The countryside has undergone new changes after entering a new era. How do writers recognize and imagine this change becomes an unavoidable problem in literary studies. The recovery of physical senses is the primary goal of the return of human subjectivity, and the most direct emphasis on the senses of the body is the emphasis on diet, because diet is the basis for human survival, and there is no real body without diet. In the local literature field of the 1980s, the writing of diet was quite different from that of the previous period. In general, it can be divided into two kinds of coordinates: one is “looking backwards”, that is, the political culture in the 1980s. The environment re-examines the history of hunger in the past, telling the history of hunger in new words; the other is “looking forward”, that is, capturing how new political and economic policies enter the countryside and are associated with rural eating and drinking. Through the investigation of the dietary writing of local novels in this period, we can see how the local literature field generates and interprets the subjectivity, how to interact with the ideology and participate in the ideology construction.
One
The existence of hunger is rarely seen in the local novels of the 1950s and 1970s, because writers focus more on the production and construction under the emerging regime. The hunger’s functional feelings are completely alleviated by the anxiety of the collective cause, and the spirit of enthusiasm is naturally Can’t be tarnished by the hunger of the flesh. Moreover, for the emerging modern nation-state, hunger is yesterday, history, and obviously does not have the narrative legitimacy of the present. Therefore, it is difficult for us to see how hunger is present. When the feeling of hunger has to appear, writers often collage it on the opposite side, such as Ma Yueyue, Guo Zhenshan, etc., or mention it in the “hard years” – the time of hunger is long gone, now The life is happy and beautiful. The “Red Flag Spectrum” depicts the scene where Zhang Jiaqing and other revolutionaries are surrounded by food in the school. As a revolutionary, Zhang Jiaqing must not give in, so he climbed trees and collected leaves, and continued to fight against the leaves to fill the hunger. “He feels that eating gimmicks and eating meat doesn’t feel anything. At this moment, just a little bit of steaming leaves, but deeply shakes his heart.” A work highlights the hunger of the revolutionary will. The optimism and passion that emerged just diluted the truth of hunger. In the radical and fanatical political and cultural environment of the time, writers evaded sensitive topics such as three-year natural disasters, right-hand labor reform, and the age of intellectual suffering in depicting the countryside, but when the new period came, they could not get the history of the expression. Become a resource for writers to explore.
Zhang Yigong’s “The Story of the Prisoner Li Tongzhong”, Zhang Xianliang’s “The Son of the River”, “Greening Tree”, Song Xuewu’s “Hay”, Acheng’s “Chess King”, Zhang Wei’s “Ancient Ship” and many other important rural narratives of the 1980s are involved in this. Three dimensions. For the writer personally, trauma and suffering become their lingering plot, and they vent their pain to heal the soul. The more important reason is that the history of hunger in the past has become an effective path for writers to participate in the construction of ideology. “The Story of the Prisoner Li Tongzhong” is a work involving hunger that has caused repercussions in the literary world at the beginning of the new period. The party secretary Li Tongzhong had to steal food for the life of the whole village. He was later convicted as a robber and finally rehabilitated in the new era. The work reflects the three-year natural disaster period, and the presentation of the most basic dietary needs of people also brings the individual back to the literary track. In addition to the characterization and reflection of history and the mainstream discourse, the text actually contains some more meaningful content. In the novel, Yang Wenxiu, the secretary of the commune, tried to resolve the crisis with his “intelligence”. The method he used was only to promote the processing of food, that is, the processing of corn husks, sweet potato glutinous rice and other materials, but in fact they were all fraudulent and could not solve the villagers. The problem of hunger. The generation of food processing in the text is reminiscent of the “coarse grain and fine food” in “Li Shuangshuang’s Biography”. If the “coarse grain is eaten” in “Li Shuangshuang’s Biography” is to respond to the modernity appeal of the nation-state by including individuals in the group, then “The Story of the Prisoner Li Tongzhong” provides another kind of deception through food processing. Thinking: Is it reasonable to sacrifice individual happiness for the collective false prosperity? The hunger of the villagers and the choice of Li Tongzhong for failing to endure the deception of the villagers and then taking risks have shown how the personal discourse gradually gains legitimacy and how the collective discourse gradually becomes aphasia. The struggle for