What is the definition and conceptual review of a writer after the eighties

The assignment and representative figures of the writers.

50s: 1. Poetry and prose.

Representative figures: political lyric poems by Guo Xiaochuan and He Jingzhi; Yang Shuo, Liu Baiyu, Qin Mu, etc.'s praise prose; Sun Li's lotus lake faction.

2. Revolutionary historical themes.

Representative figures: Du Pengcheng "Defending Yan'an", Wu Qiang "Red Sun", Qu Bo "Lin Hai Snow Plain", Liang Bin "Red Flag Spectrum".

3. Rural themes and intervention in life**.

Representative figures: Zhao Shuli (yam egg pie), Zhou Libo "Great Changes in the Mountain Township", etc.

The 60s: The years of literary nightmares.

Representative figures: Zhao Shuli, "Can't Hold the Hand of Huai Mo Oak", "Sanli Lead Bay", etc.

70s: 1. Reportage in the New Era.

Representative figures: Xu Chi is the representative;

2. Scar literature.

Representative figures: Liu Xinwu, Lu Xinhua, etc.;

3. Reflect on literature.

Representative figures: Ru Zhijuan, etc.;

4. Hazy poetry.

Representative figures: Bei Dao, Shu Ting, Gu Cheng, etc.;

5. Reform literature.

Representative figures: Jiang Zilong, Ke Yunlu, Gao Xiaosheng, Zhang Jie, Jia Pingwa, Lu Yao, etc.

80s: 1. Local**.

LIU Shaotang; 2. Market**.

Representative figures: Feng Jicai, Lu Wenfu, etc.;

3. Roots-seeking literature.

Representative figures: Han Shaogong, A Cheng, Wang Meng, Jia Pingwa, Wang Anyi, etc.;

4. Absurd**.

Representative figures: Kan Rong, Wang Meng;

5. New realism, history and literature.

Representative figures: Chi Li, Fang Fang, Liu Zhenyun, Su Tong, Zhang Chengzhi, etc.

The above is excerpted from "A Century of Chinese New Literature".

Contemporary literary genres.

Lotus Lake You Chong faction Sun Li, Liu Shaotang, Cong Weixi, Han Yingshan.

Yam egg pie Zhao Shuli, Ma Feng, Xi Rong, Sun Qian.

Scar Literature - Lu Xinhua, Liu Xinwu, Cong Weixi, Feng Jicai, Zhou Keqin.

Reflection on Literature - Ru Zhijuan, Zhang Yigong.

Reform Literature - Jiang Zilong, Gao Xiaosheng, Lu Yao, Zhang Jie.

Roots-seeking literature - Yang Lian, Zhang Chengzhi, A Cheng, Wang Anyi.

"Ruffian" literature - Wang Shuo, Shi Kang, Li Silly, Zhang Yiyi.

Absurd literature - Wei Minglun, Crazy, Gao Xingjian, Ning Caishen.

The post-90s cutting-edge star school.

Yuan Xiaofei, Chen Ang, Su Xiaoyan, Zhang Mudi, Liu Xiangchuan, Zhang Peiliang, Jin Tao, Xu Shilong, Chen Sikai, Li Junyang, Li Tang, Gao Can, Lao Xiang, Ling Yi, Huang Yu, Li Kainong, Wang Yongxiang, etc.

Literary genres are naturally formed in the process of literary development, and from the perspective of basic form, there are generally two types: one is a conscious collection with clear literary propositions and organizational forms.

From the subjective point of view of the writer, this genre is consciously combined due to the same or similar political tendencies, aesthetic views and artistic tastes, and has a clear factional character. They generally have a certain name of organization and association, have a common literary program, openly express their own literary ideas, and engage in polemics with other schools of thought that differ from each other.

Contemporary: Like Lu Xun, Lao She, Ba Jin, *** ......Writers who are a little further away from our time are called contemporary writers.

