1. Disaster literature should include natural disasters and man-made disasters (Ming Luo, researcher of Sichuan Academy of Social Sciences).
Is disaster literature only aimed at natural disasters? Anything that brings great losses or tragic results to human society can be called a disaster. Natural disasters are only one of the reasons. Disaster literature should include natural disasters and man-made disasters. The essence of man is social, and it is meaningless to talk about the relationship between man and nature in an abstract way without the relationship between man and society. There are different positions and viewpoints on the understanding of disasters. In religion, disaster is not a bad thing. For example, Christianity believes that disasters are God's salvation and grace to people, because people have original sin, and God promotes people through disasters. Does China's "how difficult it is to prosper the country" also contain this meaning? But the secular understanding of disaster is definitely a bad thing. Hide if you can, whitewash paralysis if you can't, and then forget as soon as possible. Mr. Lu Xun once said, "Real warriors dare to face the bleak life and the dripping blood". We can't do this now. Therefore, Ba Lao's wish to establish the Cultural Revolution Museum has not yet been realized. If disaster literature is still studied according to this view of disaster, it is better not to study it. China is a country lacking in religion, and does not think that disaster is redemption, but a way of reflection and self-improvement. Without this kind of thinking, we just passively bear and actively forget all disasters. After the end of the Vietnam War in the United States, a Vietnam War wall was built with a list of all the Vietnam War dead engraved on it. Vietnam War is not a good thing for America. It failed, but it built the wall anyway. This is American reflection and American disaster literature. The same is true of Israeli wailing wall. But we didn't. Therefore, we must first define the concept of disaster, otherwise it is a blasphemy against disaster literature.
2. Disaster is the meaning of literature (Wu Ye, a researcher at Sichuan Academy of Social Sciences);
After the panic of the 5. 12 earthquake, everyone soon realized that we, as literary researchers, should observe and reproduce this disaster from a special perspective of literature. Disaster literature is determined by the nature of literature itself and is the proper meaning in the title. Literature focuses on life, not human nature. The strength and fragility of life, the moving beauty and the ugly and ferocious side of human nature will all be manifested in various harsh forms in disasters. Many complicated problems in life and human nature will also be revealed in disasters, which will arouse our deep thinking and even promote the reform of our literature. I think there may be epic works in disaster literature (of course, it will take several years to digest and refine), because the classic works in Chinese and foreign literature are all related to describing human catastrophes. The Old Testament is an epic about human disasters. People lost their lives when the flood came. God sent Noah's ark to save mankind, how to get out of Egypt, how to find a place with water and grass to live, and so on. China's classical literature began with The Book of Songs and Historical Records, and also recorded many human disasters. Therefore, disaster literature is a big topic, a topic related to the nature of literature, and a possible topic of epic works.
3. Disaster literature and literature are inherently consistent (Li Mingquan, a researcher at Sichuan Academy of Social Sciences)
The root of literature should be traced back to the choice of state in which literature reflects life. Literature reflects not the normal ordinary life, but more the relationship between people, people and society, people and themselves, a dynamic, extreme and disastrous life. There are four unavoidable relationships in modern society, namely, man and nature, man and society, man and man, man and self. Disaster literature has many similarities with literature itself. According to the traditional theory, literature is to concentrate on amplifying and expressing contradictions, conflicts, perverts, extremes and human nature. Disaster happens to be an accidental and typical concentrated outbreak, which can better reflect people's hearts, feelings and values, enlarge human nature and bring beauty and ugliness to the extreme. This is the greatest charm of literature. The reason why many works lack moving aesthetic transcendence is that they express contradictions and conflicts in ordinary life, and their stories are not strong, so they can be well expressed in disaster literature.
