论文部分内容阅读
Introduction: It seems that essay for Wang Anyi is valued in “emotion”. Compared with novels and poetries, essay is easier to catch the slight feelings. Just as the convenience for this, people are unavoidable to squander it. Essays are descended to be irrelevant fun through elaborately emotional ups and downs
Different from persistence in safety of life of Zhang Ailing in trouble times, Wang often sighs deeply for impermanence of human life.
Wang Anyi’s essays are various. There are many works from 1988 to 2008, Dandelion, Outside and inside of the window and other selections of collected works, some of which are same ones. It causes many troubles for the researchers on him, even for himself. It is said that there is a press planning to publish all his non-fiction works. Whether it is true or false, the first collection of non-fiction works of Wang Anyi, Flowing Space in the Time has been settled with readers.
Ma Jiahui had a witty remark on Wang’s words:“Reading essays of other people is like taking a cup of medical tea with their dedication but we are not sure the curative effect even thought it is bitter and difficult to be taken. While, reading Wang’s writings is like drinking a bowl of well-simmered soup of Guangzhou or Shanghai, sweet and smooth, which makes people warm in the hearts”. However, Wang puts his best words in the essays of all the non-fiction works and Flowing Space in the Time is the core of his essays. In the preface of the Present Selections of Essays of Wang Anyi,there is one sentence: “It seems that essay for Wang Anyi is valued in “emotion”. Compared with novels and poetries, essay is easier to catch the slight feelings. Just as the convenience for this, people are unavoidable to squander it. Essays are descended to be irrelevant fun through elaborately emotional ups and downs.” The essays of Zhang ailing are the best example — “She was standing the edge of empty abyss. She could see the bottomless black hole just for turning her eyes but she dared not to see and turned her head. She is the one who has enough emotional power to reach the penetrating state but lack of courage to bear the result which is too heavy she knew to support. So she restrained herself with the lovely particulars of life, struggling to absorb the reality in order to avoid slipping down the edge.” Essays of Zhang Ailing are not descended to the “decoration stroked by gentlemen” which Lu Xun satirized but filling with hedonism. Compared with bleak aesthetics, it is put in a lower category. Wang Anyi, as a daughter of republic, living in the prosperous time, full of love of her country, could bear the Unbearable Lightness of Being. Different from persistence in safety of life of Zhang Ailing in trouble times, Wang often sighs deeply for impermanence of human life. In Flowing Space in the Time, there is an essay, Under the Madder Window to tell the difference of essay aesthetics between Zhang and Wang. Under the Madder Window presented objects describing in the childhood, which are serious due to loving for the object, which is different from loving for object due to her downhearted feelings of Zhang. It described the furniture from bridal chamber in the country to own desk and cabinet, especially the cabinet accompanied with her mother Ru Zhijuan. It was warm and lively all the time but with some sadness on the things still being there without the people. “In her later years, children has left home and set up new home. The family was big space and putting more money in the pockets, but she was old and constantly ill, without any desire or power to enjoy it. In the cabinet, there was dust on the glass and items, which was painful. Even those items were put in my living room and matched with the environment, I felt deserted and cheerless. It was changed to dead from a lively feature. The name called Under the Madder Window was originated from A Dream in Red Mansions, “A boy with tenderness under the madder window, a girl suffered a harsh life on the yellow land”. Similar with Six Chapters of A Showy Life, Memory of Xiang J Xuan, the sufferings of things being there without same people are the quintessence of Chinese traditional literary aesthetics and this classical aesthetics are stored in Wang’s essays.
