Speaking of literary criticism, I first heard of it in college. At that time, the professor of the College of Liberal Arts who gave us classes was surnamed Zhao, who was in his fifties. He used to be secretary of the Party Committee of the College of Literature, then resigned from his leadership position and devoted himself to academic research. He first introduced the concept of "literary criticism" to us. Professor Zhao said, "In short, literary criticism is actually literary criticism …" Entering the world of literary criticism, I found a brand-new field.
Literary criticism is not the same as literary creation, but its value is no less than literary creation. If literary creation is to create spiritual food, then literary criticism is to help readers digest spiritual food better. Teacher Jiang Guangping perfectly explained what "a good literary criticism is a brand-new creation".
Teacher Jiang has two wonderful literary comments. The first one is Mo Yan's Road and Mo Yan's Literary World, and the other one is Let the lyric hero present in relief-on five poems of Zhu Hong.
Mr. Mo Yan won the Nobel Prize in Literature at the end of 20 12, which is the first time for China people to win the highest prize in the world, and it is also the first time for China writers to win this honor, which is the pride of all China people. Mo Yan's series of works, such as Red Sorghum, Breasts and Buttocks, Sandalwood Punishment, Frog and Fatigue of Life and Death, have had great repercussions all over the country and the world, but it is not easy to understand these works thoroughly. Teacher Jiang Guangping's literary criticism gives us a perfect golden key to open Mo Yan's literary world.
Mo Yan has repeatedly called himself a "storyteller", which shows that he is not the "master of magical realism and oriental deconstruction" advertised internationally. The cornerstone of Mo Yan's literature comes from his hometown-Northeast Gaomi Township, Shandong Province, China. Mo Yan's literary works are full of magical and magnificent imagination, as well as the charm of oriental mythology and China culture.
Teacher Jiang Guangping said: "Mo Yan's way of feeling has deep geographical and folk origins. This is our main path to the world of Mo Yan's novels, and it is also the main path for Mo Yan to create a "Gaomi Northeast Township". " At this point, Mr. Jiang made a good analysis and grasped the key breakthrough in understanding Mo Yan's works.
In teacher Jiang Guangping's view, Mo Yan is a writer full of national feelings. Red Sorghum is the earliest and most famous work of Mr. Mo Yan. It explores the truth and tenacity of human nature from the perspective of wildness and nature, and shows us the truest side of China people-the need and desire to pursue life instinct, and the courage to resist all foreign aggression and oppression. Under the background of Red Sorghum, the bloodiness of China people is vividly portrayed. Red Sorghum can actually be regarded as an original ecological biography of our nation.
Frog is a work that Mo Yan won both Mao Dun Literature Award and Nobel Prize in Literature. This work is known as "the milestone of family planning in China". Teacher Jiang said: "This work describes my aunt's hurried life with five letters and a short play, and brings out the history of family planning with my aunt's life. In the setting of narrative perspective, I draw lessons from Don Quixote. But the frog's structure is obviously problematic. The short play at the end is a failure, because it overlaps with the content of the letter too much to constitute the power of dialogue or sublimation. The imitation of the novel is too heavy, and some critics think that it is the performance of Mo Yan's inability to continue. " Teacher Jiang's analysis of the works is both thorough and objective, which is really commendable.
But the real greatness of Frog lies in the interrogation of the contradiction between family planning and human nature, which gives us a glimpse of the intricate relationship between population, reality and emotion. This relationship is precisely the unique feelings and concepts of China people, deeply rooted in our hearts or subconscious. Although there is only one aunt in this work, there are many aunts with different faces in our lives and hearts. Teacher Jiang's literary criticism lit us up and guided us to continue to think about the deep connotation and humanistic care of this work.
Mr. Hong Chu, a Suzhou poet, is now over the age of 70, but several of his classic poems shine brilliantly in the field of poetry. Teacher Jiang Guangping's "The Second Literary Criticism" takes us into the poetic world of the poet Hong Chu.
Teacher Jiang keenly explored the greatest feature of Mr. Zhu Hong's poetry: "One of the most prominent features of Zhu Hong's poetry is to pay attention to the image of the lyric hero in the poem at the same time. Therefore, Zhu Hong's poetry is not only an expression of emotion, but also a rhythmic presentation of gorgeous language. He not only firmly grasped the essence of these two poems, but also deliberately presented the lyric hero image of the poems to face the poems and readers with this image. "
The image of poetry can be said to be the soul and core of the whole poem. In the 1930s, the poet Dai Wangshu's masterpiece Rain Lane successfully created a classic image of "a girl with an oil-paper umbrella and a sad heart like a clove", thus perfectly expressing the confusion of intellectuals after the failure of the Great Revolution. Hong Chu's several classic poems, The Traveler's Talk, Searching and The Ancient Ferry, all perfectly shaped the image of poetry, thus making it a classic of the times.
Teacher Jiang Guangping is really an excellent literary critic. I am willing to follow Mr. Jiang on the road of literary criticism.