The urban aesthetics of literature is not only the reconstruction of the life experience of contemporary literary writers in urban society and the aesthetic way of "grasping the world artistically (Marx's language)-it involves multiple "relationships" between people and the city, such as grasping the value form, experience form, urban consciousness, artistic expression, etc. of urban themes, but also related to how contemporary Chinese literature migrates from traditional rural China to contemporary urban society, that is, China is in a period of rapid transformation of urbanized society. How to expand the new human nature and aesthetic space of contemporary Chinese literature, and how to realize the aesthetic transformation of literary creation. A symptom: the multi-directional lack of urban aesthetics As long as a cursory scan of China's contemporary literary scene can be done, it can be found that the urban aesthetics of literature are quite lacking. First, although the literary creation of urban themes has been on the rise in recent years, its total amount and proportion are still less than one-third of local literature. In the era when China's urbanization rate has reached 60%, local literary themes and historical themes are still the "main army" of contemporary literature. In the past so-called "national" awards such as the "Mao Dun Literature Award" and the "Lu Xun Literature Award", urban literary works have almost disappeared, and it is difficult to find a figure. Moreover, in the thirty years of literature in the new period, famous writers such as Jia Pingwo, Han Shaogong, Chen Zhongzhong, Lu Yao, Zhang Wei, Mo Yan and other famous writers who have been recognized by the society are all in the category of local literature, even if they occasionally create urban themes, their literary achievements are far inferior to their own works on local themes. This kind of situation is still the same in the contemporary film art world. Director Zhang Yimou, a well-known contemporary Chinese director, "Red Sorghum", "Big Red Lantern Hanging High", "Ju Dou" and subsequent "Heroes", these "blockbusters" with local themes and historical and cultural themes, are his successful film works, and his only film depicting Shanghai's urban theme "Shake, Shake, Shake to Grandma's Bridge" is recognized as a failure. The second is contemporary literary theory criticism, consciously or unconsciously due to the traditional aesthetic consciousness formed by the long-term rural farming society. Although since the "Year of Methods of Literary Criticism" in 1984, the old three theories, the new three theories, archetypal cultural criticism, psychoanalytic psychological criticism, feminist literary criticism, new criticism, structuralist literary criticism, colonial and postcolonial writing criticism, modernity and postmodern cultural (literary) criticism have emerged one after another, which have changed the academic structure and criticism methods of contemporary literary theoretical criticism to a considerable extent, but most of them only act on the "method" level of literary criticism. Less internalized into the aesthetic thinking dimension of contemporary literary theoretical criticism. It can be said that they are only a "modern" transformation of some kind of critical method, and cannot yet be judged as a modern transformation of the aesthetic consciousness of Chinese literary criticism. This is especially true for the urban aesthetic of Chinese urban literature in the growing period. Therefore, we can see that contemporary Chinese literary theory criticism continues to maintain academic attention and research investment in the creation of local themes and historical themes; On the contrary, for the literary creation of urban themes, our literary theory criticism is correspondingly cold, or in other words, insufficient force. Many new, high-quality urban literary works have been ignored and forgotten. Or, even if our literary theory criticism is engaged in the study and evaluation of urban literary creation, it is often because of the traditional aesthetic consciousness of the researchers themselves, and often applies the "universal" theoretical criticism concepts and thinking methods in the fields of local literature and historical literature, and the result is naturally itching. In the interval between traditional aesthetic consciousness and contemporary urban aesthetic consciousness, it is an aesthetic misplacement of literary theory criticism. The description of the phenomenon aims to show that China's 3,000-year-old farming culture and its historical length have formed a certain constant, long and powerful historical consciousness and literary aesthetic consciousness that matches the farming culture. This accumulation of aesthetic consciousness has become a "huge tradition" and "unconscious consciousness" of contemporary Chinese literary creation and its literary and art theory criticism. This "deep structure" of traditional literary aesthetic consciousness makes Chinese writers, as former Harvard University professor Li Oufan said, for the city, Chinese writers always have the dilemma of "nostalgia" at the material level and "escape" at the psychological and spiritual level. In