The Content Outline and Post-reading Feeling of Zhou Libo's Great Changes in Rural Areas
The preciousness of Great Changes in Rural Areas lies in the fact that it is a gallery of China contemporary literature, and a number of vivid and vivid characters such as Deng Xiumei, Liu Yusheng, Li Yuehui, "Pavilion Paste", Wang Jusheng and Zhang Guiqiu have been added. In particular, the old farmer "pavilion batter" is simply the brother of the funny old grandson in Storm, which is very plump and full of three-dimensional sense.
In terms of characterization, Great Changes in Rural Areas has distinct national characteristics, and each chapter focuses on portraying a character and describing a thing. The author is good at highlighting the characters' personalities through individual actions in sharp contradictions and conflicts. It is obvious to learn the techniques of depicting characters in classical novels.
Great Changes in Mountain Villages has strong local characteristics of the South China. The delicate and handsome rural geomantic color and unique local customs and folk customs in Hunan mountain villages endow the novel with a special cultural connotation and create a beautiful artistic conception that fascinates readers.
Zhou Libo is a master of language control, and the language in Great Changes in Mountain Areas is fluent, beautiful and natural. The dialogue between characters is humorous, subtle and vivid. In particular, the use of the dialect of Hunan dialect can be seen in the skill of language masters.
Appreciation of works:
"Zhou Libo's novel Great Changes in Rural Areas" 6, although not the first novel to describe the cooperative movement with art, is not the novel with the most theoretical depth, but it has a very distinct artistic personality, that is, from the natural, clear and simple folk daily life, it opens up an artistic aesthetic space completely different from the severe and urgent political space. Zhou Libo participated in the left-wing literary movement in the 193s, and he has a good literary accomplishment at home and abroad. His translation of Sholokhov's novel The Virgin Land and Keesh's reportage collection The Secret China are both literary works of great fame. After Yan 'an Forum on Literature and Art was held, he consciously gave up the original road of literary accomplishment and creation, and at the same time, he tried to go deep into rural life and learn the language and art from the people. His first novel, Storm, took the land reform movement as the theme, and once won the second prize of Stalin Literature Award together with Ding Ling's novel The Sun Shines on the Sanggan River (1951). However, this novel was not successful in learning folk, but only stayed at the superficial level of local colors and dialects, which was out of touch with the overall style of the work. In 1955, his family moved to his hometown in Hunan Province to deeply understand and study the farmers' mental state in the cooperative movement, perhaps because of writing about his hometown. The Great Changes in Mountain Villages successfully showed the writer's unique artistic language and creative personality, which was quite eye-catching among similar themes.
With regard to the cooperative movement, there is no doubt that Zhou Libo stood in the position of the times and encouraged farmers to take the road of cooperative movement. The basic conception and character relationship of the novel, including the design of class struggle in rural areas, are consistent with the mainstream ideology. This is similar to Liu Qing's History of Entrepreneurship, but the difference is that the author of the History of Entrepreneurship has a more rational grasp of the rural class relations and their conflicts, and thus has a deeper thought and a sharper character conflict. However, it should be pointed out that this profundity and sharpness are all from the standpoint of the mainstream ideology at that time, and it is these two points that are lacking in Great Changes in Rural Areas. The writer put a political movement on the stage of folk life, avoiding the profundity of thought, but in exchange for the nature, mellow beauty and harmony of human feelings; Avoid the sharp expression of contradictions and conflicts among characters, but write a few vivid peasant characters in a casual way. "Folk culture form" is a complete artistic whole in literary creation, and the isolated use of "national form" and "folk language" cannot explain the true artistic achievements of the novel.