4. Where there is a disaster, there should be reflection (Xiang Baoyun, a researcher at Sichuan Academy of Social Sciences)
Disaster literature includes both natural disasters and social and man-made sufferings. What China's literature lacks is suffering narration. There are many literary works in China that reflect the war, but they all pay attention to the result and nature of the war, unlike the silent dawn in the former Soviet Union and here. Disaster literature and earthquake literature have several advantages. One is to remind our literature/poetry to return to society. Poetry can't be taken seriously in recent years, and we can only attract everyone's attention by reading poetry naked. Second, the reflection on history and the criticism of reality are far from complete. Natural disasters are not entirely accidental and man-made, but also involve many factors. Why did the classroom collapse? All these must enter our thinking. Where there is disaster, there should be reflection. Where there is reflection, there is salvation. At present, we don't have enough room for reflection, but the future will certainly appear, which is also the responsibility of our literary and art workers.
5. Crisis can turn around (Jiang Yingxi, director of Sichuan News Network Literature and Art Studio)
I want to say a few feelings from the reporter's point of view. First, the earthquake baptized our souls, mainly amplifying the good side of our humanity. Nowadays, in this materialistic society, many people are shameless and desperate, but this earthquake, all aspects of attention and investment reflect the greatness of our nation, and I am very moved. Second, natural disasters have destroyed many civilizations, but at the same time they have spawned many civilizations and sublimated many civilizations. The myth and legend of our Sichuan Basin "The cuckoo cries blood" reflects the disasters suffered by Sanxingdui civilization and Jinsha civilization. In Li Bai's poems, "the sky were to fall and the earth were to fall, and a strong man died, just climbing the stone steps of the ladder" actually refers to disaster. Third, natural disasters are an alternative gift of mankind. Why Sichuan Basin is called "Land of Abundance" is caused by many earthquakes. The beautiful scenery of Qinghai-Tibet Plateau, Hengduan Mountains and Jiuzhai Huanglong were all caused by the earthquake. Personally, I think this earthquake can produce literary masterpieces. Hollywood blockbusters are popular all over the world because they push all kinds of contradictions and conflicts to the extreme. Wenchuan earthquake also amplified all factors, and the crisis can be reversed. But not at present, because there are some reasons we can't reflect on.
Second, aesthetic transcendence: life consciousness and humanistic care
1, aesthetic transcendence must consider the relationship between man and nature (Professor Zeng Yongcheng of Chengdu University)
When it comes to life care, it first refers to human life. A reporter went to Beichuan more than a month after the disaster and saw a puppy on the ruins and stayed there all the time. He couldn't imagine how the puppy survived, so he followed people from afar. He wanted to take it out, but he was worried that he could not pass the epidemic prevention inspection, so he had to say goodbye to the puppy reluctantly. Judging from the concept of ecological anthropology today, even a puppy is a life that we should cherish. But in the face of realistic conditions, you have no choice but to be helpless. Facing nature, people are usually optimistic. Our 30 years of reform and opening up have indeed made many achievements in transforming nature, but at the same time we have paid a huge ecological price. The concept of ecological cost is still unfamiliar to many people. Reformers only think about what they have gained, but they have never thought about what they have lost. China Geography magazine published a special issue after the earthquake. Geological experts explained that there is a common phenomenon in the development and construction of mountainous areas, that is, cutting off the foot of the mountain and building houses and factories by the mountain. At the foot of the mountain is an angle of repose formed over hundreds or even thousands of years to maintain stability. Dig the angle of repose, the earth shakes, the mountains fall and the earth cracks. Of course, there is nowhere to run. If people don't go, it's not called poor natural conditions. When people go, it is called poor natural conditions. How should people face the nature before them? This problem immediately attracted attention.
I have studied ecological aesthetics and ecological literature and art for many years, and I have always had a point: our traditional Marxist interpretation and social theory, including literary theory, have obscured an important reality facing mankind-the relationship between nature and man and nature. I once wrote an article to study this problem. It is said that man is the sum of social relations, which is the viewpoint of Marxist philosophy, but I understand it differently. This viewpoint is actually Feuerbach's. Feuerbach talks about the natural social relations formed by a man and a woman, while Marxist philosophy talks about the historical concrete social relations formed by people in practice. The most essential thing in practice is the relationship between man and nature. This is the first relationship that our social existence faces.
