What is hooliganism?

In ancient times, the word "rogue" had no derogatory meaning, "self-protection" refers to the people, and "rogue" refers to vagrants or refugees who lost their land and homes.

However, in the historical changes of its meaning, the word hooligans gradually narrowed its scope of reference, and the word "hooligans" is generally used to refer to "corrupt elements in the refugee class".

[1] In a civilized society, the daily meaning of the word "rogue" is beyond doubt, whether from the legal level or from the perspective of social morality.

"Rogue", as a derogatory term, refers to some deviant, illegal, even sinful words and deeds that go beyond normal moral norms.

Interestingly, this sociological concept is actually an active category in the history of China's new literary criticism.

Critics' understanding of "hooligans" presents interesting two sides.

On the one hand, in some people's minds, it seems to have a close relationship with popularization or rebellious spirit, so it will not be excluded, but will make some people proud.

As early as the beginning of the century, some people criticized the wording of New Youth for being too intense and extreme. To this, Chen Duxiu's answer is: "I'd rather be accused of being a thug and a hooligan, but I don't want to pretend to be emphasized by that gentleman ... to do everything except evil. What's so polite? " [2] Zhou Zuoren also compared hooligans with gentlemen to express two different literary or cultural spirits.

In the article "Two Ghosts", he said that there are two ghosts in his soul: the rogue ghost and the gentleman ghost. "I like the attitude of a gentleman and the spirit of hooliganism.

"[3] But in fact, as today's scholars and Ni said, wandering between traitors and hermits, hooligans and gentlemen is always the true psychological state of Zhou Zuoren.

[4] In the 1920s, some people in the Creation Society liked the "rogue" spirit.

Their small publication "Fantasy Country" published a long article written by Yaling advocating "new hooligans". The so-called "new hooligans" and "the most important thing is to work hard if you feel dissatisfied". Fantasy Country also created a "swearing chapter" and published many swearing articles, such as "Jiang Guangchi should stop stinking and be proud".

On the other hand, "hooligans" are regarded as bad people in the literary world without hesitation and condemned by critics.

1930, Lu Xun published a short article "The Change of Rogues" in Germination Monthly, reviewing the historical and cultural origins of hooligans, and at the end of the article, pointing out the criticism of Zhang Ziping's novels as "revolutionaries". Soon, this criticism became more acute, and Zhang Ziping's vulgar taste was concealed by Lu Xun's symbol: "△".

[5] 193 1 year, Lu Xun published a glimpse of Shanghai literature and art, condemning Shanghai's "literary hooligans" and "rogue literature and art".

From the "squint painting" by the "new rogue painter" to the movies with the theme of hooliganism, from the narrow and evil novels with low interest in the late Qing Dynasty and the early Republic of China to the writers who worshipped hooligans as Laozi in the 1930s, the tradition of "gifted scholars plus hooligans" in the history of Shanghai literature has been strongly criticized.

Lu Xun specifically pointed out that the creation society "just wanted to speak freely, but it was also poisoned by talents and hooligans."

He defined hooligans in this way: "No matter in ancient times or in modern times, anyone who has no certain theories or opinions, but has no certain clues about his changes, but always uses various theories of various factions as weapons can be called hooligans.

"[6] shows the author's extreme aversion to a kind of" clever and fickle, with no special skills ".

Lu Xun's criticism of hooligans is not limited to the literary world. He satirized and exposed the "Taoist prodigal son" and the rogue of Emperor Gaozu in history, which should be an integral part of his national thought.

194 1 year, Wang Yuanhua's The Nine-tailed Turtle inherited Lu Xun's legacy, which not only criticized the filth of hooligans in old Shanghai, but also accused rogue writers of being too thick-skinned.

The article holds that Zhang Qiugu is the originator of Shanghai rogue talents and a self-portrait of the author Zhang Chunfan, and his rogue talents are exposed completely.

In the 1990s, the word "rogue" reappeared in literary criticism.

This is first related to the popularity of Wang Shuo's anti-Qing and high-hooligan literature.