personal discourse for collective discourse is equally clear in The Sons of the River. Although Wei Tiangui is a cadre, he does not practice collective discourse in his own independent kingdom. He did not deal with the collective discourse of the right-winger, Yu Xiaozhou, and did not evaluate Han Yumei on a politicized moral scale. He fought in the famine period and colluded with Hao San to kill the flock to benefit the villagers… Wei Tiangui’s behavior is obviously contrary to People’s cognition of the traditional “party cadres” and the rewriting of the image of cadres in the narrative texts of the 1950s and 1970s. However, Wei Tiangui’s various behaviors have really allowed the country to survive the crisis. Yang Wenxiu’s falsification is to suppress personal discourse by hypocritical collective discourse, while Wei Tiangui’s falsification is focusing on the actual situation of the person, but the brilliance of the individual’s light. Li Tongzhong still has a conflict of love and reason in the face of famine, but Wei Tiangui can smoothly swim in Between the two. Li Tongzhong eventually got rehabilitated, but the conclusion of the review was also recorded in black and white. If Zhang Yigong still hesitates when he affirms his personal discourse, then in Zhang Xianliang, this hesitation is almost nowhere to be found, because the setting of Wei Tiangui, who is rich in folk grassy atmosphere, presupposes the value and rationality of human beings.
The story of “Prisoner Li Bingzhong” and “The Sons of the River” tell the story of the village cadres who observe the hunger of the villagers and then rescue the villagers. The work also participates in the transmission of political ideology when emphasizing the subjectivity of the person: Isn’t the real party cadre should serve the people in a realistic manner? The expression of hunger in these two novels shows the failure of collective discourse to personal discourse because of the role of the party’s cadres, and Zhang Xianliang’s “Greening Tree” completely attaches the experience of hunger to individuals. As a “returner”, Zhang Xianliang reviewed his career in labor reform and made a literary expression. Zhang Yongzhen’s desire to eat almost crazy is full of text. He said at the beginning: “Hunger, far more powerful than the whip in his hand, has already driven mercy and sympathy from people’s hearts.” b Then Zhang Yongzhen began a series of crazy moves: the special use of cans The structure is more grainy, scraping the cage cloth, playing with the dumplings before going to bed, deceiving the peasants in exchange for more yellow radishes… Zhang Yongzhen’s intellectual characteristics enable him to speculatively obtain more food in the labor camp, he claims: “Now I am living to live, to live alive.” c “The belly gave me the most materialistic education.” However, traditional intellectuals do not indulge in material desires, and Zhang Yongzhen’s behavior clearly goes to self-dissolution. He even went to the “American Hotel” (Ma Lihua) to satisfy his appetite. The adoration of intellectuals by Ma Yinhua made the identity of Zhang Yongzheng intellectuals clear and clear, and the novel presented Zhang Yongzhen’s conflicts at the spiritual and material levels. Zhang Yongzhen defended himself: “Why, I went to the Malay flower house, not only have the needs of the stomach, but also the desire of the heart.” But all this is based on the donkeys and potatoes provided by the horseshoe. If the horse flower does not provide extra food for Zhang Yongzhen, Zhang Yongzhen does not need to go to the place of the horse’s flower frequently. Can his intellectual identity be settled rather than suspended? Therefore, on the surface, the novel gradually highlights the spiritual nobleness and superiority of intellectuals. However, in fact, the text has long established the internal order of matter before the spirit. The nobleness of intellectuals is produced under the premise of hunger elimination. In addition to “Greening Trees”, Zhang Xianliang followed the same concept in “The Love Story of Touls” and “Half Men in Women”: Qiao Anping established contact with “I” with food, and “I” gradually became able to In the event of a spiritual meeting, I can feel the pain of her life; After Huang Xiangjiu brought “I” a home that was worn and worn, “I” had the awakening of male self-esteem. What is worth paying attention to is what kind of value norm has Zhang Xianliang established in his series of hunger narrative attempts? We know that the identity of intellectuals did not have natural legitimacy after 1949, and after 1957 they experienced both physical and mental suffering. When the regime reopened its arms to intellectuals in 1978, what kind of attitude will intellectuals adapt to? Zhang Xianliang naturally guards the intellectual attributes of intellectuals, but Zhang Yongzhen’s entanglement between material and spiritual and the logic of text narrative seem to indicate Zhang Xianliang’s position: the nobleness of the spirit is indispensable, but the suffering of hunger should also be avoided. Through the elimination of hunger and the construction of a full personality, Zhang Xianliang actually continued the inner texture of “The Sons of the River.”