After this disaster, our literary and art circles, including world outlook, natural outlook and historical outlook, all need profound adjustment. One theme is how to face nature. Man is a part of nature, and his life is connected with the blood of nature. Marx said that nature is the inorganic body of human beings, not only material food, but also spiritual food. So I think the theoretical and aesthetic transcendence after this disaster must go in this direction. We must seriously put the relationship between man and nature before us. The difference between people is first reflected in the different possession of ecological resources. Some people can avoid disasters, while others can't. In the final analysis, it is because of the different possession of ecological resources. This fundamentally separates us.
Besides, disaster is definitely a tragedy. How to understand the tragedy caused by natural disasters is also a problem. Judging from Bryullov's painting, it shows people's panic, but it also protects each other. For example, a woman holds a child in her arms. Of course, the whole picture is still helpless. It is said that Michelangelo's The Prophet Jeremiah depicts a scene in which Jeremiah ponders the tragedy of Pompeii. We also need to think deeply. Engels' definition of historical tragedy should also be expanded. When it comes to the relationship between man and nature, nature also has many inevitable laws of its own existence, and this inevitability cannot be realized, which has caused a tragic conflict between man and nature. Then we should think about how to cherish life to the greatest extent and transcend aesthetics, which is by no means a problem that dialectics can solve. You can't indulge in the superficial and empty idea of turning bad things into good things. Of course, this disaster is different from the past. While carrying forward heroism, solidarity and mutual assistance, we have gained more sympathy and cherished life itself. For example, when saving people, save them if you can, and the life of the rescuer must be saved first. According to our past practice, we are not afraid of hardship, fatigue and death. This is another scene, which also shows the great progress of our whole society in concept. To reflect on tragedy, we must face it squarely and take it seriously.
2. Aesthetic transcendence should be reflected (Xiang Baoyun, a researcher at Sichuan Academy of Social Sciences)
My view is that aesthetic transcendence should be reflected. No matter disaster literature or the literature of the whole 20th century, it lacks depth. What is the reason? Disaster literature or disaster literature has two narrative methods, which I can summarize as ode narrative and suffering narrative. Today, we are still at the level of ode narration. We are not moved by heroic deeds, but by ourselves. You may not realize that we are moved by our feelings. According to people who came back from the front line of the disaster area, the actual situation in the disaster area is even more tragic than what we described. So far, our response to the situation in the disaster area is only overall, not individual. Therefore, at present, all our responses to the disaster areas are an ode-like aesthetic response. That's not enough. This is the reason why our literature lacks depth and strength. Teodoro Adorno said, "After Auschwitz, writing poetry is barbaric", and this time there is a poem, "Tonight, writing poetry is frivolous". Contrary to Adorno, Cserto Z, who won the Nobel Prize in Literature in 2002, said, "After Auschwitz, you can only write Auschwitz poems." Cserto's writings are in the same strain as our literary history in China in the new period. After the downfall of the Gang of Four, scar literature, reflective literature, returned writers and educated youth writers will not be recognized if they do not reflect on and write about history. In fact, Adorno used his unique negation, and he also said that only in literature can we see the sound and bitterness of suffering. He thinks that superficial and sentimental suffering writing is a denial of literature, and this kind of poem is barbaric. Are there any savage poets after Wenchuan earthquake? Yes, there is at least one, that is, Wang Zhaoshan, vice chairman of Shandong Writers Association, whom we all know.
