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Literary geography of western China is an interdisciplinary topic that systematically studies the geographical distribution and migration of writers and works in the west, the influence of regional landscape on writers' styles and regional literary styles, the relationship between dialects and regional literature, and the mutual influence of ethnic integration on national literature. The reason why Western literature can become a relatively independent research object depends to a large extent on the unique geographical environment in which Western literature is based. To paraphrase a common saying, it is "one side of water and soil and one side of literature", which makes sense. The land on which western literature depends is the inland of "high and silent and empty evergrande" (Changyao's "Inland Gao Yuan"), which is majestic, vast, and divine, but also arid, cold, and poor, and it embraces everything with breadth and perseverance. The West nurtured its native writers, and also absorbed those who had lost the "lost way", giving them inspiration, materials, and shaping their outstanding personalities and the unique nature of Western literature. Although there are differences in the definition of the "west" of western literature, taking into account the natural environment, production methods, cultural traditions and other comprehensive factors, I agree that the "west" of western literature is defined as the five provinces and regions of Shaanxi, Gansu, Ningxia, Qinghai, and New Northwest plus Tibet and the central and western parts of Inner Mongolia. This west is both a geographical concept and a cultural concept. I. The historical review of the study studies Chinese literature from the perspective of geography, and the clues have been seen from the study of the "Book of Poetry" and "Chu Ci" after the pre-Qin period. Since then, commentaries on writers and works from the perspective of regional culture have appeared frequently in anthologies and poems of previous dynasties. Since modern times, in the context of the gradual study of the West and the East, there have been cultural geography studies based on geography and literature-based literary geography research, the former represented by Liang Qichao's "The Relationship between Geography and Civilization" (1902), and the latter represented by Liu Shipei's "The Difference between Northern and Southern Literature" (1905). In the middle of the 20th century, for various reasons, the geographical study of Chinese literature produced very little results. Jin Kemu's article "The Geographical Research Assumption of Literature and Art" published in the 4th issue of "Reading" in 1986 is the earliest paper that systematically puts forward the concept of literary geography research in the new period. He believes that our literary and art research is accustomed to the linear exploration of history and lacks multi-dimensional research that is mainly aspect-based, three-dimensional, and time-space-integrated. The study of literary and artistic geography proposed by him includes four aspects: one is distribution, the second is the trajectory, the third is the fixed point, and the fourth is the dissemination - the geographical distribution of literature and art, the circulation path of writers' works, genres and styles, the concentrated development location of literary and artistic genres, and the spread of different art genres. Since the beginning of the 21st century, Yang Yi has put forward four main questions about literary geography in "Redrawing the Map of Chinese Literature and the Ethnological and Geographical Issues of Chinese Literature" (Literary Review, No. 3, 2005): first, the problem of regional culture, second, the birthplace, eunuch and exile of writers, third, the migration of large families, and fourth, the transfer of cultural centers. In 2006, Mei Xinlin put forward specific theoretical concepts, system construction and research methods for the geographical research of Chinese literature in the introduction to the geographical form and evolution of Chinese literature. Zou Jianjun, a scholar engaged in the study of comparative literature and world literature, proposed eight questions and ten keywords in the study of literary geography in "Main Areas of Literary Geography Research" (World Literature Review, No. 1, 2009) and "Ten Keywords of Literary Geography Criticism" (Journal of Anhui University, No. 2, 2010), respectively, and distinguished and defined several concepts related to literary geography that are also easily confused. For example, the connection and difference between literary geography and regional culture research, spatial criticism, ecological environment criticism, etc. Chinese literary geography has made considerable achievements in the study of ancient literature, but the geographical research of modern and contemporary Chinese literature is still in the exploratory stage. In the mid-to-late 90s of the 20th century, Yan Jiayan's "Twentieth Century Chinese Literature and Regional Culture Series" and Fan Xing's "Contemporary Literature and Regional Culture" (Central China Normal University Press, 1997) mainly studied Chinese modern and contemporary literature from the perspective of regional culture, but it already involved the issue of literary geography. The concept of "western