Also related to the hunger experience of intellectuals in the countryside is the “Chess King”. Wang Yisheng and “I” have a very different understanding of eating, and the text shows the concept of confrontation between the two. Wang Yisheng pursues simplicity. He is very religious about the basic dietary needs. He upholds the philosophy of “people must be content, and they are full of happiness”, while they are vigilant against the “squatting” of eating, but “I” I think that “people eat, not only the needs of the stomach, but also a spiritual need.” The conflict between the two concepts is transformed into a conflict that emphasizes material and values spiritual needs. The author has repeatedly highlighted the difference between Wang Yisheng and the “I” cultural background: Wang Yisheng could not understand that “I” was bored in the ravine because there was no book, no electricity, no movie, and he could not understand “Love Life”. “Bonsh”, did not hear “short songs”, and did not know who Dukang is. Therefore, the communication between “I” and Wang Yisheng seems to be very difficult. In the same way, it is difficult for Wang Yisheng to complete the interaction with his well-behaved and well-informed feet. When the eggs talk about the exquisiteness and expensiveness of the bird’s nest, Wang Yisheng used the phrase “I bought fish and shrimp, tied together, does not equal bird’s nest?” h deconstruction, and the two also lost the possibility of dialogue. Thus, the novel presents the difference between Wang Yisheng and “I” and the foot egg – “I” and the foot egg have higher spiritual needs and cultural taste, but Wang Yisheng is willing to be ordinary and monotonous secular life. However, the novel also produced a narrative split when it expressed Wang’s doubts and vigilance over the demand beyond the survival baseline. “Chess” not only becomes a clue through the text, but also constitutes an important theme of the novel. However, playing chess is obviously not necessary for survival. Although Wang Yisheng repeatedly stressed that eating is good, he also has higher demand. He was not only obsessed with playing chess and studying the law, but even when he took out the Ming Dynasty ebony chess from his home, he also “very carefully touched and tightened his face.” Therefore, Wang Yisheng actually has a relationship between material needs and spiritual needs. Although he has always avoided admitting his spiritual needs, the text clearly reveals this. Since Wang Yisheng also has spiritual needs, then there is a channel for communication between “I” and the feet, and how does the novel complete the alliance between the three? This is going to return to the end of the novel, and it is also the climax of the novel, that is, Wang Yisheng’s nine-game serial battle. The nine-person serial wheel war is intense and exciting. Wang Yisheng is obsessed with focus and unrelenting. Simple chess has become a battlefield, full of pride and discouragement. When the old man summoned, he said something very rich: “When you are young, you have this kind of chess. I watched it. The Zen Buddhism is in a furnace, and the magical machine is good. It is first and foremost, and then the people are sent to the river. Through the yin and yang, the ancient and modern Confucianism, but this is the case.” J Wang’s life-long chess skills have gone beyond the level of daily entertainment and reached the metaphysical height. At this point, Wang Yisheng has actually completed the transcendence of secular life. “I” and the foot of the egg were deeply shocked in the process of watching the chess, and completed a recognition of Wang Yisheng’s spiritual world. It should be said that this has marked the victory of the spiritual world in the material world. Later, the author reinforces the lofty and superiority of the spiritual world at the end of the novel: “The food is the present, the human being is the one who is busy every day. It can be squatted in it, and finally it is not quite like human.” Saying that the order of material and spirit is established in “Greening Tree”, and at the same time affirming the role of both, then On the basis of this, “Chess King” has raised the noble spirit. When intellectuals re-emerge in their own era, highlighting their own values in order to seek the right to speak in the new era will inevitably become their choice. The novel may contain such an imaginary path.
