Zhang Laosheng's Fortune Telling _ Fortune Teller Zhang

The old student is a story about life and death-the writing motivation caused by kowtowing on the ancestral grave is always a story told by a singer who sings yin songs. The first story of the novel is introduced by Lao Hei, which tells the story of how the rural society in northern Shaanxi intervened in modern violence in the early 20th century. Lao Hei holds a gun, Wang Shizhen pulls the security guard, and Deshnengli comes from Yan 'an. This land shows the most violent social unrest. Modern violence represented by guns has changed villages, families and individuals. Blindness and barbarism in rural areas mixed with the accidental occurrence of revolution shows the tragic arrival of modernity in China. Guns and death became the theme of this story. Subsequent history continued the inertia of the revolution and entered the second story. Jia Pingwa's narrative is very gentle. This is the story of Wang, White Rabbit and Jade Bracelet in Guzhen Village. The hatred brewed by class opposition is not peaceful, and trivial parents in the countryside are still threatened by struggle to death. Jia Pingwa is familiar, his brushwork is vivid and his narrative is very relaxed. However, the result of history is not calm. The story of the clay jade bracelet is strange but vivid, revisiting the usual pattern of Jia Pingwa's local love. The novel tells the third story. Class hatred reappeared in a more ridiculous form during the Cultural Revolution, and even pushed it to the other extreme. However, the tragic history has given way to the absurdity that has changed its taste. Qipan Village is a bit like Jia Pingwa's hometown. Such a big revolutionary story is borne by a randomly determined villain-the most beautiful woman in the village. The fierceness of the struggle is mixed with absurdity, as if tragedy had also turned into comedy. It seems that Jia Pingwa is completely disappointed with human nature in history. The fourth story tells that during the period of reform and opening up, the desire to get rid of poverty and become rich was presented through the experience of a character like a drama student. The drama student became the head of "Danggui Village" and led the whole village to plant Danggui. At the beginning of the good days, he was hit by a plague, and most of the villagers were killed or injured. Jia Pingwa certainly pays attention to the angle of choice. What does "Danggui Village" mean? The land was returned to the villagers, farmers or farmers, but the disaster was irresistible. History seems to have completed its retribution at an unexpected moment. Although we may feel that this part of the novel is too negative and pessimistic, the spirit is slightly weak, but this plague can not be suppressed and can not respond to the struggle and killing of old blacks. However, these are no longer important. Maybe Jia Pingwa just wants to make history so boring that it may end hastily. Still breathing so slowly and weakly indicates the end of the 20th century.

In the old classmates, the relationship between people and society, people and things, and people is so tense and complicated. It is naive and warm, chaotic and tragic, more cruel, bloody, ugly and absurd. All this seems far away or fading away. It is human nature that it is easy to forget the poor days when you live a good life, and you will not mention stealing chickens and dogs when you have money. The novel uses the concept of collective unconsciousness to present the past world, national conditions and people's feelings. For example, the first story says, "Eating vegetables means holding a gun. People who carry guns as soldiers are also called food, and Lao Hei has become the food of Zhengyang Town Security Team. " "Lao Hei trained Guangsan ... The guerrillas couldn't eat for a few days and ate all the cats and dogs. People in the village had mousetraps, so they found them and put them in mice." Reveals to readers the hard life of the past. Therefore, the novel achieves this, and expresses the thoughts and feelings to be expressed in Laosheng incisively and vividly with the concept of "collective unconsciousness".