addition, the special background of modern Chinese urban genesis, the modern Chinese city constructed by the invasion of the "other" of Western powers, is congenitally accompanied by the sense of historical humiliation of the national self and the sinfulness of the powerful "other". As a result, "urban evil" has become a universal national cultural psychology not only for Chinese writers but also for the entire Chinese nation. Although the consciousness of "urban evil" cuts through the negative cultural effects of modern urban society from one dimension, it also strongly obscures the rich modernity functions of modern cities in the dimensions of institutional arrangement, cultural spirit, and modern civilization. Of course, it is bound to seriously affect or restrict the rational understanding and multi-dimensional aesthetics of contemporary Chinese cities by contemporary writers and literary theory critics. In addition, the vast majority of contemporary literary practitioners (including creators and researchers) have the same life creation experience as modern writers Shen Congwen, Zhuanming, and Shituo-style "from the countryside to the city". In a sense, writers who "move from the countryside to the city" belong to the "outsiders" of the city, and they themselves unconsciously attribute themselves to the "foreigners" of the city. The identity of "outsider" is easy to make contemporary writers feel urban isolation and strangeness; The "foreigner" mentality is very easy for contemporary writers to return to the local life experience, constructing and imagining the local world they were once familiar with. Like Shen Congwen's "Xiangxi World", the abolished "Huangmei", Shituo's "Henan"; Like Jia Pingwo's early creations of "The Land of Shangzhou", Mo Yan's "Gaomi Township", Su Tong's "Maple Poplar Bay", and Chen Yingsong's "Shenlongjia Mountain People's World". So we see a "Chinese" literary phenomenon, generation after generation of Chinese writers, although they live in the city, their life vision and aesthetic touch, that is, do not extend to the urban world around them, but go beyond the city and throw themselves into the hometown land they experienced in their early years. As a result, the urban aesthetics of Chinese literature have been absent for a long time, and urban aesthetics and related literary aesthetics and art philosophy issues have been vacant and absent for a long time. 2. Aesthetic transformation: the aesthetic significance of urban aesthetics to Chinese literature, the history of human culture, and the colorful chapters in it are almost connected by the "golden age of the city" into the course of human literature. Florence in the 14th century, London in the 16th century, Vienna in the 18th century, Paris in the 19th century, New York in the 20th century, and Shanghai in China in the first half of the 20th century were all called the "golden age of the city" by historical and cultural scholars for their high prosperity of economy, culture, literature and art. Along with the "transformation of modernity" in Chinese society in the 20th century, "urbanization" has become, or is beholding, an empirical fact of our social material form and life existence. Research information and statistical reports from sociology and economics show that urbanization transformation is the main form of achievement of contemporary China's social change, and by the end of the 20th century, China's urbanization level and rate have reached 50%, and by 2010, "China's urbanization rate has increased to 60%". These figures mean that China has rapidly transformed from a traditional agricultural culture country into an industrial, commercial and urbanized society, with an urban community population of nearly 840 million. At a deeper level, it also means that contemporary China is experiencing an unprecedented "golden age of the city" since its recorded history. There is no doubt that if we are always immersed in the traditional local Chinese life experience and aesthetic consciousness, and blindly banish the experience, entry and reflection of literature on urban life, then it will be difficult for our contemporary literature to achieve contemporary aesthetic transformation and create an "urban golden age" of literature! The urban aesthetic of literature, from the surface form, is the description and reflection of literature on urban society, the creative excitement area of contemporary literature and theoretical criticism, and the problem of the transfer from large themes such as local and historical to urban themes. From the perspective of deep form, literature should take the contemporary city as an independent aesthetic object, and experience, explore and construct a new type of literary urban experience, aesthetic consciousness and aesthetic transformation of aesthetic form in the interactive relationship between literature and the city. Looking back, the thirty years of literature in the new period, in the creation of some writers, have shown the urban aesthetic transformation of contemporary literature. In 1985, Liu Sola, a female student at the Central Conservatory of Music, wrote a novella "You Have No Choice", Xu Xing, an urban wanderer, "No Theme Variations" and "The rest