If the above texts have a relatively clear time scale, then the time in “Dog Day Food” has become blurred and secondary. Despite the fact that “the land is not too long”, “the team’s dining hall collapses, the land is plagued”, the “work points” and the “food purchase certificate” also remind the narrative of the historical period, but the naked look at hunger, the survival of the truth Concerns have become the focus of the novel’s narrative. As soon as the novel begins, it will materialize the bag, not only equating it with two hundred pounds of grain, but also the word bag is also a metaphor for hunger – always filled with dissatisfaction. The text then appeared in the bag to deal with hunger: refuse to help the husband’s brother, use the leaves to porridge, steal the pumpkin, sift out the corn kernels in the manure, dig wild vegetables, cut the gourd and so on. However, all kinds of crazy behaviors in the bag are not embarrassing and awkward, but they reveal valuable tenacity and unyielding. However, after fighting for hunger for a long time, the bag was finally defeated. After losing the food bag, the bitter almond was broken and the gas was broken. The ending of the bag is sad. In the cracks of the desperate situation, all efforts are made to survive, but after all, the policy is tough. Such a ugly, sultry and sultry mother-in-law has faded the external moral aura, restores the most primitive side of human nature, and exposes the living state of the person naked to the reader. This is naked and even with a trace of horror. In stark contrast to the intellectual hunger narrative, the spiritual enlightenment that intellectuals confirm after material satisfaction is completely alienated in The Dog Food. When can food be met? At the end of the story, the old people said a story worthy of deep thought: “It’s ‘Mu Zi, it’s food. It’s a good thing that the past generations will not be able to give up and let them die.” “When the tyranny of history and the tragic return to calm, will the problem of hunger be solved forever? At the end of the novel, hunger is brought into the depths of history. Words such as food, survival, and humanity are bound to each other, and will eventually oscillate again in the long sequence of time.
These texts related to hunger have become the unique landscape of the literary field in the 1980s, and the affirmation of human values and dignity has become the narrative position of writers. The reason why the expression of individual subjectivity by hunger is allowed within a certain scope is that such a narrative stance completes the complicity with the mainstream ideology: the tragic hunger, the inhuman history of annihilating the individual has passed, nowadays Life is thriving. That is to say, the crucifixion of the past lies in the declaration of termination and opening in the way of time nodes, with a painful response to light and beauty. This shares a similar structure with the writing of hunger in the local novels of the 50s and 70s. Zhang Yongzhen regarded the labor reform career as a practice. After the end of the suffering, there was a phoenix-like self-movement; Li Tongzhong was convicted after stealing food, but he was finally rehabilitated in the new era; the food was included in the richer after the death of the sack. Deep thinking, thus keeping a certain distance from history. These senses of distance in the face of suffering and the “bright tail” have intentionally or unintentionally catered to the demands of mainstream ideology and complete the interaction with ideology.
two
Although rethinking the hunger phenomenon of farming civilization in the special historical period to some extent responded to the ideological appeal and participated in the construction of ideology, it is also possible to touch the past history, because the intervention is too deep, and the effort is too strong. In the cold, it started to wave. The story of “Prisoner Li Bongzhong” was heavily resisted when it was published. It was even strongly opposed by the relevant departments when it participated in the novella prize sponsored by the “Arts and Literature”. The “White Sails of the Far”, which was based on Weixi’s own labor reform career, was also attacked by many parties. After the publication of “Snow and Yellow River Quiet”, Hu Qiaomu also wrote a letter specifically suggesting that he would transfer his vision to the present life. “Looking back” is one of the means of ideology construction, but for the modern nation-state, the ultimate goal of sacred and grandiose has never been denied, so “looking forward” is bound to become the most important appeal. The grand goal was translated into modernization in the new era, and the central position of intellectuals was thus evident. Zhang Xianliang and Acheng and others have highlighted the superiority of intellectual identity. There are probably reasons for this. Corresponding to reality, “in the new era of literature, the modern subject is displaced from the nation-state to the individual, not to abandon the former, but to re-enter the subject of the nation-state into the goal of the individual subject.” q The villages that have experienced trauma have ushered in a good opportunity for modernization in the new era. Individuals use their own power to help their grand goals. Dietary activities are often seen in rural economic life because of their convenience and daily life. I also observed this point and used it as a fulcrum to complete the narrative of “looking forward”.