The narrative of suffering literature has three levels: writing suffering, reflecting on history and criticizing reality. At present, we are too impatient to ask the literature of Wenchuan earthquake to reach depth and strength, and so is the literature since the new period. At first, I copied the poems of Tiananmen Square. I define that the Wenchuan earthquake poetry so far is equivalent to the copying stage of Tiananmen poetry, and has not yet reached the stage of scar literature. The introspection of the Wenchuan earthquake is basically this aesthetic tendency. These literary works have touched and shocked me far less than the pictures. The film and television work "Seven Days that Shocked the World" I watched was not so good either. Literature at this time is very weak. I would rather read newspapers and news records than those literary works. This is very wrong. If we want to face the disaster directly, it is not so much aesthetic transcendence as life and death transcendence. Fan Paopao in the earthquake caused great controversy. However, after discussion by Hong Kong Satellite TV, there are many voices of sympathy and understanding. Why? The background has changed. When a behavior choice becomes academic thinking, his behavior gains rationality. The connection between "Fan Paopao" and our topic is that man is a bloody existence, but when he goes to "Fan Paopao", he becomes a rational existence. Is the rescue behavior of teachers such as Tan Qianqiu a moral bottom line or a high moral standard? We are in a passive position. If saving lives by teachers is the moral bottom line, then the actions of teachers such as Tan Qianqiu are not worthy of our praise. If it is a high moral standard, then "Fan Paopao" should not be condemned by us. Under such circumstances, people who transcend life and death become a religious existence, while our secular people are a secular existence without transcendence. So we admire Tan Qianqiu, but we can understand "Fan Paopao" under rational thinking.
3. Religious aesthetic dimension in disaster relief (Su Ning, researcher of Sichuan Academy of Social Sciences)
Researcher Suning believes that, according to the methodology of French Chronicle History School, the history of human spiritual life presents different characteristics in three different time scales: long period, middle period and short period. They can be expressed as "structure", "situation" and "event" respectively. By examining a social and cultural phenomenon with time span from different time dimensions (such as disasters), we can relate its past, present and future. The "long history" of disaster literature can be traced back to the mythological period and the primitive religious period. Starting from a certain period in history, this continuous structure often has a "middle period" shift. It may bring different expressions to the history of disasters, but the historical situation in the middle period cannot prevent the return to the long-term structure. In this sense, disaster literature is a grand national narrative and a mythical tradition of disaster motif for thousands of years. Heroic complex and grand narrative constitute tradition. From the "short-term" point of view, the "event" of personal spiritual experience appears, and the beauty stimulated in a short time will be amplified when the disaster breaks out, but it will not last long, which is far from the cruelty of reality. This is the beauty of the meaning of existence, which may block the tradition from bringing new problems and bring new aesthetic expressions.
Third, the present situation and criticism of disaster literature creation
1, don't "praise" the disaster (He Kaisi, chairman of Sichuan Literature and Art Critics Association)
It is precisely because of the disaster on this side that there is the other side. Salvation and curse are endless cycles. Humorously speaking, there are many ways for God to punish mankind, such as Microsoft, earthquake, tsunami, and even a very bad leader to mess up the country. Of course humans can't swallow it. The sages said, "Heaven and earth are heartless, and everything is a dog." Ancient sages could not cope with disasters, so they had to rely on imagination, so religions and fairy tales were born, such as Dayu's flood control, Jingwei's reclamation and so on. The flood in the Bible is both metaphysical and metaphysical, both Tao and utensil. For example, when Moses left Egypt, archaeology and field investigation had confirmed that some of them were true. As for the relationship between man and nature, according to Qian Zhongshu, the husband "learns to do it, the method of personnel is natural, man can conquer nature, and people's hearts can surpass heaven." People come from nature. After being divorced from nature, we first respected, imitated and imitated nature ("legalizing nature"), and then tried to "conquer nature" after the industrial revolution, and disaster appeared. What we will eventually return to is the harmony between man and nature. People are the cleverest and the most ignorant. I have a view that "space is greater than time", that is to say, people in one place will never learn from a disaster even if they know it. China will eventually sacrifice the environment. Disaster literature covers a wide range. Our world is the objectified world of human beings, and human beings and nature are superimposed to a great extent. People's bad habits determine the inevitability of many disasters. Modern society is "human beings are ruthless, taking heaven and earth as dogs". Heaven and earth will double their revenge on mankind. For example, the word financial tsunami has both natural disasters and man-made disasters. All narratives should be aesthetic narratives. At present, our disaster narrative is "praise", "artistry", "ideology" and "politicization" of the disaster, which is precisely not a literary narrative or an aesthetic narrative. Under the current background, the country and people should face up to the disaster. Our nation is forgetful. Now it is required not to exaggerate the horror of the disaster. In fact, the first step is to show the horror of disaster in the form of literature. If there is no emotional, impactful and unforgettable narrative, it is not disaster literature. In addition, there must be reflection. There are no great writers in China, and the practical reason is that there are no great thinkers.
