Weaning theory of Chinese literature in Malaysia

From 65438 to 0997, a large-scale debate broke out in Malaysian Chinese literature. Huang Jinshu published China and Performance: On the Limitation of Chinese Literature and Culture in Malaysia, pointing out the crisis of Chinese literature in Malaysia: Chinese literature in Malaysia is sacred because of symbols, not literature. Huang Jinshu thinks that it is good to use China traditional culture against Malaysian national culture, such as calligraphy and lion and dragon dancing, but when China traditional culture becomes the connotation of Malaysian literature/culture, it is a big mistake. China's traditional culture is usually expressed through cultural performances, but these cultural performances are often reduced to performance culture, and even the shortcomings are recreated, so 24 drums were born. At the same time, he pointed out that the uniqueness of Malaysian Chinese literature and art was originally based on regional color, keeping a distance from China. As a result, after the problem becomes complicated, it cannot be simply solved. If China's traditional culture is used against Malaysian national culture, but when China's traditional culture becomes the connotation of Malaysian Chinese literature/culture, the problem will be complicated. What makes Huang Jinshu feel contradictory is why he wants to rebuild China's traditional culture instead of Malaysian Chinese literature/culture.

On this premise, Huang Jinshu put forward the "weaning theory" at the 1997 Malaysian International Symposium on Chinese Literature. He wants to break with the milk of Han chauvinism, which controls and appeases Malaysian Chinese literature as a tributary, and thinks that it is a poison for Malaysian Chinese writers to drink this milk again, but it is actually a conscious weaning. Wen, Chen Xuefeng and others believe that China people are inextricably linked with China culture, and how to break this milk is just a formal weaning understanding. The proposal of "weaning theory" caused an uproar, and a series of pen battles appeared in newspapers and periodicals. Lin Jianguo, Khai Leong Ho and others have expressed their views. In fact, it is only the understanding and cognitive difference between consciousness and form, which forms two highly different curses, in other words, chickens talk to ducks. As a result of the controversy, in 1998, Golden Tree published "Painful Morality" and "Burning Ba Yu Hua" successively, arguing that the soil of Malaysian Chinese literary world has made realistic writers smoke like a dead tree, so it is better to burn it to restore fertility and grow healthier seedlings, which has aroused great resentment from the older generation of realistic writers. They hate Huang Jinshu and equate Huang Jinshu with many students studying in Taiwan Province. Huang Jinshu also disdained these writers, equating them with the Malaysian mainland, which intensified the opposition between local writers and writers studying in Taiwan.

Later, in 2005, Huang Jinshu gave a lecture on "Farewell to Malaysian Chinese Literature", arguing that Malaysian Chinese literature must bid farewell to Malaysia's characteristics, that is, farewell to the country, local culture, revolutionary literature, and even farewell to readers, in order to make a breakthrough in the future. National literature is a hegemonic means, forcing all kinds of literature that do not meet the requirements of national literature to bow their heads. Therefore, Malaysian Chinese literature must go international and bid farewell to Malaysian Chinese literature under national literature. In addition, he also believes that what Malaysian Chinese literary world lacks is a literary revolution, pointing out that the so-called literary revolution is to make literature return to its roots. gold