In some of Wang Shuo's novels in the early 1990s, such as Rubber Man, Playing is Heartbeat, Stubborn Master, etc., Wang Shuo teased and mocked himself and his life by making fun of games in an attempt to break the traditional social morality and values.

This is an obvious rebellion in the subculture, so he is called "the original spokesman of rogue discourse in the 1990 s"

Wang Shuo's fever triggered a heated discussion about "riffraff literature".

Some people affirmed the spirit of cultural rebellion contained in I am a rogue and who I am afraid of. They thought that the purpose of Wang Shuo's "using rogue weapons" was to "knock over the rogue genes deeply rooted in tradition" and affirmed the "rogue tactics" he used.

[7] And more critics, such as Wang Yuanhua, He Manzi, Wang Binbin, Zhu Xueqin, Lin Xianzhi, Deng Xiaomang, Shan Zhengping, Liu Yeyuan, etc., hold a negative attitude towards rogue literature.

People try to explore the profound political, historical and cultural roots behind Wang Shuo's "rogue culture".

Wang Binbin's "The Change of Rogues" copied the title of Lu Xun's book, and its intention was obviously to deny Wang Shuo's rogue/rogue discourse. He smelled the smell of "courtyard culture" from Wang Shuo's words, and thought that Wang Shuo's rebellion against "courtyard culture" was just a mask, and he was still a "courtyard child" in his bones, and his rogue literature and rogue words only embodied "typical official norms" [8]; Zhu Xueqin pointed out that Wang Shuo's rogue literature is an imitation of common people's culture, an "atavistic phenomenon of rogue habits" and a "second success of hooligans", while the popularity of Wang Shuo's rogue discourse reflects the collapse, nothingness and failure of intellectuals' spirit in the 1990s.

The elegant version of this nothingness is Kundera's Unbearable Lightness in Life, and the vulgar version is Wang Shuo's Who am I Afraid of [9]; Liu Yeyuan pointed out that Wang Shuo's "new rough culture root system" originated from the total root system of previous political movements/ideological movements/rascal movements [10].

Some people also analyze the relationship between Wang Shuo and the cultural tradition of Confucianism, Buddhism and Taoism, and think that his works are not new things, but "symbols of cultural degradation and personality collapse."

However, because it exposes the root of China culture, it represents the change of the times, which makes people reflect.

"[ 1 1]

Wang Yuanhua collected the stories of three books on the topic of encountering cursive characters: A Brief Introduction to Humor and Neverland in Recent Years and The Nine-tailed Turtle Written by 194 1.

This paper discusses the literary predecessors who "cursed literature", "new hooligans" and "gifted scholars plus hooligans" in those years, and traces back to the roots of "rogue literature" in contemporary literary circles.

Talking about humor, he devoted himself to "cynicism about tyranny but injustice to freedom" and "losing human humor" (Lu Xun's words). The family of Lengtan is called Tolstoy Tolstoy, Marx called him Niu Ke, Darwin called him Da Wen, and Krupotkin called him Krupotkin, cursing all ideals and cultures.

Its denial of all ideals, sublimity and human dignity is similar to today's "rogue literature".

Introduction to Neverland reveals the background of Neverland, a bimonthly magazine advocating "new hooligans", and points out that "new hooligans" advocate that "scolding is the beginning of struggle", and their talent and hooliganism are fully manifested in swearing and swearing.

In his reply to Xu Maoyong's article in his later years, Lu Xun not only criticized the spirit of "rogue and gifted scholar" in the creation society, but also talked about a certain kind of figures in the literary world at that time. He used a neglected term, "street children who have collapsed" to call them ... it is worth pondering.

Today's "rogue literature" inherits and spreads the bad habits of the former "new hooligans", such as swearing and making a show with dirty words. "Rogue literature" is a means for "street children" to vent their anger and climb up.

Wang Yuanhua thinks: the old-school hooligans plus talented people, the evolved "new hooligans" and today's "rogue literature" are obviously in the same strain.

The pretense of the old hooligans is charming, and the cynicism and audacity of the "new hooligans" are just laughingstock; Today's "rogue literature" attracts bees and butterflies, and the market is hot, just like the first two, but worse.