The memorial feelings to her mother is the emphasis in the Flowing Space in the Time and the mental resources of Wang Anyi originates from female line. Besides Ru JIa Lou, Trace back my mother to Zhejiang West regarded as the theme of maternal line searching, there are some writings on the reading of her mother’s diary by Wang, especially in Growing up, “My mother who was watching Yue opera A Dream in Red Mansions had special feelings on the lyrics of “Only poetry is my intimate friend in my life” What a kind of loneliness but clearness it was. And I would remind the girl period of my mother for most of them skipped their adolescent period, turning into the adult. It is difficult for us to imagine their young girl’s time, especially for my mother as a revolutionist. All their emotion for the time and adolescent phase are devoured by the sufferings and revolutionary time. They will appear at some particular moment. … her adolescence in turmoil and awkward time are spent on struggling against the living, but she kept the spirit of clearness and beauty, not leading to mental atrophy, and became more careful and purified.” It is an understanding to a mother from a daughter while for a woman to another woman, with deep intimation and sympathy which were not presented in Zhang’s writings. In Whispering, Zhang had described the tenuous relationship with her mother. “My mother has passed away, but there were some flavour left in my aunt’s house. A tangram desk with light color stood there and some lovely people I could not understand came and went. What I knew best, whether good or not, appeared here. ” The love between was the love to item rather than the one lack of sympathy between women. It is the sympathy that achieved the great emotion from Wang Anyi as Zhang’s style successor and helped her to succeed beyond Zhang. Biography:
Wang Anyi, born 1954 in Nanjing, living with her mother in Shanghai in 1955, working in production team in Anhui during the Culture Revolution. Publishing works from 1977, now taking charge of professor of Chinese department in Fudan University, Deputy Chairman in Chinese Writers’ Union, Chairman of Shanghai Writers’ Union. Winning the first contemporary Chinese female creative award in 1998, the best Chinese writer award by Sin Chew Daily in 2001, nominating by Man Book International Prize in 2011.
Novels including 69 period Junior high school students, Everlasting Regret, Peach Blossom, Ambitious Person Everywhere, Heavenly Scent etc.;
Novellas including Xiao Bao Zhuang, I Love Bill, Cloistered Time, Triple Love, Moonstruck etc.; others including Collection of short stories of Wang Anyi, Tonsure and non-fiction writings of Single word, Looking for Shanghai, Story and Story Teller, Spirit World etc.; Everlasting Regret was awarded the Mao DunLiterary Prize.
Different from persistence in safety of life of Zhang Ailing in trouble times, Wang often sighs deeply for impermanence of human life.
Wang Anyi’s essays are various. There are many works from 1988 to 2008, Dandelion, Outside and inside of the window and other selections of collected works, some of which are same ones. It causes many troubles for the researchers on him, even for himself. It is said that there is a press planning to publish all his non-fiction works. Whether it is true or false, the first collection of non-fiction works of Wang Anyi, Flowing Space in the Time has been settled with readers.
Ma Jiahui had a witty remark on Wang’s words:“Reading essays of other people is like taking a cup of medical tea with their dedication but we are not sure the curative effect even thought it is bitter and difficult to be taken. While, reading Wang’s writings is like drinking a bowl of well-simmered soup of Guangzhou or Shanghai, sweet and smooth, which makes people warm in the hearts”. However, Wang puts his best words in the essays of all the non-fiction works and Flowing Space in the Time is the core of his essays. In the preface of the Present Selections of Essays of Wang Anyi,there is one sentence: “It seems that essay for Wang Anyi is valued in “emotion”. Compared with novels and poetries, essay is easier to catch the slight feelings. Just as the convenience for this, people are unavoidable to squander it. Essays are descended to be irrelevant fun through elaborately emotional ups and downs.” The essays of Zhang ailing are the best example — “She was standing the edge of empty abyss. She could see the bottomless black hole just for turning her eyes but she dared not to see and turned her head. She is the one who has enough emotional power to reach the penetrating state but lack of courage to bear the result which is too heavy she knew to support. So she restrained herself with the lovely particulars of life, struggling to absorb the reality