"Old Student" has four stories, namely, the "revolution" of Dexing Li, Kuang San and Lao Hei; Ma Sheng, Shuan Lao and Bai He's "land reform"; Lao Pi, Liu He's Great Leap Forward, People's Communalization Movement and Cultural Revolution; Then there is the "development" of Lao Yu and opera students. The four stories correspond to four times and compare almost all the basic problems of China society in the 20th century. There is no ambiguity in the grand historical narrative of the century involved in The Old Student. Against the background of grand narrative,

These four stories are all the past, but many chapters in Shan Hai Jing have been added. Laosheng tells the story of a village, an era and what the writer saw, heard and experienced, while Shan Hai Jing describes the mountains and rivers experienced by the writer. Jia Pingwa said that "Old Classmate" is about all kinds of complicated relationships, the relationship between people and society, the relationship between people and things, and the relationship between people. They are "naive and warm, chaotic and tragic, more cruel, bloody, ugly and absurd." He said that all this seems distant or disappearing, but in fact, this is how we have come over for more than 100 years. Old classmates have to honestly present the past national conditions, world conditions and people's feelings. Neither the origin of guerrillas nor the creation of a new world, nor the land reform or open development can point to a "meaningful" result. All kinds of things are just "sounds" made by people to show that they have lived. The phrase "live without tossing, die without becoming famous" in rural Shaanxi is enough to express the fundamental significance of these people. Shakespeare quoted Macbeth as saying that "life is like an idiotic dream, full of noise and commotion, but meaningless". "Meaninglessness" is the root of their "disturbing the world", and the grand history they rely on is also suspicious because of the meaninglessness of their personal behavior. Dehsneg Li brutally killed innocent people; Ma Sheng arbitrarily changed the division of landlord composition for personal interests; The "political" horror created by Liu Zaicun: the fake tiger and poisonous vegetable incident concocted by Lao Yu ... all these incidents contain irony and condense the power of distrust. In his calm narration, Jia Pingwa gradually made the grand narrative of history as heavy as an iron wall. The purpose of writing these contents may not be to tell the historical details submerged by the grand historical narrative. His narrative is close to these details in order to open another aspect of history, the rough nature of an untrained and integrated historical raw material. Let's see that under the smearing and whitewashing of historical narrative, the "history" in the past 100 years is neither "progressive" nor "rational". Everything "what has been done will happen again afterwards, what has been done will be done again afterwards, and there is nothing new under the sun." From the Republic of China to the 1990s, the narrative of a century and the personnel changes in it can just show that history is not always "forward". Laosheng is the latest work of Jia Pingwa, winner of Mao Dun Literature Prize. It is a story of China, growing up on the land of China and recording the history of China in the way of China.

The application of the concept of "collective unconsciousness", the artistic atmosphere of the coexistence of reality and reality, and the fuzziness of time and space setting have all been applied in the Old Student. This paper analyzes the rhetorical strategies of Laosheng from five aspects: the prose structure of the novel and the narrative strategies of literature and vernacular. I. Application of the concept of "collective unconsciousness" The concept of "collective unconsciousness" was put forward by Swiss psychologist carl jung. The novel quotes the concept of "collective unconsciousness" put forward by Jung. Lao Sheng is a symbolic work, and its roots can only be found in the field of "collective unconsciousness". It makes people see or hear the original image or distant echo of human primitive consciousness, and form an epiphany and produce aesthetic feeling. Simply put, it is the psychological precipitation of countless similar experiences handed down from generation to generation by all members of a certain race, and it is passed down from generation to generation because the corresponding social structure is the pillar of this collective unconsciousness.

The narrative and expression of the old students have the feeling of traditional ink painting in China, with the characteristics of freehand brushwork and realism. For example, in the first story of the old student, "Sanhai's sister Sifeng was raided on the day she married Lao Hei. When they met again later, Sifeng was crazy and pregnant. " In the article, the author did not explain what happened after Sifeng separated from Lao Hei. "Little grandson don't understand, a cat at home listen to much, call him grandma. Once she was chatting with the villagers in the alley, and the cat came over and said, grandma, grandma. The villagers were shocked. " It is not clear why cats can talk. Because every story and every action are not vividly described, it leaves enough imagination for readers. If the specific actions are left blank, the text effect may be greater than the real part.