belongs to you", and freelance writer Wang Shuo's "Stubborn Lord", "No Seriousness", "I am a Hooligan, Who am I Afraid of" and other series of long stories, with a wise and decadent "stubborn master" posture, unfolded the "wasteland" and absurd aesthetics of the city; Since then, Xu Kun in Beijing, Wang Anyi and Wei Hui in Shanghai, Fang Fang in Wuhan, Zhang Xin and Sheng Ke in Guangzhou have entered the experiment of urban aesthetic diversity from different creative paths. Among them, the outstanding is Hubei female writer Fang Fang. As early as the mid-80s, Fang Fang took the lead in practicing the writer's urban aesthetic - de-sacral, non-moral - with a warm and delicate, wise and plain life writing posture, infiltrating the daily humanity and destiny of urban society. As a result, Fang Fang explored or gained a unique and rich urban aesthetic awareness and experience. A seemingly ordinary family event, but it contains the tearing of human nature between family affection, the transformation and paradox of love and hatred ("Sunset"); A rough and troubled family of urban citizens, but so many polarized human mutations ("Landscape"); Following the path of citizens' daily life, Fang Fang captures the magnificent and strange human "legends" behind "daily life". Through the urban love narrative, Fang Fang experiences the urban feeling of "male despair" and "love despair" persistently, and in the double despair space, he writes about the human distortion of urban women's "lady-slut" and the vicissitudes of fate of "where is my home" ("Peach Blossom Splendid", "The Sinking of the Boat", "Autumn Wind and Leaves", "Where is My Home", "Water Under Time", etc.). From the seemingly blunt theme of police and banditry, Fang Fang spied from the slices of "accidental" life (exploration) to the intertwining and restriction of urban life in that network structure, the ubiquitous historical entanglement and the game of human nature in the world, the casualness and accident, boredom or helplessness behind the sacred appearance of those "merits". Like Benjamin once described the "urban wanderer" of 19th-century Parisian society, Fang Fang can be regarded as the "wisdom elf" of contemporary Chinese urban aesthetics. She travels through all corners of urban society and urban life in a literary way, smelting or harvesting an urban aesthetic that belongs to contemporary China: the multipolar and infinite human variation of living life under the daily survival state of the city; The human legend of intertwined and biting games between people; Urban life and even our city itself, those fatalistic reincarnations of fate and endless desolation and absurdity. Therefore, we are pleased to observe that when the writer Fang Fang formed an urban aesthetic consciousness from the contemporary city, no matter what kind of life theme she faced, she showed the high quality and high energy of her creation. Like the long story "Water Under Time" in recent years, which describes the historical fate of the "man and city" of the famous Hankou water lantern, "Wuchang City" which describes the history of Wuhan's Northern Expedition, "Min's 1911" which describes the theme of Wuhan's Shouyi Xinhai Revolution, and the novella "Qin Break", "Going Out to Find Death", and "Ten Thousand Arrows Through the Heart" describing the laid-off female workers in Wuhan. We are also pleased to see that a group of writers who are in the thriving period of creation are practicing the creative migration from local aesthetics to urban aesthetics. For example, Henan writer Li Peifu, from "Sheep's Gate" to "The Lamp of the City", and recently across the contemporary city and contemporary countryside, he created a long "Book of Life" style of "urban and rural intertextuality"; Like Hubei writer Xiaosu, the "rape slope" novel series in the rural homeland and the "college campus" series of novels in the city; Like Liang Hong's non-fiction vernacular novel "China in Liangzhuang". Comparatively speaking, when writing about local themes, because they have a certain urban aesthetic experience as a reference, they have surpassed Shen Congwen's "local beauty, urban evil" urban-rural opposition writing mode, and presented a "urban-rural intertextual" text form and human consciousness; The aesthetic consciousness derived from traditional farming culture - natural beauty mode, moral rational spirit, and ethical function color - has been gradually replaced by the newborn urban aesthetic consciousness - materialized aesthetic method, urban cultural rational spirit, intelligent and objective human nature presentation. 