Zhu was born in Shanghai, 1957. My ancestral home is Wuping, Fujian, Han nationality. He is one of the most influential cultural scholars in China and one of the best contemporary critics in China. 1983 graduated from the Chinese Department of East China Normal University, and received a doctorate in philosophy from the University of Technology, Sydney, Australia in 2004. He is currently a professor at the Cultural Criticism Research Center of Tongji University and a professor at the School of Humanities of Tongji University. Visiting Professor of Sichuan University, Yunnan University, Xiamen University and Guangdong University of Foreign Studies. New Century Weekly and Caixin columnist. com。
Zhu enjoys a high reputation in the cultural circles of China. He is avant-garde and wise, and his words shine with reason, passion and attention. He made many fierce and sharp criticisms on China's cultural status and social disadvantages with his unique way of discourse-"Zhu Yu". His profound knowledge, solid academic foundation and rational and profound observation of cultural status quo have exerted a wide influence in the field of contemporary cultural research. Mecca, the winner of Mao Dun's Writer, once commented on Zhu: "He scared some people because he refused to be kitsch; He makes people who are afraid of him still respect him. " "He is the child who cried out' He didn't wear anything' by Andersen! "
In September, 2006, Phoenix Life magazine published the list of 50 China people who have influenced the future of the world, and Zhu was selected as "China Cultural Observer".
On June 20th, KOOC-0/4th, Zhu published the book "Ancient Gods of China", which is the academic research achievement of more than 20 years. This book explores the origin of ancient cultures and myths in China in a unique way from a cross-cultural global perspective, and finds and proves that ancient religions/myths all over the world originated in Africa. This is the third original academic contribution after American scholars found that global Homo sapiens originated in Africa and New Zealand scholars found that global language originated in Africa, which is helpful to correct the traditional view of the origin of human culture. Starting from 1949, it is considered academic in China.
Chinese name: Zhu.
Ethnic group: Han nationality
Place of birth: Shanghai
Date of birth: 1957
Occupation: scholar, teacher and critic
Graduate school: University of Technology, Sydney
Major achievements: discovering and proving that all the ancient religions/myths in the world originated in Africa; "China Cultural Observer"
Representative works: Ancient Gods of China, Feast of Thieves, Burning Labyrinth, Lonely Majority, Zhu Shouwang Series (5 volumes).
personal record
1In July, 983, Zhu graduated from East China Normal University and was assigned to the Chinese Teaching and Research Section of Shanghai University of Finance and Economics to teach College Chinese. Due to the inconsistency with his major and research field, and the lack of humanistic environment in college, his mood turned to depression, "losing his direction, disheartened and doing nothing." During this period, except for a film system theory, he almost stopped all his writing and was dormant for nearly two years.
The turnaround occurred two years later. From 65438 to 0985, Zhu was invited to participate in the national seminar on new methods of literary criticism held in Xiamen University. "This changed my future." This competition gathered almost the best and most popular talents in China at that time. Zhu, by contrast, is a "nobody". Shortly after his return, his first poetry review, The Troubled Generation and the City Dream, was published as 1986 in the famous avant-garde magazine Contemporary Literary Thoughts.
"This article completely deviates from the general criticism standard. It is naive, but full of murderous look and whimsy. It is better to show off yourself than to explain other people's works. " Zhu himself disagreed with this article, which caused widespread concern in the literary world.
1986 published the defects of Xie Jin's film mode, which caused an uproar at home and abroad. At that time, Zhong Dianfei, president of China Film Criticism Society, wrote an article: "Zhu's article is very shining, not only as a theoretical summary and courage, but more importantly, he regards film as a cultural phenomenon, showing a sense of responsibility for the whole society and literature and art."
Since then, through a series of literary studies and critical articles, Zhu has become famous in China's literary world and established his position as a pioneer critic. "At that time, I was young and energetic, and I was going crazy." He said that in a high-standard academic meeting, you can also despise the participants, say something casually, and then leave the meeting on the spot, "because you don't care about other people's feelings and offend many people."
"This is related to my growing environment. As an only child, I am desperate for freedom and independence. I have been playing by myself since I was a child and I am used to loneliness. " From primary school to middle school, there is always the word "complacency" in his report card comments. "Teachers always want me to be' arrogant and impetuous'." Nowadays, Zhu seldom argues with others. He thinks that "it is meaningless and a waste of time." When he said this, he still showed pride that was carefully hidden.