literature" proposed in the mid-80s of the 20th century itself contains the awakening of literary geography (region) consciousness, but the early study of western literature mainly cuts from the perspective of regional culture, emphasizing the "cultural" characteristics of western literature rather than "geographical" characteristics. Since the 80s of the 20th century, several monographs on western literature have dealt with the geographical issues of western literature in some chapters, especially Xiao Yunru's definition of authorship and description of natural landscape in the second chapter of "Literature in Western China" "The Characteristics of Natural and Human Geography of Western China and Its Impact on Culture and Art" and Li Xingyang in the second and third chapters of "History of Contemporary Fiction in Western China". Yu Bin was an early scholar who defined western literature from the perspective of geography at the macro level, and he defined the geographical scope of western literature from three aspects: ethnic geography, physical geography and cultural geography in On Western Chinese Literature (Contemporary Literary and Art Trends, No. 5, 1986). Li Jingru "Local Characteristics in the Creation of Zhang Xianliang's Novels" (Journal of Guyuan Teachers' College, No. 2, 1985), believes that the distinctive local characteristics of Zhang Xianliang's novels are reflected in his ability to express the natural scenes, local scenery and other geographical environments that he is familiar with and love, and also thanks to the language (dialect) rich in the rich local life atmosphere of the northwest. Yan Chunjun keenly captures the "geography" problem in Zhang Chengzhi's work in Zhang Chengzhi and His Geographical Literature (Literary Review, No. 1, 1987), and makes a detailed analysis of various "geographical" factors in his works. Gulinar Wufuli, in "The Human Geography Perspective of Uyghur Literary Research" (Journal of Kashgar Normal University, No. 5, 2007), uses Ahmat Ziyi's narrative poem "Rebiya and Saidin" as an example to analyze the regional cultural color that the author's regional cultural awareness of Kashgar gives to his works. Liang Lu has made a very detailed investigation and analysis of the characteristics, causes and changes of the spatial distribution and regional differences of contemporary Shaanxi literature from the perspective and research methods of human geographers, 3954760 due to her interdisciplinary vision and the use of charts and statistical methods, it provides us with a lot of methodological enlightenment for studying western literature from the perspective of geography. Through the above combing of the current research situation, it can be seen that the use of the perspective and method of literary geography to study the literature of western China, although it has a history of more than 20 years, is still in the stage of exploration. Taking the literature of the western region with geographical similarity as a whole, using the theory and research methods of literary geography, and conducting comprehensive and systematic research, it is helpful for us to re-examine the spatial dimension that has been ignored by literary history, and expand and enrich the content of literary research beyond the linear time of literary history. Therefore, the research significance of this topic not only lies in the expansion of the object and content of the study of contemporary Chinese literature, but also provides us with a new theoretical perspective and research method to try. II. The Main Content and Basic Perspectives of Western Literary Geography As the spatial dimension of literary research, literary geography is an indispensable aspect of the study of literary history; The unique geographical situation of western China (including physical geography and human geography) is an important factor affecting the overall style of western literature. The historical change in the geographical distribution of writers will bring about the shift of literary centers. After the founding of New China, the westward expansion of a large number of writers and intellectuals narrowed the gap between Chinese literature in the 20th century, thus preparing a talent team for the rise of western literature in the new period; National characteristics and dialect characteristics are also unique elements endowed by western geography to western literature. (1) The Great Geographical Discoveries of the West and the Rise of Western Literature Although the western part of ancient China had a long history of folk literature and brilliant border poetry, compared with the Central Plains, the development of western literature showed an uneven nature over time. Looking back at the history of Western literature, one of the important laws is that the prosperity of Western literature is often accompanied by the great discoveries of Western geography, which is particularly evident in the Biansai poems of the Tang Dynasty. For Western Chinese literature in the 20th century, its four epoch-making stages of development are all related to the great geographical discoveries of Western China. First, at the end of the 19th century, foreign explorers such as Sven Hedin, Langdon Warner, Kozlov and other expeditions and investigations, their research and travelogues, presented to the world a mysterious and exotic west, thus