2. China literature and art seems to have no shadow of disaster (Professor Zeng Yongcheng of Chengdu University)
The concept of disaster literature has "disaster tragedy" only in foreign literature. /kloc-The End of Pompeii by Russian painter Bryullov in the 20th century left a deep impression on me, which can correspond to our earthquake disaster. There are many pictures of Pompeii ruins on the Internet, including skeletons dug out of the ground and volcanic ash. There is a skeleton with its head still standing, looking up at the sky. It is conceivable that volcanic ash covered them instantly. The Black Death, which has prevailed in Europe for hundreds of years, is also a great disaster for mankind. There is also a sunken ship in the ice sea. Most of the disasters we are talking about are natural disasters, and man-made disasters such as war and social system seem to be outside this topic. We are mainly faced with irresistible and unpredictable sudden disasters. There seems to be no disaster in China's literature and art, but it has something to do with the tenth anniversary. For a long time, literature and art have passed by disaster. This estrangement in our China literature may be due to our favorable natural climatic conditions, and we have not suffered great disasters in the past. Our society and wars are continuous, and the contradictions are sharp, which covers up this disaster and obscures the sight of literary and art workers. We in China especially worship heaven. If we thought it was indescribable, we wouldn't talk about it. 5. 12 earthquake suddenly pushed this disaster to us. For a long time, my whole mentality was helpless. I have studied ecology for many years, but what's the use of facing such an unpredictable disaster? What can literature do? What can ecological aesthetics do? This meeting can be said to be a painful experience.
3. Natural disaster literature is inevitably superficial (Feng Li, a professor at Sichuan University)
I roughly divide disasters into two categories. One kind is natural disasters, which are accidental events without inevitability in human history, such as earthquakes and snowstorms. Natural disasters are sporadic, and literature generally does not reflect accidental events. Literature focuses on man-made disasters. Man-made disasters can produce great literature. Natural disasters do not have the essence of literary expression, but news and contingency. The natural disasters in the 1960s also had great human factors. Many people died in Sichuan, but there are not many memorable literary works. This was written by Lu Yao in his novella Hard Days, which laid the foundation for his ordinary world. In my opinion, the literary works of this disaster can only show literature's concern for society and humanistic care, while the literary works that directly reflect this disaster cannot represent literature itself and cannot produce classic works. Personally, I doubt whether this earthquake can directly provide China literature with something related to this theme. There are many touching stories, but I doubt whether they can constitute the real direction of literary development. After reading Feng's Super Typhoon, I feel that the literary works brought by this natural disaster are inevitably superficial. Documentary and timely, reflecting the situation at this time, one is to deal with disasters, and the other is to highlight political heroes. Although known as China's first disaster film. British Titanic movies only reflect natural disasters, while American Titanic movies turn into disasters, which mainly reflect the life and death love of the hero and heroine. So this kind of literary works describing natural disasters may have a great reaction at that time, but after half a year, people began to be numb. Let me give you a small example. Recently, we received a notice to donate clothes, but the teacher who donated at first gave a cold response. This shows that China people soon forget natural disasters.
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