20230630 final exam culture 07

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Song Yifang 宋奕芳 Makeup: Hair Styles

Topic： Makeup：Hair Styles

Song Yifang 202130092205

Abstract

When it comes to makeup, hairstyles is the main character. Whether in TV dramas or in everyday life, in different occasions, we will see a variety of hairstyles. There is no doubt that in the developing of history, each period has its own trendy hairstyle, some are eliminated by the times, while some are still used today. This article will introduce the evolution of Chinese hairstyles from the Paleolithic Age.

Key words

Hairstyles, Hair accessories, Evolution

题目

中国发型的演变史

摘要

讲到妆造，发型可谓是重头戏。不论是在电视剧中，还是在日常生活里，在不同的场合，我们会看到各式各样的发型。毋庸置疑，在历史的发展过程中，各个时期有着各个时期的潮流发型，有的被时代淘汰，有的则延用至今。本文将从旧石器时代开始介绍中国发型的演变。

关键词

发型，发饰，演变

Introduction

With the change of society and the development of the times, hairstyles are also evolving. The evolution of hair style is mainly reflected in three aspects: hair length, hair color and hair shape. In addition, I think hair accessories are also part of the hair.

引言

随着社会的更替和时代的发展，发型也在不断演变。发型的演变主要就是体现在三个方面：头发的长度、颜色和形状。此外，我认为发饰也是发型的一部分。

1.In the Paleolithic and Neolithic Age

In the Paleolithic period, the level of civilization and productivity was not high, and life was simple. People were not too concerned about appearance such as clothing and hairstyle, so there was no difference between male and female hairstyle at that time. And they all wore their hair loose and let it grow naturally. When the length of hair interfered with labor and life, people used stones to shorten long hair. In the Neolithic period, with the emergence of some simple tools, and for the convenience of labor, people began to comb their hair, which ending the stage of tousled hair, and entered the stage of bundle hair and bun.(https://www.jianshu.com/p/344a1b06a2d4)

1.旧、新石器时代

在旧石器时代，社会文明程度和生产力水平不高，生活简陋，人们对于外形比如服饰、发型等不太关注，因此当时的发型没有男女之说，都是披散着头发，任其自然生长。当头发长度影响到劳动和生活时，人们就用石头把长发砸断。 到新石器时代，随着一些简单工具的出现，以及为了劳动时方便，人们开始梳理头发，结束了蓬发阶段，进入到束发挽髻阶段。(中国人头上的那些事儿：发型的演变史 https://www.jianshu.com/p/344a1b06a2d4）

2. During Xia, Shang and Zhou to Sui and Tang Periods

From the Xia and Shang dynasties to the Western Zhou period, the political, economic and cultural level of human society developed.The ruling class paid more and more attention to their own appearance, and began to pay attention to clothing hair style.There was a difference between male and female hairstyles. The minor women mostly set their hair in two bundles on the top of their heads, the folk women mostly kept long hair to waist, combing double braids.And even some women made hair extension in order to catch up with the trend of long hair and have their braids thick and long.(https://www.jianshu.com/p/344a1b06a2d4) During the Spring and Autumn Period and Warring States Period, the hair style changed a lot again. Double braids were no longer popular, and buns became popular. Noblewomen began to wear fake buns. Men also wore buns, but they were bound by the Zhou rites to wear caps when they became adults. Too fancy a bun would make it difficult to wear a cap scarf neatly, so men's buns were mostly simple, but they could make up for the lack of bun styles with a variety of crown caps. During the Qin and Han dynasties, hair bun styles were extremely rich and varied. The common women's bun styles included the hanging cloud bun, nine ring bun, whipping shaped bun, Duo ma bun, flying fairy bun, yodai bun and various other high buns. Among them, the whipping shaped bun and the Duo ma bun were most popular among women. Men also had round bun, laminated bun and so on. Besides,there were many kinds of head ornaments, such as ZanBi, ZanEr, flower pin, phoenix crown, Buyao, lining and so on. During the Jin Dynasty and the North and South Dynasties, the dynamic Feiyu bun, solemn and generous hovering bun, as well as the swan shaped bun were fashionable. To the Sui and Tang dynasties with the cultural prosperity and affluence of life, the development of various hair styles reached the peak. Especially in the southern dynasty period, the hair style was more brilliant, such as cloud bun(towering like a cloud), ring-shaped Wang Xian bun, knife-shaped half-turned bun, towering steep E bun, Pao bun with two sideburns holding face.（https://www.sohu.com/a/323726242_120192833）

