the scholar-official class, objectively unveiling the literary features of poetry, such as evoking an emotional response and commencing the practice of education through poetry teaching.

Above Baiyangdian Lake is a novel set against the backdrop of the great changes in rural China in the new era, revolving around the grand theme of China’s contribution to the harmonious development of the world with Chinese wisdom and its solutions. The subject of Above Baiyangdian Lake is grand as it involves politics, culture, economy, and many other aspects. Its publication has reversed the narrowing tendency of Chinese novels in terms of themes and subjects. Above Baiyangdian Lake reconstructs historical time for Chinese modernization with its time consciousness based on a historical perspective. Wang Juexin and Qiao Mai shaped by the writer have contributed to the range of Chinese contemporary literary characters as typical images of the new characters of the era. The value of epic masterpieces like Above Baiyangdian Lake should be fully explored and advocated to provide a useful reference for the development of literature in the new era.

Chen Yan has emerged as an outstanding novelist thanks to his rich experience in theatrical literature. His latest novel, The Protagonist, focuses on the heroine Yi Qin’e’s forty-year on the stage,and creates a group of characters living in obscurity under the social changes of the times, portraying a broader spectrum of life and society beyond the domain of drama and conveying his profound observations on life,the times, society, and the world. The epic artistic nature of the novel and the interplay between the fate of the characters and the social changes taking place at the time in the novel, along with Chen Yan’s deep insight into the complexity of humanity are the keys to the successful presentation of the art and ideology of The Protagonist.

Telling Chinese stories and Chinese experience is an important theme of realist literature in the new era. Chinese writers in the new era face the significant challenge of how to understand the “totality of China” and how to construct the totality spirit and aesthetic character of the “Chinese” narrative. Above Baiyangdian Lake by Guan Renshan takes the historical changes that occurred in the typical environment of Baiyangdian New Area as the content of narration, revealing the growth of people and history and its “Chinese” connotation through the story of the growth of “new character” in the new era. The novel depicts the “rediscovery” and rebirth of history and traditions of China in the new era by “telling stories,” and puts them under a profound context of the past and present and in a broad vision of China and foreign countries, thus constructing the overall aesthetics of realism in contemporary China with an epic grand narrative. The novel artistically shows the building and growth process of China in the new era, and demonstrates its leveraging of resources and unique connotation. It is a typical text for understanding the relationship between the image shaping of China in the new era and Chinese realism literature, as well as the connotation, function and form of Chinese realism.

In recent years, “aesthetics of atmospheres,” a concept introduced from Western aesthetics, has emerged in aesthetic studies, offering a new perspective to examine ancient Chinese poetry. In poetry, atmospheric beauty is neither fixed nor rationalized; rather, it is pervasive and ubiquitous, much like a mist. Atmosphere is something spatial but primarily something emotional. Atmosphere creation is the products of a poet’s emotional expression evoked by external objects; thus, evocation (gan-xing) is a catalyst for creating atmospheres. At its core, evocation is the process by which a poet is emotionally stimulated at the sight of external objects and generates a desire to express such emotions. In this process, the poet is connected with the outside world through senses such as sight and hearing and is presented with abundant physical images. When these physical images are incorporated into poems, they become atmospheric agents. In poetry, atmospheres represent the unity of emotions and intentions. They are a poet’s situational aesthetic experiences. The statement, “If there is no self in poetry, how can we possibly have poetry” holds significant theoretical importance in aesthetics. Synesthesia plays a crucial role during the creation of atmospheric beauty in poetry. By employing synesthesia, a poet can greatly enhance the tension in poetic language, extending the poetic beauty beyond a singular sensory experience, and creating rich atmospheres that blend sensations such as sound, color, and taste.

Since its publication in 2016, Paper Hawk has been studied by literary critics from different angles, such as its inheritance of the Chinese classical literature tradition, its conception of language and structure form, and even its usage of imagery. The historical imagination in the novel has also attracted great attention in academic circles. As one of the clues in the novel, Chinese cuisine enables the writer to outline the setting of the era and human nature, and reflect on traditional culture with a keen insight. Taking food as a starting point, I explores the path of historical evolution, its development as well as its ups and downs. A warm thanks also goes out to Dr. Xu Shiying for her interview on historical writing (Appendix follows), which represents the historical depth of Paper Hawk in a dialogue format.

The Maihe River, a novel by Guan Renshan, can be regarded as a summarizing work of transcendence of the writer’s neo-realism style, showcasing his pursuit and formulation of the “new rural epic” aesthetic, which has major significance for both the writer’s creative process and contemporary Chinese realism writing. In this novel, Guan Renshan not only epically portrays the changing relationship between farmers and their land by using poetic sentiment and rational philosophical thought, but also probes deeply into these new rural areas, new villages, and new farmers developed under the impact of modernity, demonstrating his keen insight and thought.

Above Baiyangdian Lake is a meticulously crafted novel by Guan Renshan nearing a million words in length. The novel offers a panoramic view of everyday life in Baiyangdian Lake and the development of the Xiong’an New Area. The novel exemplifies a genuine sense of the scene by presenting readers with a vivid, authentic depiction of our contemporary life. He employs a narrative structure that overlaps the present with the past, blending tradition and modernity to create a truly magnificent epic. Rather than avoiding the contradictions and darkness inherent to humanity, the novel embraces them and strives to accurately depict their complexity, resulting in a more profound reflection on society. Above Baiyangdian Lake expands and innovates the path of local literature by applying a genuinely realistic approach. It not only surpasses Guan’s writing style, but also represents a transcendence of local writing conventions in contemporary literature. It draws upon and elevates the literary tradition of the Hehuadian School, emerging as a notable example of new local writing with distinct regional traits.

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By closely examining the literary works of the Song Dynasty, such as prose, poetry, rhyme-prose, lyrics, notes, and miscellaneous theses, this paper combines historical and literary evidence to rediscover the 13 types of soundscapes and their corresponding spaces in the Bianjing City, the capital of the Northern Song Dynasty, and it reveals the causes and historical-cultural significance of these soundscapes. Focusing on the key issues of soundscapes, this paper analyzes the sound spaces, identities, discourses, and literary achievements depicted in the writings about Bianjing. It argues that the “Bianjing Spectacle” of vendors’ cries described by the Southern Song people can be used as a summary of the soundscape characteristics of Bianjing. Furthermore, it interprets the special silence, crying, and the absence of the sounds of production from an aesthetic perspective. By rediscovering, analyzing, and interpreting the soundscapes of Bianjing, this paper reveals significant differences between the Tang and Song dynasties at the sound level and differentiates various “auditory communities.” It thereby demonstrates the portrayal of Bianjing in Song literature, addresses theoretical hot topics in literature and geography, and builds on Marx’s arguments to propose that a thorough understanding of history, the world, and ourselves requires an in depth study of the soundscapes in literature.