On the occasion of the literary development of the new era, “Chen Yusheng went to the city” caused great concern. When criticisms focused on “national critique”, they ignored the economic activities of Chen Yusheng’s going to the city – selling their own oil ropes, a funny story actually contains the attempt of farmers to get rich. The opening of the market on the “hometown” hints at the germination of the economic activities of the diet, which also indicates the arrival of the era of peasants’ prosperity. Gao Jialin in “Life” sells white carp to subsidize life in the county, which repeats Chen Yusheng’s economic activities. Since the 1950s, family sideline and handicrafts have been allowed to exist only a small amount, and in the late 1960s they were regarded as “the tail of capitalism” and “cut off”. Therefore, in the literary narrative of the 1950s and 1970s, diet richness could not be positively expressed. For example, in the History of Entrepreneurship, Guo Shifu’s behavior of selling grain was described as shoddy and deceiving the people. The act of getting rich is not recognized in the political and cultural context of the time. Therefore, the above-mentioned plain narrative actually makes the legitimacy of eating rich first, and opens up a new narrative of the village.
At the Third Plenary Session of the Eleventh Central Committee, the importance of agricultural modernization for national economic construction was mentioned. Family sideline and market trade have also returned to the daily lives of the people. In addition to the above text, Furong Town is an important text related to such narratives. The novel depicts the life of Furong Town at the junction of the three provinces in the 1960s and 1970s. It has both reflection and criticism of history, as well as a vision of new life. Dietary economic activities link the two together and have a strong practical significance. The heroine Hu Yuyin opened a rice tofu stand and made money by building a new building on the basis of small profits but quick turnover. But when the political storm came, it was classified as a rich peasant. The previous rice bean curd stand was also regarded as speculation. . After the arrival of the new era, the misunderstood Hu Yuyin was rehabilitated. The work specifically describes the business of rice tofu stalls, the self-operated rice tofu is delicious and the food of the state-run restaurants is not even guaranteed. But it is because the wonderful food is annihilated. Therefore, the work completes a self-evident critique of the special period through a ridiculous contrast. The author’s emotional tendencies towards individuals and groups expressed by diet economic activities are also at a glance. When Gu Hua talked about how to create “Furong Town”, he clearly wrote: “Before the new situation, it is not good to look back on the lessons of the past and look forward to the good days that have arrived.” However, he is When talking about the source of the material, I only mentioned that Hu Yuyin’s prototype came from a widow’s murder case told by the music cadre of the County Cultural Center during the interview in the mountainous county. However, there is no mention of why the choice of rice tofu is a story. The new era is precisely the time when personal strength is needed. Therefore, after cleaning up the history, it is necessary to give legitimacy to the economic activities of the diet to “look forward”. The delicious and inexpensive rice tofu has succeeded in this. This may be one reason why Hu Yuyin has been shaped into a rice tofu vendor. In addition, rice tofu is a traditional name in Hunan. In 1934, Hunan’s well-known Tian Qingyou rice tofu u was born. The author made a text with a folk tofu with a folk customs (rather than randomly choosing food), which is obviously more in line with the reality of life. Therefore, when the mainstream ideology releases the signals that promote the industry such as the family sideline business, Guhua’s use of selling rice tofu to run through the text may also be a discourse strategy to respond to the signal.
Rice tofu is a food that is used by residents of Furong Town to live happily. Hu Yuyin still remembers the rice tofu even on the way to escape to Furong Town. “She only played two snacks on the road. One time I ate egg fried rice, and I ate two bowls of rice tofu at one time. The alkali water of rice tofu was put a little heavy, the color was too yellow. It was not as good as the rice bean curd sold by myself. White, tender and soft, the oil and water ingredients are not complete with the customer. The waiter around the white apron is like the person who gives food to the passing…” The sensory experience inspired by food is even from the subconscious in times of crisis. The medium frequency appears frequently. The beautiful words such as “white and soft” have finally established a positive relationship with the food, unlike the colorful noodles in “History of Entrepreneurship”, which became the reactionary label of Guo Zhenshan. The long-pressed tip of the tongue finally got the space to stretch. More importantly, Hu Yuyin already has the concept of “who is better”, and the sense of competition bred by individual feelings and desires also calls for new economic trends.