attracting a group of Chinese and foreign people to draw inspiration from literature. Second, during the War of Resistance Against Japanese Aggression and the War of Liberation in the thirties and forties of the 20th century, a large number of writers and intellectuals came to the west to escape the war or the need for work, and wrote down a small number of popular travelogues and diaries in the west, such as Fan Changjiang's "Northwest Corner of China" and "Plug Upward", Mao Dun's "Northwest Journey", and Gu Jiegang's "Diary of Northwest Investigation". Third, writers who came to the west in the 50s of the 20th century who were assigned by the state or volunteered to support the border presented us with a vast and rich west, such as Wen Jie's "Pastoral Songs of the Tianshan Mountains" and Li Ji's "Yumen Poems". Fourth, the "rightists" who were exiled to the west in the late 50s of the 20th century because of the "anti-rightist movement" and the intellectuals who came to the west during the "Cultural Revolution" because of the "movement to go to the mountains and go to the countryside" to cut the queue, they have lived in the west for a long time, and the natural and cultural landscapes of the west constitute their inexhaustible literary source since the 80s; And the "cultural fever" after the mid-80s once again made people discover the poor and magical west. (2) The geographical distribution of writers in the west Literary geography is the integration of literature and geography, and writers are the intermediaries and links between people and land, the literary world and the real world, so to study the literary geography of a region, we must first examine the geographical distribution of its writers. Here we have to examine two issues: First, the question of the writer's origin. From an individual point of view, examining the origin of a writer can understand the initial formation of a writer's literary temperament and the relationship between it and the overall literary style of his residence, and then explain the impact of changes in geographical space on the writer's style, for example, we can consider the influence of the western experience of writers such as Wang Meng, Zhang Xianliang, and Changyao on their creative style; The origin of the writer group can explain the spatial movement and change of the literary atmosphere due to the passage of time, such as the 20th century Chinese western literature, the proportion of local writers and immigrant writers has changed greatly. The increase in immigrant writers and the changes brought about by local literature belong to the category of spatial geography. The second is the movement of writers and the transfer of literary centers. Before the outbreak of the Anti-Japanese War, there were very few famous and surnamed local writers in the history of modern literature, and during the Anti-Japanese War, Yan'an, as a cultural center, attracted a huge group of writers, which played a great role in the development of western literature after the war. After the founding of New China, many writers came to the west through state distribution, support for the west, labor reform and exile, and the insertion of educated youth, laying a talent foundation for the rise of western literature in the 80s. More importantly, driven by immigrant writers, the growth of local writers has enabled western literature to continue and maintain vitality for a long time, thus forming a Chinese literary map that is completely different from before the founding of New China. (3) The influence of the western geographical landscape on the western literatureThe influence of geography on literature is realized through the intermediary link of the writer. It is directly manifested as geography provides a representation object and material for literature, and indirectly as an influence on the writer's aesthetic style and work style, and then affects the overall style and appearance of literature in a region. To explain the influence of the special geographical environment of the west on the literature of the west, we must first understand the unique geographical environment of the west. The western part is located in the first step (Qinghai-Tibet Plateau) and most of the second ladder in China's topography (the Inner Mongolia Plateau, the west and north of the Loess Plateau and the vast hinterland of Xinjiang), in a nutshell, the natural environment and human environment in the west have the following characteristics: the terrain is high, the climate is arid and cold, and the terrain is mostly plateau mountains and Gobi deserts; backward production and lack of material; There are many ethnic groups and sparse populations; Cultural diversity and symbiosis, how ancient the heritage. This unique geographical landscape first gave Western literature a unique imagery: icebergs, loess, grasslands, flocks, forests, Gobi, horses, flying eagles, long rivers... Imagine Zhang Chengzhi, Zhang Xianliang, Jia Pingwo, Lu Yao, Changyao, Zhou Tao, whose works all illuminate people's eyes with their distinctive western landscapes; Secondly, it is also a source of inspiration for writers. Not to mention the spiritual nurturing of Western geography for native writers born in Sri Lanka, even those exiled or labor camp writers who were passers-by all lamented the inspiration that this magical land of the West gave them. Wang