I. Reflection on history and reality:

The rational thinking of literary creation ended the Cultural Revolution and the history of contemporary China began a new turning point. As the spiritual reality of contemporary China, literature has inevitably undergone important changes. First of all, the change of literature is manifested in the clearing and reflection of the past "Cultural Revolution" history, and the selective breakthrough of the guiding ideology, creative principles and expression methods of literature and art implemented during the "Cultural Revolution". What needs to be pointed out and thought-provoking is that this change in literature is based on a rational thinking, which is both a historical contradiction and a historical necessity. The period of "Cultural Revolution" is actually a crazy and irrational history. The abrupt end of the "Cultural Revolution" caused a temporary gap in people's minds and psychology. After waking up from a dream, people can't help but calmly recall and think about the experiences in the nightmare. 1977, Liu published the novel Class Teacher, 1978, and published the novel Scar, both of which revealed the shadow cast by the Gang of Four in people's lives. After the publication of the work, it caused various shocks in the literary and art circles and became the representative of later scar literature. Other influential writers include Ru Zhijuan, Chen Guokai, Jin He, Ye, Feng Jicai, Gu Hua, Lv Yanzhou and Lu Yao. Traumatic literature is the first influential literary concept after the founding of New China. Literally, the scar literature is quite different from the literature label and naming after New China, which is essentially a rebellion against the eulogy literature represented by the "Three Prominence" in the Cultural Revolution. The massive and sensational movement of educated youth going to the countryside has ended, and the educated youth rooted in the vast world have returned to the cities, and writers, especially those with educated youth experience, have begun to reflect hard. Liang's Blizzard Tonight, Snow City in Tree Wheel, Zhang Chengzhi's Golden Ranch, Cong's Grass in the Northland, and karma all profoundly discussed the great influence of the educated youth movement and vividly recorded the joys and sorrows that only belonged to that era and could not be copied. The breakthrough of educated youth literature in literary consciousness lies in that it does not simply make a unilateral choice between concealment and negation, but when looking back at the history that many people have experienced, it not only expresses the romance, grandeur and tragic history, but also tells the helplessness, hardship and pain of special life experiences, reflecting people's rational thinking after historical fanaticism. In fact, it is also a breakthrough in China's contemporary literature to some extent. In the early 1990s, the influence of a new generation of educated youth novels weakened, and educated youth literature became a proper term for the concept evolution in the history of contemporary literature development.

Reform literature is completely close to the reality and the soul of reform. The profound social changes in China have shocked everyone's soul. The writer recovered from his concern about history (educated youth movement) and began to pay attention to the reform and development in reality. Literary works with the theme of China's reform gradually took shape. The pioneering work should be "Director Joe takes office". Reform literature is the first literary work that pays attention to and expresses social reality after the change of literary creation tendency in the new period. In the process of expressing reform practice, it does not avoid the heaviness and contradiction of reform, so it can arouse the voices of the mainstream society and the lower class, and its sensational effect far exceeds the boundaries of literature. Undeniably, the sensation of reform literature is directly related to its persistence in social reform. After that, although the reform literature is rarely mentioned again, many anti-corruption works in recent years are in the same strain. The significance of reforming literary ideas is inseparable from its social reform spirit, and it will inevitably become a driving force for the evolution of literary ideas in the new period.

Root-seeking literature can best reflect the rational thinking of literary creation in the new period. In the mid-1980s, China's reform and opening-up expanded in breadth and depth, and social fission touched all fields. Facing the trend of the times in the development of the country and the nation, what road and where will China literature (culture) take? It has aroused the strong concern and profound thinking of a group of writers and humanities scholars with a sense of urgency. From 65438 to 0985, Han Shaogong's paper The Roots of Literature was published, which can be regarded as a famous declaration of the existence of root-seeking literature. Writers began to explore national traditions, national culture and national consciousness tirelessly. They firmly believe that "what is national belongs to the world", and seeking roots is the only way for them to go to the world. Good works emerge one after another at this stage. Liu's Bell and Drum Tower, Feng Jicai's Three-inch Golden Lotus, Nawu, Han Shaogong's daddy, Chess King and king of the children in Acheng, many of them have been adapted into TV series. This is directly related to the traditional, ethnic and regional culture expressed by writers and works. If we look at the whole process and future development of contemporary literature in China, root-seeking literature may have real unique value. Because in any case, it is looking for literature (including culture), and it is calmly thinking and examining literature under the background of China and the world. In this sense, the enlargement of literary image and the return of literary essence can be expected.

