Who are the characters with the image of ruffians in Wang Shuo s pen? Please attach any work from it

The "ruffianism" shown by the protagonists of the sister chapters "The Stubborn Master" and "No Seriousness at All" is more in language, and less destructive in behavior than the protagonists in "Half Fire, Half Sea" and "Rubber Man". The main characters in these two ** are not in the singular, but in the plural lineup that spreads out in the reader's field of vision. This group of people is all Kanjia, and they talk about the sea, as if everyone is a human spirit.

blasphemed the sacred, did everything he could to be mean, and did not hesitate to exile all the bottom line of values and human dignity. They have been thrown out along with their own personalities. So it doesn't matter about everything in society.

It doesn't matter whether love or righteousness, justice or kindness, everything is nothingness in their vision. Life passes through their eyes and mouths, and it becomes an absurd thing. Yang Zhong once made such a "classic" analogy:

Life is about playing football, a large group of people running around, maybe they can't score a goal in the whole game, but they have to play hard, because the audience is cheering and cheering. Life is all about running around and listening to other people's applause. Since life is all about "running around", working in vain, not sitting down or lying down to rest.

This nihilistic attitude towards life is easily contagious to people who are disappointed in life in real life or who are angry in society. The stubborn masters don't care about the standards of good and evil, and the praise and disapproval are also out of proportion. Serious things can be seen as jokes, and games can be given to "deep" things.

Love is supposed to maintain the innocent feelings between men and women, but in the eyes of the "stubborn masters", it is just a game of play. You can find someone to go on a date, and you may as well design your own awards, and the sacred and solemn things in this industry will change their taste as soon as they come to the hands of the "stubborn master".

A post-85 reader, Wang Shuo, once said that he couldn't understand the experience, basically no one read it, and he really couldn't understand it. Those of the pre-85 years were busy begging for a living, and they were not empty.

The times are different, when he swept the country was in the 80s, which was a rare era in China, and it was a rare era in China for more than 2,000 years.

At that time, it was the early stage of reform and opening up, the material foundation of society was poor, and people were not so much looking at money, but also pondering spiritual exploration. Subsequently, with the country's continuous economic reform and opening up, people gradually took economic construction as the center, paid more attention to reality, and focused on improving production efficiency.

In fact, from the beginning of Wang Shuohuo's fire in the 80s, literature began to decline and gradually declined. At the end of the 70s, literary and artistic periodicals such as "Harvest" and "People's Literature" were very popular, and it was fashionable to see them. Now not only Wang Shuo is not cared for, but other people are also uncared for, all the same.

In fact, the ruffian style created by Wang Shuo is still there, and Wang Shuo's shadow can be seen in the movie "Old Cannon" and some other absurd plots in comedies.

Wang Shuo's ruffian** actually awakened the subconscious sense of autonomy and freedom of the Chinese people in that special era, which was the psychological appeal of the people in that special era to be reflected and responded to in literature. Like the red shirt and bell bottoms of the year, it belongs to fashion literature, which has been popular for a while, and it is definitely difficult for readers to be interested in it after aesthetic fatigue. Modern people ask Wang Shuo** is like taking out a collection of tape recorders and putting on an old tape tape that I once loved to listen to, and occasionally nostalgic reminiscences.

His context is aimed at the post-Cultural Revolution period of the reform and opening up of the society. It also satirizes the ugliness of human nature and the hypocrisy of the old order. It's very spicy, bold and direct, and has a positive meaning of advocating truth, goodness and beauty, but it doesn't need to be expressed in a didactic way.

Wang Xiaobo speaks for non-mainstream thinkers in terms of ideological status and discourse power. Wang Shuo wanted to scold the ruffians on the street to vent his dissatisfaction.

It's just that at the end of the last idealistic era of the decade in the 80s, 60s, and 70s, the social environment has changed to the realism of the supremacy of money. No one ridiculed and pinpointed, so his era was over.

The works of Wang Shuo, the originator of the ruffian school that was once popular all over the country, are now unpopular, because the times have changed, and his works are not suitable for people of this era.

Because people's thinking has changed a little now, and some of his works are not liked very much, so they are slowly no longer interested.

Because many people can't understand these works, these works don't conform to the current concept of social development, so no one cares about them.

Because now his style is no longer popular, people's aesthetics have changed, so no one buys it.

Because the current works are not as good as the classics of the time, the current works are not good at all, so no one cares.

The protagonists of Wang Shuo** are often urban vagabonds, they drink heavily, gamble, seduce women, and have nothing to do all day long, but they are different from the real "underworld characters", they have a superior family background, most of them are the children of cadres, well-educated, exported, and elegant, and they are mostly from the military compound in Beijing, and they are the so-called "children of cadres". They had once been at the top of society as a new aristocratic class, but the Cultural Revolution overturned that hierarchy and gave them a glimpse of the heat and coldness of the world. After the reform and opening up, they could not keep up with the trend of economic trends, and more or less became laggards.

But the education they have received since childhood has made them afraid that they have lived in vain, and the most important thing for them is to confirm that "you are not a layman" (this is the title of Wang Shuo's first **, which can be regarded as a core concept of Wang Shuo**). In Wang Shuo's writings, you can often see this kind of "doomsday heroes". What they fear most is the ridicule and contempt of others, and in order to maintain a little self-esteem, they do not hesitate to turn against the people closest to them.

The characteristics of the above-mentioned Wang Shuo's works can be reflected in these **: "Stewardess", "Addicted to Death", "Floating to the Sea", "Animal Fierce", "You Are Not a Layman" and so on. "Animal Ferocious" is one of Wang Shuo's most important works, published in the 6th issue of Harvest in 1991.

This ** is written about a group of "raw melon eggs" (ten.

Six or seven-year-olds, fighting, chasing girls, stealing, playing, is a kind of reminiscence of the formative years of youth. Wang Shuo uses a narrative method in which multiple narrative voices coexist, making the stories he recounts both real and unreal.

In Wang Shuo's **, the protagonist is generally a rebellious ruffian, and in his time, this is more awesome.

But now, take out a **, basically more ruffian than him, more ruthless than him.

But it's really, in his time, that kind of **, very alternative and unique

The word "father" in Wang Shuo's classic work "I Am Your Father" has been given the moral code of too many male societies. It was so powerful that Wang Shuo couldn't find a force that could match it. He had to say, I'm a scoundrel, I'm a hooligan, I don't play anymore, I don't do it, it's all right.

Because he has reduced himself to such an extent that those who consider themselves orthodox are embarrassed to bother with him, otherwise they will appear to be like little rascals.

Actually, what's so bad about being a mediocre person? Not everyone can be a strong person in life. The so-called decadent, pessimistic, and hopeless is because the previous life goals were too ambitious, and the requirements for themselves were too high and too harsh.

Although Ma Linsheng is a frustrated man, he has a lot of loveliness, but these good qualities seem so insignificant in a patriarchal society with the word "strong" as the central idea.