Meng said of the creation of "Eye of the Night", "As for Xinjiang, the mountains and lakes there gave me the motivation to write like this, but maybe there is another scenery in the frontier, vast and vast, lonely as iron... The soft Wehar made my imagination of the frontier intimate, "The life in Xinjiang and the life in Yili are my precious treasures, and comparing it with Beijing is an important source and feature of inspiration for this author's novel." I won't let go of my unique creative capital," 3954761. The influence of the geographical landscape of the west on the overall style of western literature is realized through the shaping of the individual style of writers. What we want to investigate here is the style characteristics of local writers, and the style changes after immigrant writers moved in. The style of western literature is found in contrast, and the Ming dynasty poet Tang Shunzhi said that "the voice of the northwest is generous, and the tone of the southeast is gentle" (Preface to the Collected Poems of Dongchuanzi). The modern scholar Liu Shipei not only distinguishes the different styles of literature in the north and the south in "The Difference between the Sons of the North and the South", but also analyzes the relationship between these different styles and local customs: "The land of the mountain country, the land is barren, hindered by traffic, and the people in the middle of the life advocate practicality, cultivate themselves, and have the style of perseverance." The land of Ze country, the soil is oint, convenient for transportation, and the people who live in it advocate nothingness, lively and enterprising, and have a unique style of leaving the world. 3954762 overall style of Western literature, in short, masculinity or "tragic," it contains elements such as desolation, roughness, thickness, pathos, and majesty. The formation of this style is not only related to the harsh natural environment of the west, but also the result of the magical traditional culture of the west and the colorful customs of various ethnic groups. (4) The influence of multi-ethnic population geography on western literatureThe western region is the region with the largest number of ethnic minorities in China, and as the elements of human geography, the influence of ethnicity and population on western literature is mainly reflected in: First, in terms of artistic style, the intermingling and interpenetration of literature among various ethnic groups in the western region leads to the mixing and diversity of literature; The second is the expression of national customs and exotic atmosphere in the content of the work. For the native writers of the west, the mutual influence between the literature of various ethnic groups is subtle and imperceptible, but for those writers who go to the west to be exiled or re-educated through labor, this influence is obvious. Wang Meng has lived in Xinjiang for nearly 20 years, and the life, customs, culture and language of various ethnic minorities in Xinjiang have influenced him in many ways. Most importantly, Wang Meng studied Uighur assiduously and had a direct impact on his creation, and he wrote in the "In Erie" series of novels "Oh, Muhammad Ahmed" that once after three rounds of drinking, the protagonist of the novel, Muhammad Ahmed, sang loudly: After I die, where will you bury me after I die? Buried by the avenue? Oh, I don't want to bury myself on the side of the avenue, where people come and go, how noisy it is. Buried in the Gobi? Oh, I don't want to bury myself in the Gobi, where the sky is high and the earth is wide, how desolate it is. 3954763 this lyric was translated by Wang Meng. He also said this: The protagonist I write is not perfect, and even has indecent nicknames, however, I emotionally write about its kindness, intelligence, helplessness, the encounter in the "Cultural Revolution", I write about the bittersweet and bitter of the little people, write about their yin and yang, their wishes, love and dreams. Especially the dialogue in the novel, I completely conceived it in Uyghur and then translated it into Chinese. I did not cut the soil trowels in vain by the Erie River at the foot of the Tianshan Mountain, I did not eat the naan and vegetables of this land in vain, eight thousand miles apart, and as soon as I grabbed a pen, I walked among them again. 3954764 I would like to emphasize here that Wang Meng's statement that the dialogues in these novels are first conceived in Uighur and then written in Chinese translation, fully illustrating that the mutual influence of various ethnic literature is sometimes particularly microscopic, but it does exist, which is just one example of the mutual influence between languages. (5) Language geography and western literary language have unique regional characteristics, and there are obvious regional differences in vocabulary and phonetics. Although the "west" defined here does not have a unified dialect, most of the area belongs to the northwest official dialect area of the northern dialect area, coupled with the interaction between the Mongolian, Tibetan, Uighur and other minority languages and their various ethnic languages in the region, so that the language of western literature has distinct regional characteristics and national characteristics.(AI翻译)
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