Zhu is 50 years old (in 2007). "In fact, I knew my destiny at the age of 40." He took the tea and took a sip. "I am a very controversial person. Some people like it and some people hate it." He lowered his head and raised his head. "In fact, controversy is the best state. It is not normal that there is no dispute. I write for the next century because history is the best judge. " (Excerpted from an interview with Huaiyao)
main work
Zhu's representative works include: The Burning Labyrinth, The Noisy Times, The Lightning of Words, The Cultural Calendar of the Night's Watch, The Feast of Rogues-The Rogue Narration in Contemporary China, The Little Red Book of Memory, Myth, etc. Editor-in-chief has books such as Cultural Map of China in 2 1 century (large-scale cultural yearbook, eight volumes in Chinese version, Cultural Criticism in Japanese version) and Cultural Criticism (the first textbook of cultural criticism in China academic circles).
1 Memory Little Red Book
Zhu's writing, called "Zhu Yu" by many people, is a metaphorical writing interwoven with sensibility and rationality, which has been loved and imitated by many young readers for many years. This book is the integration of most of the author's poems, essays, essays and novels in the past 20 years, some of which are representative works of modern Chinese. The author's profound views on history and reality are intertwined in a gorgeous and tough style, forming a unique narrative-interpretation style. The pictures in the book are also an extension of metaphorical writing, which can not only meet the visual needs of the era of reading pictures, but also contain intriguing cultural codes. In an era of rampant cultural rubbish and increasingly serious reading anxiety, this book has a collection value that cannot be ignored.
2 "The Feast of Rogues: Rogue Narration in Contemporary China"
This book explores the phenomenon of rogue discourse prevailing in contemporary China. Contemporary China is divided into two societies, one is the national society, and the other is the disorderly, faithless, authoritative and immoral rogue society. Based on the 200 million refugees who left the land, it has become an invisible attribute of contemporary China. This book takes identity theory as the logical premise, rogue discourse as the object, and cool language, obscene language and profane language as the analysis elements, and makes a comprehensive, in-depth, unique and novel interpretation of the rogue narrative mode permeated in various cultural styles (novels, poems, fine arts, music, popular culture, etc.). ), convincingly reveals the basic characteristics of rogue discourse. It is refreshing to read. It is a great breakthrough in the study of hooliganism and a rare achievement in the study of discourse in China's ideological circle in recent years.
3 Cultural Map of China in 21century (* * * eight volumes, published by Guangxi Normal University Press, Shanghai University Press, Jilin Press, Commercial Press, Tongji University Press, etc. The Japanese translation of this series of cultural yearbooks is A Survey of China Culture, published by TAG Heuer Press. )
In the process of dealing with various cultural phenomena at present, the editor tries to truly and effectively break into the scene of cultural spirit, and takes the independent position and rebellious spirit as the basic coordinate system of this "cultural map" and the Selected Works of Criticism records the spiritual elevation of annual cultural criticism; The latitude of "keywords" marks the key marks at all levels in the public cultural space; The meridian of "cultural events" is divided into annual time units, showing major events in various cultural fields. The annual cultural hologram described in this way should be complete or partial, so as to confirm the "self" orientation of cultural individuals and gain a clearer insight into the spiritual orientation and trend of China culture. Walking on this virtual cultural "map", people will meet all kinds of people and things, and breathe the spirit of this era through observation and observation.
4 Watchman Cultural Calendar (1999-2004)- Blade Collection
This book contains most of the influential literary, cultural and current political commentary articles of the famous critic Zhu from 65438 to 0999 to 2004. All the articles were published in China Newsweek, Southern Weekend, Southern Window and other well-known media, and some of them caused widespread controversy. As one of the most representative critics in China in 1980s, Zhu still maintained a sharp and profound criticism style. Compared with his research on theology, mythology and cultural hermeneutics, his cultural criticism is more "lethal", so he has the reputation of "sealing his throat with one sword" Zhu's critical style and discourse style have exerted a subtle influence on "cynicism criticism" since 1990s.
5 "Lightning of Words"
As one of the most famous cultural scholars in contemporary China, Zhu's articles have few words, but almost all of them have important ideas. Lightning of Words contains his most representative papers 13 since the mid-1980s, including Hollow Literature, Burning Labyrinth, Sweet Journey and so on. These words fully show the author's keen thinking and broad vision. Zhu's way of speaking may be out of date in this era of consumerism, but his unique way of speaking is really like "lightning", which can open up mental problems and illuminate the pallor of the times.