Modern: like Yang Hongying, Jia Pingwa, ......Today's writers, writers who are still alive are called modern writers.

There should be a watershed here: for example, in 1949, that is, the founding of New China.

Modern writers: From the New Culture Movement in 1917 to the founding of the People's Republic of China in 1949, the main creative activities within this period are modern writers, such as Lu Xun, Ba Jin, Lin Yutang, Shen Congwen, etc.

Contemporary writers: From the founding of the People's Republic of China in 1949 to the present, their main creative activities during this period are contemporary writers, such as: Wang Meng, Liang Xiaosheng, A Cheng, Wang Xiaobo, etc.

1. Which writer do you like the most among modern and contemporary Chinese writers, and please talk about your overall evaluation of him; Meantime.

Lu Xun is one of the founders of modern Chinese literature, and his works have had a profound impact on the modernization of Chinese literature and the enlightenment of culture. His works such as "Diary of a Madman" and "The True Story of Ah Q" are known as classics of modern Chinese literature. His works are known for their profound thoughts, unique artistic techniques, strong social criticism and profound analysis of human nature.

2.Qian Zhongshu: Qian Zhongshu is a famous Chinese scholar, writer, and translator, and occupies an important place in the history of Chinese literature.

His representative works include "The Siege of the City" and "Pipe Cone Weaving", which are elegant and delicate in style, beautiful in writing and concise in language, and are known as the pinnacle of modern Chinese literature. 3.Mo Yan:

Mo Yan is one of the representative figures of contemporary Chinese literature and has won the Nobel Prize in Literature. His works are known for their unique folk language, strong local colors and rich cultural connotations. His representative works such as "Red Sorghum" and "Frog" are known as one of the outstanding representatives of contemporary Chinese literature.

4.Yu Hua: Yu Hua is one of the representative figures of contemporary Chinese literature, and his works are famous for their simple language, profound character portrayal, and human nature.

His representative works such as "Alive" and "Brothers" are known as one of the representative works of contemporary Chinese literature.

Attention to social reality: The 80s were a period of social transition in China, and writers' attention to social reality reached an unprecedented height. Like other writers, Shi Tiesheng pays attention to the living conditions of the people at the bottom of the society, pays attention to the change and transformation of society, and reflects the social reality.

Diversification of literary writing: Literary works in the 80s showed the characteristics of diversification, and writers no longer stuck to traditional literary forms and themes, but tried to write different literary forms, such as **, prose, poetry, etc. Differences:

Unique style: Shi Tiesheng's literary style is unique, and his works are characterized by humor, satire, exaggeration, absurdity and other techniques, which leave a deep impression on people. His works are not only a reflection of social reality, but also a profound reflection and exploration of human nature and life.

Respect for cultural traditions: As a cultural person, Shi Tiesheng has a deep affection and respect for traditional Chinese culture. His works incorporate many traditional cultural elements, such as the ancient poems in "** Times", the traditional cultural customs in "Knowing My Barbarian Grandma", etc., which makes his works more cultural connotation and sense of history.

Attention to the fate of the individual: Shi Tiesheng's works emphasize the fate and value of the individual, and he is not only concerned with social reality, but also the essence of human survival and development. In his works, there are often some individual images of independent thinking and pursuing freedom, which provides readers with more food for thought and inspiration.

In the mid-to-late 80s of the 20th century, "returning to literature itself" and "literary self-consciousness" were hot topics among critics and writers. They discussed several aspects of the existence of literature from the perspective of Lu Hong, such as the social responsibility of literature, the political needs of literature, and the problems of literature itself. This phenomenon suggests that writers are trying to break away from the tradition of literature focusing too much on socio-political issues.

At the beginning of 1988, Literature and Art Newspaper published "Literature: After Losing the Sensational Effect" was considered by some people to be the beginning of literature's self-consciousness, profundity, and maturity. Others believe that it is the weakness of literature, the effect of the writer's detachment from reality.