How do villagers in the new situation adapt to the competition brought about by changes in the economic structure? Li Tong’s “Dong Tian” provides an imagination of this. Shanxi Ke Shilong brought the new technology of dried fish to the secluded Weishan Lake, which shocked the conservative Weishan Lake people. When Weishan Lake people witnessed the huge economic benefits brought about by new technologies, the competition for new technologies began. Yu Yue tried to let Shi Long “spread the truth after drinking”, and he tried to use the money to buy Shilong, and even some people threatened Shilong. It is not a good thing that the economic benefits brought about by the transformation of food technology have led to the imitation and competition of the rural people. However, the author is wary of the vicious competition that may be caused, and at the end of the novel, the method of Shilong’s open squid is used to bridge the vicious competition that may be caused, and the contradictions and conflicts are eliminated by the imagination of common prosperity.
In the new situation, modern civilization means innovation and relief for the country. In addition to Li Tong, many rural narratives of Jia Pingwa also focus on this point. Xiaoyue in “Xiaoyue Qianben” could not understand that Wang Heshang adhered to the traditional peasant thinking, but instead envied and admired the door of modern business mind. The cowardice, stubbornness, and poverty of talents are in stark contrast to the savvy, courageous, and rich foot of the door. The heart of Xiaoyue is precisely the representation of modern civilization. In the subsequent “King of the Nest”, “The Moon of the Moon” and “Fire Paper”, the emphasis on the necessity of peasant modernization has repeatedly appeared. Hehe’s homemade tofu in “Chicken’s Nest” was sold to the market, but when the profit was calculated, it was tarnished because the profit was too small. In the ash, the peasant’s business should be farming, so he dismissed all the side businesses of Hehe. However, the last success was Wohe. Wang Mazi in “Fire Paper” blocked himself and also ruined the happiness of his daughter’s life. Sun Erniang, who knows how to judge the situation, set up a tea house to give the boatmen rest, entertainment and tea, and the business has done a good job. Sun Erniang achieved self with his keenness in the face of the new situation and his openness and acceptance of modern civilization. Wang Mazi, who cannot keep up with the times, regrets his life.
“Twelve Moons and the First Moon” more clearly shows the penetration of the new economic model into the countryside. The novel begins with the conflict between the old local cultural elite Han Xuanzi and the talented master Wang Cai after the implementation of the new policy. However, the author did not deal with the contradiction between Han Xuanzi and Wang Cai as a conflict between tradition and civilization, new and old. Han Xuanzi is a traditional intellectual who enjoys high prestige in the countryside. However, with the rise of the households and the family sideline, the rising commercial capital is increasingly eroding cultural capital. Han Xuanzi’s own elite status is threatened. Wang Cai is afraid. In fact, Han Xuanzi does not simply oppose the family sideline business, and even supports Gong Desheng’s small shop. Finding ways to limit and suppress Wang Cai is just one of the means by which he can regain his prestige. In this case, the modern economic mode symbolized by Wang Cai and the evolution of modern civilization in the countryside cannot be completely accomplished through the conflict with Han Xuanzi, but must find other support points. The villagers are playing this role. Wang Cai rented the land to the villagers because he had to run a food processing factory and had no time to cook the land. The villagers and the dogs left the land willingly and willingly, and considered it a win-win situation for mutual benefit. The dog left is obviously only concerned about the interests of the eyes and is not aware of Wang Cai’s ambitions. However, in rural China, this is indeed the most real psychological state of the peasants. Therefore, Wang Cai’s food processing factory has to satisfy the farmers’ longing for the interests in order to obtain the approval of the farmers. I have always been afraid of Han Xuanzi’s “tracheitis”. After hearing the workers in the food processing factory show off their wages in the grocery store, they even asked whether the processing factory is still recruiting. The subtle changes in the “tracheitis” mentality are also reflected in the vast number of villagers. The visible economic benefits also make the majority of the villagers who are skeptical or even contradictory to the food processing plant in the beginning. When the crisps produced by the food factory were