Wu Jun
The so-called "broken body" simply refers to the variation of the xingshu, the earliest refers to the "modified creation" of the dedication in the calligraphy of the father and son of the Wang family, that is, Wang Xianzhi created a new style on the basis of the specification of the calligraphy of his father Wang Xizhi, which is a self-contained style. Specifically, it is generally said to be cursive. Xian Zhi is also recognized in history as the originator of broken calligraphy. Later generations have poetry clouds "began to change from broken bodies to style" and "Wencheng broken books on paper". It can be seen that the theory of breaking the body should be a positive meaning. The essence of breaking the body lies in the foundation of traditional norms, winning the characteristics of each body, and striving to create a new body and make itself an ancient realm. Therefore, the breaking of the body is often the innovation mark and the main achievement of the master's first atmosphere.
The theory of breaking the body was later used and extended to other fields, not only calligraphy to break the body, but also the rheological innovation of each body art has the effect of breaking the body. But there is also ambiguity, and sometimes the broken body becomes a shield and fig leaf that ignores the rules, shows off small skills, rushes into luck, and deceives, and its bad influence is widespread in society, resulting in a rude and bad habit of ruining art and not being ashamed. The book has no amorphous body and the text has no fixed method, in fact, it depends on the author's basic skills, empirical insights, aesthetic tastes and hands-on practice ability. Helpless positions have their own weight, following the tradition, abiding by the rules, or derailing the variations, creating new systems, disputes for thousands of years, and are still inconclusive. It can only be said that those who take the high law have their own rules and innovations, and the inferior people are not enough to speak.
The success or failure of literary fragmentation is probably easier to distinguish and understand than to understand. Since ancient times, poetry and music have been endowed with novels, all of which have been gradually formed, and many of them have the blessing of the creation of broken bodies, or they have finally been completed because of broken bodies, and have become a fixed standard style. Speaking only of modern times, the new poems in the initial period have the stylistic characteristics of both traditional long and short sentences and new free poems; the more familiar Lu Xun prose poems are typical of the broken body and new creation style, integrating the new poetry and modern prose style - recently the traditional cursive text breaking art creation. Poetry drama or drama poetry is not only borrowed from the poem, but also composed of the combined body and broken body of the drama or poem, drama and poetry. There is no shortage of broken bodies in creation, and academic research has always been heavy on breaking the body - the high evaluation of Wang Xianzhi's broken body is actually an academic praise for the evaluation of ancient book art, and the significance is basically equivalent to the current professional evaluation of peers, and it is the final conclusion of the history of the book. Especially in the study of ancient literature, stylistics related to broken bodies has long been an important direction; broken bodies and stylistic studies have become a professional doorway, such as scholars believe that stylistic studies can be a key to Song Dynasty literature, and so on.
In the contemporary and new period, the breaking of the body and new creation of literature is still a general phenomenon, which is not uncommon, and it is more and more reflecting the development and progress vitality of contemporary literature. This has laid and shown the prosperous status quo and brilliant prospects of Chinese literature in the new era.
For example, after the publication of Han Shaogong's Maqiao Dictionary and Hints, "cross-genre" writing has gradually become a literary trend, not only becoming a literary criticism term, just like the "post-80s", but also more supported by creative practice, and has become the most prominent creative phenomenon, until the non-fiction writing that has not faded so far. Broken bodies have become the norm today. This may also be a literary reaction to the era of generalized changes. This is in terms of the form of writing style. If we analyze the role of the writer instead, there is also a trend of "broken body writers" (this is my literary use of the word "broken body borrowed from calligraphy). That is, some writers use the main way of writing and have achieved considerable success. Such writers are not limited to traditional literary writers, but also include scholarly academic writing, or both. It can be said that it is the background of the current situation of this kind of literary "broken body" that has formed my original intention of hosting the "Three Habitats Column" of Novel Review from the turn of 2020-2021.
The meaning of what I mean by a broken writer, by extension, roughly includes the following situations: first refers to the creation of critics and scholars, but also literary genres and literary styles. For example, scholars and professors occasionally "go out of the circle" to double as novels or prose or poetry, and there are also academic and creative has always attached equal importance to, but mainly still the identity of scholars. This kind of creation will obviously be different from the creation of professional writers in many aspects, and its broken meaning is not only to inject the perceptual aesthetic of literary creation into the texture of academic rationality, enrich the nourishing connotation of scholars' spiritual personality, but also bring other styles to literary creation, and produce interactive communication between critical research and creative practice. In terms of role awareness, it contributes to the understanding of sympathy in literary relations. It is particularly beneficial to be reasonable and to be contrary to intentions in literary criticism. This is the core meaning I expressed in the "host's words" at the beginning of the "Three Habitats Column" of Novel Review in 2021. I remember that the article listed the great names of Professors Nan Fan, Ding Fan, He Xiangyang, Zhang Ming, Zhang Qinghua, and Zhang Xinxin, all of whom were famous scholars, critics, and famous writers of literature or poetry or novels.