Second, pioneer exploration: irrational literary tentacles

As a spiritual phenomenon, literature, like other social phenomena, needs to change constantly with the changes of the whole society. After the mid-1980s, the social reality in China is that the deepening of reform has gradually loosened the social structure, and the social value system is quietly changing: on the one hand, the role and value orientation of the market are emerging; on the other hand, the market, as an important mechanism for building an open China society, has not been formally confirmed and named. However, the original balance has been broken, the interest relationship has been readjusted, and a new order is still brewing. Just like the price dual-track system, society is in an incomplete and orderly state. The mainstream society judges that the reform is in a critical period and the society is facing difficult choices. "In this situation, the pace of introspection and adjustment of literary concepts has accelerated, and writers may lean towards popular literature such as' popular novels', but they may also turn to' literature itself', and the momentum of exploration has strengthened." The dominant context of literary reform is the irrationalization of literary concepts and literary expressions. This obvious feature of literature should be said to be completely in line with the social reality at this time. The incomplete order of society makes life very complicated, the pain of reform makes people feel frightened and helpless, and the noise of life and the disorder of social psychology seem to make people unable to enter a rational state. The new prospects of social development and social construction, which are mainly mastered by politicians, can only be seen. Literature, as the main means of image expression, can't be the interpreter and demonstrator of social development, but only the perceptor of social reality. It is inevitable that a series of literary concepts present the irrational presentation of literature.

First, new realism. Before this, writers have been paying attention to the great changes in the general climate and social life. From Chi Li and others, trivial street life has become the theme of their works. "Neo-realism" makes literature move from macro to micro, which is a breakthrough in abstract thinking for most sensitive, delicate and figurative women writers. Chi Li's troubled life, comings and goings, Fang Fang's scenery, Liu Zhenyun's chicken feathers and ordinary trivial life are all described by writers from the perspective of ubiquitous freemen, which makes readers find more * * * voices. Neo-realism is actually a circuitous strategy in the process of literary concept transformation and literary development. Mainly to make literature avoid the unspeakable expression of social essence in the important period of social evolution, so as not to make literature aphasia in the face of complex social reality. The description of ordinary and trivial real life makes literature decent.

Second, avant-garde. It is obviously different from those literary concepts that closely follow the social and political development. For the first time in the literary world, a literary concept with pure aesthetic goal-"pioneer" appeared. Avant-garde writers are deeply influenced by western culture, paying special attention to such forms as "stream of consciousness" and "magical realism". Chen Rong's Middle Age, Xu Xing's Variations Without Themes, Ma Yuan's The Temptation of Gangdise, Liu Suola's You Have No Choice, Mo Yan, Ge Fei, Yu Hua, Su Tong and Ye all entered the readers' field of vision from this time. Avant-garde writers spent their childhood in the "Cultural Revolution", so they didn't have deep scars, which made them turn to seek formal breakthroughs and finally embarked on their own creative journey from the "Avant-garde". Although the avant-garde pursues aesthetics, this pursuit is based on the writer's subjective perception. The choice of expression forms of these works alone can explain the problem. Therefore, it is not a complete and real rational pursuit.

Third, new historical novels. There is usually only one statement before history. After experiencing the novel experience of the avant-garde, the writers returned to the traditional spirit of questioning and criticism of ancient literati, and they tried to re-understand history, so "new historical novels" appeared. In Su Tong's Wives and Concubines, Chen's White Deer Plain, Mo Yan's Red Sorghum and Breastful Buttocks, writers have already had their own courage to know and write history, replacing traditional historical novels and gradually becoming the norm of historical novel creation. The new historical novel is not so much an expression of history as a deconstruction of history. It completely gave up the rational thinking of history and tore it into pieces with great vigour. Only a few enlarged characters made up several stories.