popular and attracted vendors from the surrounding towns and villages to buy, the villagers finally admired Wang Cai’s courage. Although Wang Cai’s new economic model represented by the family sideline industry has been recognized by the villagers, the traditional cultural forces represented by Han Xuanzi are still strong in the countryside and affect the villagers’ perceptions and behaviors. To put it bluntly, if the new economic model is to be promoted in rural areas, the old forces must be removed. Thus, the author introduced the scene of the county party secretary into the Wang Caijia at the end of the text. The county party secretary chose to go to the Han Xuanzi family or Wang Caijia in the villagers’ view, which is no different from the political weathervane and barometer. When the secretary gave up to Han Xuanzi’s family but changed his way to Wang Cai’s home, the villagers realized that Wang Cai’s making a fortune was indeed supported by the regime. The regime opened the way for the king in a complex and stubborn village, which shocked Han Xuanzi and caused him to think about his own thoughts and behaviors. In the end, Wang Cong, a rich man, successfully conquered the villagers and became rich.
Jia Pingwa, with his economic-minded Wang Cai, demonstrated how the new economic model can win in stubborn villages, which naturally conforms to the appetite of mainstream ideology. “Traditional Moon” is also combined with the above-mentioned texts concerning the richness of eating behavior to form a unique literary landscape in the 1980s, which together form an interpretation of historical progress and the pursuit of modernity in the nation-state. What is worth thinking about is, where are the individuals in these texts that involve getting rich in eating behavior? What kind of relationship does it have with the collective?
In 1978, Deng Xiaoping clearly stated that individuals should be allowed to become rich. Whether Hu Yuyin, Sun Erniang or Shilong, Hehe, and Wang Cai are all examples of making their own wealth with their own intelligence. This is advocated and supported by the policy. However, the legitimacy of personal enrichment lies in the fact that the rich first leads the rich and eventually reaches the common prosperity. If you simply get rich and don’t care about the majority who are still in poverty, then you may fall into the trap of exploitation. Some writers seem to recognize this. In addition to the imagination of the common prosperity in Cave Day, the end of Furong Town also outlines the spectacular situation of the rush, showing the bud of common prosperity: “The most popular on the market. The purpose is to newly appear rice, meat, white rice, red rice, brown rice, rice, baskets, and queues, let people choose bargaining….people in the town, do not know ‘four What is modernized, but it has already tasted the sweetness from the immediate interests.”W Hu Yuyin achieved the first rich by selling rice tofu, and the common improvement of the life of the mountain town proved the effectiveness and feasibility of the first rich. On the occasion of the affluence of the common prosperity, the individual’s brilliant brilliance will also merge and integrate. At the beginning of the new era, individuals emerged from the collective enthusiasm and, in the sense of acquiring subjectivity, were collectively expropriated in another sense. In the 1950s and 1970s, the collective engulfed the sacred circumstances of the individual going to the nation-state, and the individuals of the 1980s assumed a new collective mission in the new environment, which did not match the discourse mechanism of the previous period. Therefore, it is not difficult for us to discover the cultural logic of the literary field in the 1980s through these texts concerning the richness of eating behavior.
three
We analyzed two different types of dietary writing in the local novels of the 1980s. The hunger narrative of “Looking Back” completes the clean-up of history, emphasizes the reasonable desire of the individual, and declares the opening of new historical time and space in a broken way. Some of these narratives also combine the superiority of intellectuals in the 1980s and the thinking about survival. The “look forward” diet economic life narrative highlights the writer’s enthusiasm for betting on building a new life, and continues to travel to the nation’s great future to become such a narrative position after reconciliation with history.
Two different types of dietary writing are closely related to the discourse of the times, and they are shaped and integrated by external forces, thus participating in the construction of ideology in the 1980s. Keywords such as “individual” and “subjectivity” are reflected in the writing of food, but eventually they are merged into a more vast and vast ocean.