3. A few thoughts: the related problems of urban aesthetic transformation The urban aesthetic transformation of literature, in the final analysis, may be the problems of literary practitioners in facing the city, experiencing urban culture and urban human nature, creative emotional posture, rational and experiential cognitive methods, and their artistic externalization methods. How to achieve urban aesthetic transformation? The following thoughts may provide some reference and path. First, go to the consciousness of "urban evil". Enter, understand, experience and grasp the city with a rational, wise and objective attitude. "Urban evil, rural beauty" is a literary consciousness represented by Shen Congwen in the 20s and 30s of the 20th century. From a deep point of view, it is the aesthetic consciousness of the agricultural era bred by the Eastern nation in the initial period of modern cities, the retreat and escape of the writer in the face of the "strange" modern city, and a kind of "romantic imagination" of the rural culture of the fading agrarian society. Imagining the pre-modern "vernacular" as an ideal society that conforms to human survival can neither withstand the test of history nor conform to the reality of the present. It is beautiful and beautiful, but it does not help the writer to have a deep and multi-directional understanding and experience of the modern city. Because the consciousness of "urban evil" is only an essential, one-way way of thinking, it is easy to obscure the richness and complexity of modern urban life. Like Shen Congwen's urban men and women, human nature is thin or single. Second, de-"moralize" the color. "Mortalized aesthetics" is an ethical aesthetic method formed in China's traditional patriarchal farming society. Strictly speaking, this is the intervention of "ethics" in "aesthetics", which can easily prompt our literary aesthetics to slide into the moral trap. The transformation of urban aesthetics means that we have changed from traditional moral aesthetics to "alienated" aesthetics of urban and urban human nature. For example, Cao Qiqiao in Zhang Ailing's "The Legend of the Golden Lock", such as the seventh brother in Fang Fang's "Landscape", Sister Li in "Ten Thousand Arrows Through the Heart", such as the five dragons in Su Tong's "Mi", the writer's so-called selfishness, greed, vulgarity, blood, and hatred of them are not judged from the level of "morality", but from the level of "alienation" of urban life to people, from the contradictions of the dimension of the character's "living", and write about the distortion, development and mutation of the character's personality. The writer abandoned the "moralized aesthetic", consciously or unconsciously wrote the "legend of human nature" under the "daily state" (Zhang Ailing) with the aesthetic vision of urban human nature. Third, go to "natural aesthetics". From the "natural aesthetics" of the farming era to the "urban materialized aesthetics", it may also be another path for the transformation of urban aesthetics. It is generally popular to say that the reinforced concrete of the city destroys the natural beauty and literary poetry of the small bridge and flowing water. This can only show that we are still standing in the "history" of the agricultural era to look at the contemporary city, time and space have changed for a hundred years, and we still continue and adhere to the vision and concept of "ancestors". In fact, in the "technocratic" (Heidegger) city, technology is nature. How to discover the urban beauty of "technological nature"? For example, the urban skyline of the jagged urban building complex has both the grandeur that pierces the sky and the vicissitudes of vague confusion; How many human pleasures and sins should lurk in the various secret spaces of the magic building; That hurried and noisy earthly city rushed with how many endless desires for life and how many secrets of life destiny were hidden. In the 30s of the 20th century, the Shanghai school writer Liu Naou's novel collection "Cityscape", Mu Shiying's novella "Five People in a Nightclub" and "Shanghai's Foxtrot Dance", will Shanghai city and human nature splendid and decadent, rapid and falling, Zhang Yang is also pale, the dizziness of things and the broken heart, making a poetic play and wise expression with urban material aesthetics. The German philosopher and historian Benjamin has long believed that urban artists should become the "spiritual wanderers" of the city - this is an excellent metaphor - only the "spiritual wanderer" can penetrate the lush and complex city and play the poetic legend of the city and human nature. Starting from the above problems of Chinese literature, this book establishes the "urban aesthetics" of literature as the research object, and takes the narrative mode of Chinese "Shanghai School" literature in the 20s and 40s of the 20th century as the research path, starting from "'Technological Geoterralization': The 'Materialization' Narrative of Shanghai School Literature"; "Urban Nightmares: The 'Transcendent Narrative' of Shanghai School Literature"; "Urban Women's Bodies: Narratives of the Women's Body in Shanghai School Literature"; The research paths and frameworks of "Civic Cultural Space: Multiple Narrative Methods of Shanghai Popular Literature" and other aspects make corresponding investigations and studies on the literary narrative and urban aesthetics of Shanghai literature. Our expected research goal is not only to systematically and pioneer the narrative mode of "Shanghai literature" in modern literary history, but also to provide the necessary urban literature practice experience and factual support of urban literature history for the study of urban aesthetic methods and aesthetic theories of Chinese literature, as well as the thinking and exploration of relevant Chinese urban literature theory.（AI翻译）