She is deeply religious and loves writing. Thirty or forty kinds of novels, essays and plays are reprinted once and translated into various languages. He became famous for his prose in the mid-1960s, and 1977 was selected as one of the top ten prose writers in Taiwan Province Province. The editor said, "Her works are China's, homesick, modern and extremely humanized".
Yu Guangzhong once called his article "combining rigidity with softness" and was listed as "the third generation famous essayist".
Some people call it "the pen is like the heat of the sun, the frost and snow are innocent, the writing is like the fragrance of cold plum, and the words are like knocking on the ice." Be highly praised.
As early as 1977, 36-year-old Zhang Xiaofeng was rated as "Top Ten Contemporary Prose Writers in China" by Taiwan Province critics, and she was rated as "as hot as the sun and as pure as frost and snow". Every article has the fragrance of Lengmei, and every word can be said to be the first perceptual sketch of her poetic prose.
198 1 year, when her fourth collection of essays "You have never loved" was published, Mr. Yu Guangzhong prefaced the book and called her a "dripping pen" with a storm on her wrist.
Zhang Xiaofeng's prose artistic creation can be roughly divided into three consecutive paragraphs.
The first paragraph is marked by her first collection of essays, The End of the Carpet, published in 1966. She looks at the world with the eyes of a clever and naive girl, and the world is a clear and spotless gurgling stream.
In the second paragraph, like a small stream rushing to a stormy lake, which is intertwined with love and hate, the prose collection Nostalgia Stone (1977), After Walking Down the Red Carpet (1979) to You Have Never Loved (198/kloc) The second period is relatively long. Rebirth Edge (1982) can also be regarded as an extension of this period, from here I am (1984), from your beautiful watershed (1988) and emerald thinking (1990). Let's make a hypothesis here. If Zhang Xiaofeng's prose creation stops at the second paragraph, although she is still one of the outstanding female writers in the history of modern prose in China, and breaks through the narrow and cramped world of ordinary female writers, she is not a prose master with great original brilliance after all.
The originality of Zhang Xiaofeng's prose art lies in the second paragraph, especially in the third paragraph of Since I'm Here. Only this third paragraph announces the birth and completion of a prose master, whose purpose is the generation of life and creativity and the poetic interpretation of ontology.
The poetic interpretation of life and ontology is the greatest contribution of this woman writer to the history of modern prose in China. She embarked on the road of poetic interpretation of the ontology of life, which has a process of never fully realizing full consciousness and from imperfection to perfection, but it has its inherent logical inevitability.
Zhang Xiaofeng, born in 194 1, was born in Tongshan, Jiangsu Province and Jinhua, Zhejiang Province. After he was eight years old, he went to Taiwan Province, graduated from Soochow University in Taiwan Province Province, taught there and elsewhere, and is now a professor at Yangming Medical College in Taiwan Province Province.
She is deeply religious and loves writing. Thirty or forty kinds of novels, essays and plays are reprinted once and translated into various languages. He became famous for his prose in the mid-1960s, and 1977 was selected as one of the top ten prose writers in Taiwan Province Province. The editor said, "Her works are China's, homesick, modern and extremely humanized".
Yu Guangzhong once called his article "combining rigidity with softness" and was listed as "the third generation famous essayist".
Some people call it "the pen is like the heat of the sun, the frost and snow are innocent, the writing is like the fragrance of cold plum, and the words are like knocking on the ice." Be highly praised.
As early as 1977, 36-year-old Zhang Xiaofeng was rated as "Top Ten Contemporary Prose Writers in China" by Taiwan Province critics, and she was rated as "as hot as the sun and as pure as frost and snow". Every article has the fragrance of Lengmei, and every word can be said to be the first perceptual sketch of her poetic prose.
198 1 year, when her fourth collection of essays "You have never loved" was published, Mr. Yu Guangzhong prefaced the book and called her a "dripping pen" with a storm on her wrist.
Zhang Xiaofeng's prose artistic creation can be roughly divided into three consecutive paragraphs.
The first paragraph is marked by her first collection of essays, The End of the Carpet, published in 1966. She looks at the world with the eyes of a clever and naive girl, and the world is a clear and spotless gurgling stream.
In the second paragraph, like a small stream rushing to a stormy lake, which is intertwined with love and hate, the prose collection Nostalgia Stone (1977), After Walking Down the Red Carpet (1979) to You Have Never Loved (198/kloc) The second period is relatively long. Rebirth Edge (1982) can also be regarded as an extension of this period, from here I am (1984), from your beautiful watershed (1988) and emerald thinking (1990). Let's make a hypothesis here. If Zhang Xiaofeng's prose creation stops at the second paragraph, although she is still one of the outstanding female writers in the history of modern prose in China, and breaks through the narrow and cramped world of ordinary female writers, she is not a prose master with great original brilliance after all.
The originality of Zhang Xiaofeng's prose art lies in the second paragraph, especially in the third paragraph of Since I'm Here. Only this third paragraph announces the birth and completion of a prose master, whose purpose is the generation of life and creativity and the poetic interpretation of ontology.
The poetic interpretation of life and ontology is the greatest contribution of this woman writer to the history of modern prose in China. She embarked on this poetic way to explain the ontology of life and existence, never fully conscious, never ending.