[ 12]

Since 1990s, the word "rogue" has been active in literary theory, which is also related to Zhu.

1994, Zhu published "Macro Theory" entitled "Psychoanalysis of Rogues".

He combed the historical pedigree of "hooligans" by psychoanalysis: the first generation lost their relatives, the second generation lost their relatives, and the third generation lost their relatives.

Remarkably, he classified Yu, Hong Xiuquan, Li Bai, Du Fu, Shui Hu, Seven Sages of Bamboo Forest and Xu Wei as "hooligans".

At the end of the article, Zhu said: "The reflection and criticism of China's rogue spirit refers to a historical issue that I am concerned about: although this rogue country is full of huge gaps between people and land, between the country and the people's words and speeches, there has never really been a separation between man and God and the infinite pain caused by this separation.

..... hooligans swallowed up the infinite possibility of spiritual rise.

[13] Zhu clearly regarded his "rogue spirit" as the dominant spirit of China culture to deny it, and then denied the value of traditional culture.

This irrational "psychoanalysis" is actually a contemporary metaphysical version of those radical anti-traditional concepts in history.

This is obviously different from Du Yaquan in the May 4th period and Wang Xuetai, a scholar today, who rationally combed the wandering culture.

Interestingly, Zhu, who psychoanalyzed "hooligans" and tried to declare war on "hooligans" with "ultimate belief" and "postmodernism", was also accused as a "hooligan critic".

Li Jianjun's Discourse Knight and the Rise of Rogue Criticism called Zhu "Discourse Knight" and "Saliva Critic".

The article points out that Zhu's Colonial Lu Xun and the Rise of Hatred Politics described Lu Xun as a crazy "embodiment of political hatred and violence" far away from the language of love, and he was "lying with his eyes open". In order to attack Lu Xun, Zhu and other swordsman fictionalized a scene of "lust" and "amorous feelings" surrounded by warm words.

This kind of rogue critics have a kind of "paranoid subjectivism" and are used to cheating, slandering and sensational rogue criticism under the cover of exaggeration, metaphor, symbol and other rhetorical devices and high imagery and gorgeous language appearance.

[ 14]

Precautions:

[1] Wang Xuetai's From Rogue to Tramp and Tramp Consciousness, see Emperor and Rogue by Liu Heshou, p. 238, Taibai Literature and Art Publishing House, 200 1 edition).

[2] "New Youth" five volumes six "communication column"

[3] Zhang Fanqiao's Prose of Zhou Zuoren, the second episode, p. 397, China Radio and Television Press, 1992.

[4] See Qian Liqun's On Zhou Zuoren, Shanghai People's Publishing House, 199 1 version; Traitors and Hermits in China by Ni, Shanghai Literature and Art Publishing House, 1990.

[5] Lu Xun's Collection of Zhang Ziping's Novels, Complete Works of Lu Xun, Volume 4, the 23rd1page, People's Literature Publishing House, 198 1 version.

[6] Lu Xun's A Glimpse of Shanghai Literature and Art, Complete Works of Lu Xun, Volume 4, Page 297, People's Literature Publishing House, 198 1 version.

[7] timely rogue pedigree, Emperor and Rogue, p. 358, with [1]

[8] The Change of Rogues, edited by Ning, Spiritual Scenery in Multi-linguistic Context-Collected Works of Literary Criticism in 1990s, p. 180- 190, 20011version.

[9] Zhu Xueqin's The Rogue's Second Success, The Emperor and the Rogue, p. 4 18-424, the same as [1].

[10] Liu Yeyuan's New Roots of Current Vulgarity and Villain Culture and Others, Emperor and Rogue, page 43 1, ibid.

[1 1] Deng Xiaomang's Wang Shuo and China Culture, Kings and Rogues, p. 37 1, same as above.

[12] Reflection on Wang Yuanhua in 1990s, pp. 363-375, Shanghai Ancient Books Publishing House, 2000.

[13] Zhu's archives of fugitives, p. 170, press, 1999.

[14] Li Jianjun's Discourse Knight and the Rise of Rogue Criticism, Literary Theory and Criticism, No.6, 200 1, pp.69-74.