in order to avoid slipping down the edge.” Essays of Zhang Ailing are not descended to the “decoration stroked by gentlemen” which Lu Xun satirized but filling with hedonism. Compared with bleak aesthetics, it is put in a lower category. Wang Anyi, as a daughter of republic, living in the prosperous time, full of love of her country, could bear the Unbearable Lightness of Being. Different from persistence in safety of life of Zhang Ailing in trouble times, Wang often sighs deeply for impermanence of human life. In Flowing Space in the Time, there is an essay, Under the Madder Window to tell the difference of essay aesthetics between Zhang and Wang. Under the Madder Window presented objects describing in the childhood, which are serious due to loving for the object, which is different from loving for object due to her downhearted feelings of Zhang. It described the furniture from bridal chamber in the country to own desk and cabinet, especially the cabinet accompanied with her mother Ru Zhijuan. It was warm and lively all the time but with some sadness on the things still being there without the people. “In her later years, children has left home and set up new home. The family was big space and putting more money in the pockets, but she was old and constantly ill, without any desire or power to enjoy it. In the cabinet, there was dust on the glass and items, which was painful. Even those items were put in my living room and matched with the environment, I felt deserted and cheerless. It was changed to dead from a lively feature. The name called Under the Madder Window was originated from A Dream in Red Mansions, “A boy with tenderness under the madder window, a girl suffered a harsh life on the yellow land”. Similar with Six Chapters of A Showy Life, Memory of Xiang J Xuan, the sufferings of things being there without same people are the quintessence of Chinese traditional literary aesthetics and this classical aesthetics are stored in Wang’s essays.
The memorial feelings to her mother is the emphasis in the Flowing Space in the Time and the mental resources of Wang Anyi originates from female line. Besides Ru JIa Lou, Trace back my mother to Zhejiang West regarded as the theme of maternal line searching, there are some writings on the reading of her mother’s diary by Wang, especially in Growing up, “My mother who was watching Yue opera A Dream in Red Mansions had special feelings on the lyrics of “Only poetry is my intimate friend in my life” What a kind of loneliness but clearness it was. And I would remind the girl period of my mother for most of them skipped their adolescent period, turning into the adult. It is difficult for us to imagine their young girl’s time, especially for my mother as a revolutionist. All their emotion for the time and adolescent phase are devoured by the sufferings and revolutionary time. They will appear at some particular moment. … her adolescence in turmoil and awkward time are spent on struggling against the living, but she kept the spirit of clearness and beauty, not leading to mental atrophy, and became more careful and purified.” It is an understanding to a mother from a daughter while for a woman to another woman, with deep intimation and sympathy which were not presented in Zhang’s writings. In Whispering, Zhang had described the tenuous relationship with her mother. “My mother has passed away, but there were some flavour left in my aunt’s house. A tangram desk with light color stood there and some lovely people I could not understand came and went. What I knew best, whether good or not, appeared here. ” The love between was the love to item rather than the one lack of sympathy between women. It is the sympathy that achieved the great emotion from Wang Anyi as Zhang’s style successor and helped her to succeed beyond Zhang. Biography:
Wang Anyi, born 1954 in Nanjing, living with her mother in Shanghai in 1955, working in production team in Anhui during the Culture Revolution. Publishing works from 1977, now taking charge of professor of Chinese department in Fudan University, Deputy Chairman in Chinese Writers’ Union, Chairman of Shanghai Writers’ Union. Winning the first contemporary Chinese female creative award in 1998, the best Chinese writer award by Sin Chew Daily in 2001, nominating by Man Book International Prize in 2011.
Novels including 69 period Junior high school students, Everlasting Regret, Peach Blossom, Ambitious Person Everywhere, Heavenly Scent etc.;
Novellas including Xiao Bao Zhuang, I Love Bill, Cloistered Time, Triple Love, Moonstruck etc.; others including Collection of short stories of Wang Anyi, Tonsure and non-fiction writings of Single word, Looking for Shanghai, Story and Story Teller, Spirit World etc.; Everlasting Regret was awarded the Mao DunLiterary Prize.