Secondly, it mainly refers to the "broken body writing" of the scholar's academic style itself, or the scholarly creation of the writer's research writings—obviously different from the normative academic style of the usual college professors. The opening time of the "Three Habitats Column" is limited, and the latter (mainly written by writers and scholars) has not yet reached the specific discussion of candidates, but the proposed famous people are also thunderous and have achieved great success. The elderly such as Wang Meng's "Dream of the Red Chamber" research, the middle-aged Ge Fei as a novelist and have a monograph on "Jin Ping Mei", Wang Jiaxin as a poet and a famous translator, and the young ones are not in the minority. The former, the scholar's discussion of broken writing, was fortunate to have the condescending support of the two people. Professor Sun Yu's academic style often has the luster of The American personality, is casual, kind and frank, and can really be used as a good medicine to treat the shortcomings of stereotypical college articles. Professor Mao Jian directly reincarnated the temperament text into academic criticism, and her articles are both argumentative prose and righteous criticism, saying that they are academic theories, but they are also full of essays. An article has multiple faces, only insight and practice, whipping into the reveal the true color. No wonder it can properly absorb countless powders. Unfortunately, this kind of broken writing does not become the mainstream in college. The college thesis pays attention to the right sitting, rules and manners, as if the face of a theorist is authentic. Human nature, human nature, humanity, humanity, in the academic paper system, I am afraid it is difficult to take into account the corresponding temperature. Therefore, Professors Sun Yu and Mao Jian, who are different in style and style, have only rarely done rare creatures in the university, and they are very worthy of praise. Their disparate writing has a unique and almost hard-to-replicate value—not only academically, but also literary.
The third is that on the surface, it is almost impossible to see the style of the sect, and it cannot be classified into extreme cases, but in essence, it is the most free and mellow writing of an essay style. This kind of writing combines academic essays, literary criticism, prose essays, speeches, prefaces, and book reviews. Looking at it is talking casually, writing with letters and pens, there are no rules to speak of, in fact, it is taken care of in all directions, Chinese and foreign ancient and modern, life books, personal society have concerns. The style is scattered and the spirit is like a spirit, the writing is uninhibited but has its own center, especially the warm temperament of the mind and concern overflows the paper. Harnessing the power of words can be described as writing from the heart to the heart and intending to be beyond words. Some people say that this is a return to the asana and realm of ancient texts, no longer limited to the rules of literary division that have gradually evolved from the west to the east, and there is also a certain truth to what is said. However, if you look at Li Jingze's article, you may think that this is related to the ambition of the author of the article, and it is not necessarily mainly related to the literary style and writing technique. Also, talking beyond the technical level, our understanding of talent should perhaps have some acquiescence. So I said that acquired efforts can inspire talent, but not talent. The second issue of "Novel Review" Li Jingze album, my host's language is called "Article Career Gentleman Is Not Instrument", borrowing Li Jingze's article to express the meaning of stylistic differentiation and views on the personality of writing.
In fact, these views of mine are also a reaction or resonance of the new theories of literary criticism in recent years. Originated from the phenomenon of creation, it has become a theoretical criticism and stimulated a discourse hotspot in the literary field. Also the magazine "Novel Review", in July 2021, with the efforts of Wang Chunlin's editor-in-chief, convened a conference on the theme of "Novel Revolution" and Literary Boundless. Later, it also joined forces with Harvest magazine to promote the creative criticism of literature without boundaries, which is still in progress. In addition to the promotion of the journal, the main initiator of this new theory of literary criticism is, I remember, Professor Wang Yao. In my impression, he first proposed the "revolution in the novel" at a conference, and then published an article in the Journal of Literature. Although the needle for the shortcomings of the current novel is the driving force for the advocacy of the "novel revolution", the positive upward-oriented theoretical interpretation and the connotation appeal of literary writing are undoubtedly more constructive motivations. What is more important in promoting the influence and dissemination of the "novel revolution" is the publication of the long novel "Folk Song" by advocate Wang Yao not long ago, which has become the most critically concerned novel in recent years. Most of the annual literary rankings have seats at the top of The Ballad. And the acceleration of all-media dissemination expands the breadth of criticism of the novel and its authors. From this continuous focus, critical theory and novel creation are naturally superimposed on Wang Yao's identity as a scholar and essayist, in which the stylistic innovation of novels and criticism and the boundless meaning of literature are suddenly obvious and clear. The first theory of "novel revolution" overflowed the category of a specific genre, one became the theory of stylistic innovation, and then became the theory of literary value beyond the technical layer - the so-called literary boundless is not only a concrete innovative embodiment of literary creation, but also a moral consciousness and ideological appeal of literary personality, writing spirit, including writing individuals who infuse life consciousness and social care into specific literary behavior. Here, I not only express my response and understanding of the theory advocated by Professor Wang Yao, but also re-expound the purpose of the "Three Habitats Review" column.
Generally speaking, in the traditional field of ancient literature, the article style is related to the inheritance of the context, and it is intrinsically related to cultural concepts and ideologies. In short, stylistics is about worldviews and ideological positions. The importance of the so-called article identification is often here. It is no wonder that the orthodoxy of the article and the orthodoxy of cultural concepts are almost like an organism that is united in appearance. That is, the form of the article style is not independent of the conceptual consciousness. In the concept of modern literature, after breaking the barriers of traditional consciousness, the importance of stylistic ideology has a different deep meaning. Most importantly, writing and the concrete practice of life form an isomorphic relationship, and individuals and society have a common interest intersection in the act of writing. The way of writing is no longer limited to the personal world of the study, but is deeply related to the actual human condition and social life. In this sense, stylistic change is the change in the writer's emotions, cognition, thought, and worldview that occurs in the field of literature. Writing techniques have a broad perspective on life, society and the world. Looking back at the superficially contradictory and contradictory relationship between the body and the broken body (or variant), it is actually an intertwined community, and it is ultimately an innovative unity. This is to elevate the meaning of stylistic practice to a higher level of discernment concept, and the breadth of its value is realized in the rich writing ecology of various genres of literature.
In other words, the traditional "broken body" runs through the practice and theory of contemporary stylistic innovation, and contains the writer's unbounded outlook on life and world outlook of literature. In the final analysis, this is also a kind of "human literature" - the stylistic ecological outlook of Chinese literature in the new era.