2.夏商周到隋唐时期

自夏、商起至西周时期，人类社会的政治、经济、文化水平有所发展，统治阶级日益注重自身的仪容，开始讲究服饰发式，男女发型有了区别。未成年的女子多是将头发分两束集于头顶，民间妇女多长发及腰，梳双辫,甚至有的女性追赶长发及腰的潮流去接发，让自己的辫子又粗又长。（中国人头上的那些事儿：发型的演变史 https://www.jianshu.com/p/344a1b06a2d4） 春秋战国时期，发式又有了很大的变化。双辫不再流行，发髻开始受人们欢迎。贵妇开始饰戴假髻。男性也会梳髻，但受到周礼的约束，男性成年后要戴冠。然而过于花哨的发髻会导致冠巾难以戴整齐，所以男式发髻大多比较简朴，但他们可以通过各式各样的冠帽来弥补发髻样式少的遗憾。 秦汉时期，发髻样式极其丰富多变。常见的女子发髻款式有垂云髻、九环髻、棰髻、堕马髻、飞仙髻、瑶台髻以及其他各种高髻。其中棰髻和堕马髻最受女性欢迎。男子有圆髻、层叠髻等。头饰也繁多，有簪笔、簪珥、簪花、凤冠、步摇、衬饰等。 晋和南北朝时，流行动感很强的飞于髻，庄重大方的盘桓髻，以及掠鹄髻。到文化繁荣、生活富裕的隋唐时期, 各类发式发展达到了顶峰。特别是南朝时期，发髻样式更加繁多辉煌，高耸如云的云髻，弯曲成环状的双环望仙髻，形状似刀的半翻鬓，耸立陡峭的峨髻，两鬓抱面的抛髻等。（中国发型发式的发展史 https://www.sohu.com/a/323726242_120192833）

3. During Song, Yuan, Ming and Qing Dynasties

The Song Dynasty advocated the high bun, which was similar to the late Tang Dynasty. People like to wear high buns. And if the hair was not enough, women would go to make wigs, some even directly weaved with wigs into various buns. At that time, Chao tian bun, concentric bun, fringe bun were more popular. In the Ming and Qing dynasties, women liked to tie in the forehead, called the headband, and men wore a crown cap, not much different from the previous dynasties. （https://www.sohu.com/a/323726242_120192833）In the Qing Dynasty, the mantle-shaped hair, Liang ba hair were fashionable. Manchu women's hair style was mainly "flag head" (that is what we see in the court drama), unmarried women were braided hair, and men were shaved into the comb braid.（https://www.jianshu.com/p/344a1b06a2d4）

3.宋元明清时期

宋代崇尚高髻，与晚唐相似。人们纷纷梳高高的发髻，发量不够的女子会去接假发，有的甚至直接用假发编成各式发髻。当时多流行朝天髻，同心髻，流苏髻。明清时的妇女喜欢在额间系扎，称为头箍，男子则束发戴冠，与前面的朝代区别不大。（中国发型发式的发展史 https://www.sohu.com/a/323726242_120192833） 到了清朝，则时兴钵盂头，两把头等发型，满族女子的发式主要为“旗头”（也就是我们在宫廷剧中看到的那种），未婚女子则是梳辫发，男子则剃成梳辫。（中国人头上的那些事儿：发型的演变史 https://www.jianshu.com/p/344a1b06a2d4）