Fourth, ridicule literature (Beijing school literature). China's literature in the new period was subverted and reconstructed in 10. It seems that it is no longer serious and rational in the collision of China's social structure, and people seem to have new expectations for the appearance and performance of literature, which has to make literature think hard about how to be a "person" to make people like it. As a result, ridicule literature or Beijing-style literature represented by Wang Shuo and his works appeared in the literary world. The unrepeatable language, straightforward and fluent writing style, and the cold humor of laughing and cursing, at this time, literature no longer stood on the top of the temple and was completely overthrown, and "teasing literature" was deeply rooted in the hearts of the people. Making fun of literature makes the irrational tendency of literature reach a new height.

Third, body consciousness: the era of literary sentimentalism

1990s, China society clearly put forward the goal of establishing a socialist market economy. The market mechanism began to play a wide role in all fields of social life in China. At the same time, the development of China and its further integration into the world have made China increasingly prosperous and rich in materials. Consumption and satisfying consumption have become the most prominent features of modern life, and material desires have expanded the world. Under the slogan that life is a feeling, happiness is a feeling and even health is a feeling, we have entered the era of sensualism in an all-round way. It seems that it is under this sensualism concept that we are building a perceptual world in an all-round way. The development of modern science and technology has pushed the world into the era of reading pictures, and the audio-visual structure has become the most prominent cultural landscape in modern society. Modernization seems to be the arrangement of various images. The aestheticization of daily life makes audio-visual construction a rational demand of modern society. Marketization allows everything in our lives to be incorporated into the rules of the market and has the opportunity to appreciate. There is no doubt that literature is irrational and cannot escape the rules of the market. More importantly, the vision of literature has changed greatly. The role of the market not only makes literature consider how to write, but also what to write. Everything with market and demand has become the content of literary expression. Literature is no longer just an understandable spiritual product, but also a sensible commodity. Literature has also entered the era of sensualism.

First, body writing. If all the previous concepts are metaphysical spiritual level, then "body writing" has completely become a metaphysical material level, advocating human senses, chasing vanity, spreading the beauty and sexiness of the body, taking emotional games and sexual feelings as the content of literary keen expression, and striving to achieve spiritual breakthrough through physical breakthrough, thus breaking through the inherent procedures of literary works, such as cotton candy and cotton candy. The out-of-line description of some works in body writing has been criticized and controversial. The birth and sensation of body writing embodies the freedom of literature itself and the opening of literary market.

Second, the beauty writer (male writer). The concept of beauty writer and body writing overlap, but there are still differences between them. "Body writing" still pays attention to writing itself, while "beauty writer" and later "beauty writer" completely abandon the rule of speaking with works and pay full attention to the writer's appearance. To paraphrase Mr. Qian Zhongshu, it can be understood as follows: no matter whether the eggs are nutritious or not, the chickens that lay eggs are beautiful.

Third, after 80. In 2003, the concept of post-80s came into being, and its authors were all post-80s, most of whom came from the Internet or the New Concept Literature Competition. Because of their lack of life experience, their works pay more attention to their keen inner feelings. Han Han, Jing M.Guo and Zhang Yueran, though not famous for this concept, are recognized as Troika after 80s. In the late autumn of 2004, more and more writers among them declared that they did not belong to the post-80s generation. After introducing Li Shasha, Fion Sun, Haruki and others, it completed its historical mission. If we want to summarize the post-80s style and influence, it may just be nothingness after the bubble.

Fourth, the literature of pain. Following Bi Shumin's controversial Save the Breast (about breast cancer), Zhejiang Literature and Art Publishing House published Zhao Yuhong's The First Disease in China (about hepatitis B), and Shanghai Century Publishing Group published Taiwan Province writer Xu Yousheng's Good Night, Melancholy (about depression). More novels and documentaries with diseases as the theme appear, with diseases as the background and patients as the protagonists, with profound social background. Ill literature will be a long-term concept, and literary works are just a form. What we are more eager to realize is that the whole society cares for patients and creates a living environment without discrimination.

In the new era, literature is constantly splitting on the express train of China's modernization and globalization. Today, China's concept of literature is much richer than that of the first 30 years of contemporary literature, and even that of modern literature in China. The spiritual pursuit and formed character of literature gradually presents openness, freedom, equality and non-self-discipline, so we don't rashly evaluate it here. But what we expect is to rebuild the spiritual value of China's literature in the transformation and evolution of literary concepts, so as to lay the foundation for the glory of China's literature and its going to the world.