There are both realism and fiction in old students, and there is an appropriate balance between fiction and reality. Although some story lines are not described in detail, leaving a big gap in the text, readers can completely fill it by relying on their past social experience and psychological cognition. Third, the ambiguity of time and space setting Because the story of the novel Old Student has no clear time and space, the work also brings unique charm that other works do not have. Italian translator Sally said: "Because there is no specific time, it reflects the cyclical nature of history. The rich connotation of the literary work Laosheng is precisely because of its unspecific and unclear time and space setting, which is manifested in the loose structure and random narrative of the whole novel. The description and narration of life scenes, experiences, details, customs and customs in the novel all weaken the story of the novel, but this is one of the successes of the old students, and there is a kind of prose-like kindness and freedom between the lines. There is no clear description of time and space in Laosheng, and there is no specific time in the novel, but from the narration of four stories, readers can roughly feel which stage of China's nearly 100-year history these four stories are in; From the beginning, the whole novel only shows that the story happened in a mountain village in southern Shaanxi, and there is no clear geographical description to attract readers' interest in reading. Fourthly, the characteristics of novel prose culture.

With the rapid progress of familiarity, the exchange of narrative tone in The Old Man is naturally often ignored by readers: the singer only knows the perspective when he participates in the narrative plot, but when he is not present, it becomes a god-like omniscient perspective. The narrator is outside the story, so emotion and observation can't go deep. Great history is invisible, and private storytelling is unique. The four stories keep almost the same rhythm and are laid out in a running account, so that the original complex, overlapping, tangled and entangled forces, social roles and plots with multiple possibilities are unified in a linear logic. In this process, history is reduced to a single, conceptual and lack of details. In Jia Pingwa's story, great history survives and even invades the daily life of the countryside, but the countryside is a passive carrier, without reflection and sublimation, and even the daily life experience is extremely rare. Politics has thus become mechanical violence, dissolved, and turned into a trivial matter, gossip and spectacle imagination. Readers go forward with legendary stories, and more often get a little pleasure from comic stories, without adding any rational or perceptual knowledge about the countryside.

In the scattered stories, not only the political history, social history and cultural history are invisible, but also the village history itself is narrow. Jia Pingwa seems to pursue a zero-degree narrative and plane, and the whole novel has no core events. The relationship between various classes and society is also very vague, and the faces of characters, their lives, production, emotions, geographical environment and humanistic atmosphere are all ambiguous. The psychology and motivation of the characters are not shown in the story telling, and the story is in a state of dispersion, so history is decomposed. Except for a few characters such as Lao Hei and Delinghali, all the characters lack the desire and imagination for the future, or just like a drama student, they are only driven by desire, and their desires and instincts are superficial. The mob is ignorant, ignorant, selfish and inaction. Only a few little people make waves and passively bear the pressure and squeeze of the times. Jia Pingwa showed real indifference and detachment here-those villagers were alienated in time and space, and their fate could not arouse his sympathy. All he did was treat them as objects. From this point of view, it is not history that fiddles with the characters, but the characters themselves have internal friction in history, and the characters have never had historical consciousness, let alone become the main body of history forever. Folk history writing is different from official history with documentary as its core. It not only talks about mountains and seas and objective events, but also talks about the ups and downs of each kind of people in the ups and downs of history. Therefore, the four historical stories in The Old Student are not only about the revolutionary history of China in the modern century, but also about the worldly wisdom of the common people in the historical changes.

Laosheng has a compact structure and varied writing techniques. The chapters before and after alternately quote some contents of Shan Hai Jing. Although the novel tells four different stories in southern Shaanxi, it focuses on the relationship between people and society, people and things, and people. It concerns the fate of this country and its people. In the book Old Students, Jia Pingwa began to try a folk way of writing history. Regarding the textual research and authenticity of the historical background and character events involved in the book, Jia Pingwa said: "I have read some materials and visited them among the people. In addition, I often listened to old people when I was a child. Of course, some are joking, some have eyes and noses. In short, they are fascinating.