6 "fugitive files"
In the field of "cultural criticism", Zhu has always been unique with his innovative style. In this book, he tries to expose the maze of culture with sharp language and torture the myth of history with radical wisdom. Faced with various cultural phenomena, he confidently went to the stage, pointed fingers, exposed and corrected mistakes, declared the truth behind the facts, and declared: "I want to judge."
7 "Top Ten Writers' Critical Books"
This is a riot and subversion of the current China literature, which has pulled down the "classic" writers who have gained improper fame.
8 lonely majority
Loneliness is to maintain spiritual independence. This book brings together the thoughts of the famous cultural scholar Mr. Zhu on the current culture of China, covering many aspects such as culture, literature, movies, architecture, history and geography. With the social conscience of an intellectual, Mr. Zhu tells the spiritual loneliness of individuals and the times under the changing times: the "world loneliness" in which faith and loyalty are lost, the "discourse loneliness" in which everyone is drunk and I wake up alone, and the "cultural loneliness" in which people look for their souls to convert in the flashy times. In his writing, he shows his concern for the whole human culture from time to time, and thus shapes the lonely image of culture: loneliness, which is also a climb of civilization.
9 "Cultural Criticism"
This book is the first book on the principles of cultural criticism in China academic circles, which describes the basic situation of contemporary culture in China. It covers the cultural logic, cultural production, communication and consumption, generation and interpretation of cultural symbols, myth and cultural ideology, identity, power and cultural identity, body and gender, utensils culture and lifestyle, space politics and cultural geography, time and memory, sensory culture and other topics in contemporary China, and comprehensively expounds the main positions, viewpoints and methods of western and local cultural criticism.
Zhu Watcher series myth, judgment, utopia, prophet and time.
Five anthologies including Myth, Trial, Time, Utopia and Prophet are selected from two aspects. One is Zhu's old works, such as The Burning Labyrinth, The Noisy Times (Lightning of Words), The Watchman's Cultural Calendar and The Red Book of Memory. It may face a wider readership.
Related remarks
1 on the cultural relics market
In June, 2065438+0/KLOC-0, Zhu, a professor at the Institute of Cultural Criticism of Tongji University, pointed out that gambling in the cultural relics market at present is the greatest sorrow for ancient artifacts and the inheritance of their civilization. Casino effect has created a large number of super gamblers, but it can't cultivate lovers, appreciators and protectors of cultural relics, and can't be transformed into a benign driving force to promote the cultural revival of China. Zhu believes that on the one hand, the price of cultural relics soared, and on the other hand, the overall cultural value collapsed, forming a sharp allegory. The story of the cultural relics market and the old palace proves to us that the remaining historical and cultural resources have been arbitrarily embezzled, speculated, carved up, consumed, degraded and poisoned.
2 About Lu Xun's remarks
In the book "Colonial Lu Xun and the Rise of Hatred Politics", Zhu wrote: "Before his death, Mr. Lu Xun finished his essay" Death "on his deathbed and made a famous" last words "on the manuscript. These "last words" are all written in negative sentences. This is not so much a farewell speech to his family as his highest declaration. Lu Xun took this opportunity to make a final judgment-declaring this dirty colonial utopia mutually assured destruction with himself. Due to the appearance of this' last words', an ideology that I called' hate politics' was born, which had a far-reaching impact on the political movement in China in the twentieth century. " In my opinion, Lu Xun's announcement of his "last words" in advance is an attempt to make "private affairs" or "family affairs" public, that is, to turn it into a major political program. It shows that after a long period of vacillation, Lu Xun finally abandoned the few remaining love words (this kind of desperate love words is Lu Xun's basic discourse posture in the' wild grass era'), that is, he completely abandoned the feelings of love and its ethics and became a pure hater. Intriguingly, due to the discourse strategy of "personal last words", in this crucial document, Lu Xun cleverly avoided the * * * productism movement that he has been endorsing (this is a fact that many Lu Xun researchers are trying to avoid). Obviously, any love for Marxist theory, which is intertwined with love and hate and full of humanitarianism, will make Lu Xun retreat from this extremely loveless hatred position and fall into a contradictory dilemma. "
In an interview with "I am Lu Xun's Child", Zhu said: "Reflecting on Lu Xun is a part of the overall reflection on the New Culture Movement. I have always insisted on separating the early Beijing Lu Xun from the late Shanghai Lu Xun. Beijing Lu Xun is undoubtedly the most outstanding writer in modern China. His Scream, Wandering, Weeds, Graves and New Stories have unparalleled charm. But Lu Xun in Shanghai needs to reflect. In his later years, he lost love, leaving only hate. His hate politics in his later period was exploited and became the source of historical violence. This is the tragedy of Lu Xun and the tragedy of the times. Lu Xun is a complex combination of human nature, and his single modeling misled people. Lu Xun should be reduced to an adult, not a perfect statue of King Kong. I have learned a profound lesson in this respect. I am not perfect, the only thing I can do is to constantly adjust myself-on the one hand, to maintain the intensity of cultural criticism, on the other hand, to avoid personal attacks. This is a balanced game. I often feel like a gymnast, struggling to walk on the tightrope of words. Lu Xun and Hu Shi are outstanding creators, not watchmen. To restore and re-recognize Lu Xun is to correctly clean up his discourse heritage, filter out unhealthy parts and revive his literary career.
3 Zhu's remarks on the science of artifacts
About the sword: this is really an era of heroes coming forth in large numbers and shining. A large number of swordsmen fought and died in rivers and lakes, and their blood wrote a magnificent chapter in classical swordsmanship. The most incredible violence grows with love, friendship, courage and ultimate care. The brow is red, but the small and lonely little tree has become a solid monument, showing us all the possibilities of life expansion. The hardest thing and the weakest life form a sacred alliance. (Excerpted from Sword: The Spirit Standing on a Sharp Blade)
About the bronze tripod: the royal family's wanton expropriation of folk and nature has intensified social contradictions. A political disease called "bronze tripod syndrome" began to spread in Shang Dynasty, then spread to Zhou people with Jiuding, and a vicious attack occurred again in Zhou Youwang, which led to the demise of the Western Zhou Empire. The heavy bronze tripod changed the vast battlefield of the Tang people, forcing them to give up nomadic customs completely. After hundreds of years of agricultural domestication, the tough hunter has become infinitely warm, and it can't even resist the attacks of nomadic tribes like Gou Rong. The bronze tripod is not so much a symbol of social stability and harmony as a symbol of national disasters and diseases. However, with the maturity of the Iron Age, the differences between the emperor and the people became increasingly serious. By the reign of Emperor Wu of the Han Dynasty, a large-scale private iron trust had been formed, and a few iron merchants monopolized the production and sales of the whole Far East, and iron became the basic element of agricultural cultivation and daily life. The three-dimensional bracket used to make a fire reappeared, and the tripod's feet became a white elephant. This pot was reborn 8000 years ago, but its material has changed from clay to pig iron. The iron pot completely replaced the bronze tripod and became the main body of the people's kitchen. After suffering from "bronze tripod syndrome" for nearly a thousand years, tripod has sadly withdrawn from the historical space of the Chinese nation. The jar returned to its original shape. Originally, it was the utensils of the people, belonging to ordinary things such as daily necessities. Due to the resurrection of the pot, food is no longer exclusive to rulers and nobles, but has become a daily item on the table of the people, re-emitting a wonderful secular atmosphere. Ding has become a wonderful imperial memory, which often flashes in the dreams of emperors, showing the flashy scenes of political banquets in the past. (Excerpted from Southern Weekend, February 2007 15)
About Yu Ling: The moralization of jade was completed by the Confucian Group in the Spring and Autumn Period. Under the background of the decline of the Zhou Dynasty, Confucian scholars formed the earliest team of secular jade experts, and their praise was earth-shattering, raising jade to the height of moral symbol. They described the jade as hard and meticulous, bright and cold in color, warm in temperament and clear and comfortable in voice. This is a rare compliment, and Confucianism and jade studies have formed a solid alliance. Their actions provide an excellent sample for the extension of jade research in history. The secular ethical semantics carried by jade are so grand that moral philosophers in the pre-Qin period were infinitely surprised. We were told that when Confucius was sent to other vassal States, he held the jade laurel respectfully and carefully, as if he could not lift it. When he lifted it, he seemed to be bowing, and when he put it down, he seemed to be handing something to someone. His face is as serious as shaking, and his steps are very small, as if walking in a straight line. This is not out of awe of kingship, but an unusual moral expression, aiming at announcing the life connection between Confucianism and jade. Confucius is an outstanding actor. He wants to show the world a brand-new relationship between people and things. Jade is not an artifact, but the condensation of a gentleman's soul, which exudes the rich aroma of intellectuals' virtue. In addition to the shape and temperament of jade, Confucian scholars saw their dignified faces. Jade is a huge mirror image of the scholar spirit projected on minerals.