4. In Modern China

During the Republican period, the change of social culture and individual concepts had a great impact on the change of hairstyles. Influenced by various new ideas, people cut off their braids and wore short, clean hair. The hair styles of men and women at this time were very diverse. For men, there were the slab inch(Ban Cun), medium parting, partial parting, big back hair(Da Beitou), etc. Women had Yi Cuo Shi, YI Zi Shi (short floppy ear hair and floppy bangs), pear-liked style (partial parting floppy ear hair), inverted fan shape (short floppy ear hair and fan bangs) and so on. At the beginning of the founding of New China, it’s time to build the country. People were pursuing simple hairstyles which were suitable for work. During this period, rural men's hairstyles were mainly slab inch(Ban Cun), while intellectuals and cadres mostly cut back and parted heads, which were very convenient to comb and time-saving. Women mostly cut medium-length hair (more like the pear-liked style), natural hanging, commonly known as "liberation head", the girls who were unmarried usually tied two long braids, full of youthful energy. The long braid could be bent and folded up to become a folded braid, good-looking and convenient. After the reform and opening up, a variety of foreign new things came into the eyes of the people, and with people's living standards improved, there was more thought in dressing. A variety of curly hair, perm and dyed hair, colorful and various shapes emerged, and continues to today. In addition, people also choose their hair accessories carefully and match them carefully.（https://www.jianshu.com/p/344a1b06a2d4）

4. 中国近现代

民国时期，社会文化和个体观念的改变对发型的改变有着巨大的影响。受各种新思想的影响，人们纷纷剪掉辫子，梳起了干净利落的短发。这时的男女发式非常多样。男性有板寸、中分、偏分、大背头等。女性有一撮式、一字式（齐耳短发和齐刘海）、梨花式（偏分齐耳短发）、倒扇形（齐耳短发和扇形刘海）等等。 新中国成立初期，正式建设国家的时候，人们都追求简朴适合工作的发型。这一时期农村男子的发型以板寸为主，知识分子和干部们则大多剪背头和分头，十分方便打理，节省时间。女性们大多剪中长发（跟梨花式比较像），自然垂下，俗称“解放头”，闺中的少女们则喜欢扎两个长辫子，充满了青春的活力。长辫子弯折上去就成了折辫，好看又方便。 改革开放后，各种国外的新鲜事物映入国人眼帘，且人们生活水平提高，在打扮上有了更多的心思。各种卷发烫发染发，五颜六色、各式各样的造型涌现，一直持续到今天。除此之外，人们在发饰上也会精挑细选，精心搭配。（中国人头上那些事儿：发型的演变史 https://www.jianshu.com/p/344a1b06a2d4）

Conclusion

The culture behind hairstyles is very profound and it has a long history. The evolution of hairstyles not only manifests the development of the country and the living standard of the people, but also reflects the change of people's thinking, from corrupted feudalism to enlightened inclusiveness, the thinking is liberating and the society is progressing.（https://kns.cnki.net/kcms2/article/abstract?v=3uoqIhG8C44YLTlOAiTRKgchrJ08w1e7F1IFNsBV5UuAtvgm1fM4pDba1835O4kDx2NXr0k4Nh1sXt0salep1SFjgM1DRKSh&uniplatform=NZKPT）

结论

发型背后的文化博大精深，其历史源远流长。发型的演变不仅体现了国家的发展和人民的生活水平，还反映了人们思想的变化，从腐朽封建到开明包容，思想在解放，社会在进步。（从文化角度看发型的演变及其功能 李灏,蒋栋元 2005）

Terms

发髻bun、冠帽/冠crown cap、接发hair extension、垂云髻the hanging cloud bun、九环髻nine ring bun、棰髻whipping shaped bun、堕马髻Duo ma bun、飞仙髻flying fairy bun、瑶台髻yodai bun、圆髻round bun、层叠髻laminated bun、簪笔ZanBi、簪珥ZanEr、簪花flower pin、凤冠phoenix crown、步摇Buyao、衬饰lining、飞于髻Feiyu bun、盘桓髻hovering bun、掠鹄髻swan shaped bun、云髻cloud bun(towering like a cloud)、双环望仙髻ring-shaped Wang Xian bun、半翻鬓half-turned bun、峨髻E bun、抛髻Pao bun with two sideburns holding face、朝天髻Chao tian bun、同心髻concentric bun、流苏髻fringe bun、头箍headband、钵盂头mantle-shaped hair、两把头Liang ba hair、旗头flag head、梳辫comb braid、板寸slab inch(Ban Cun)、中分medium parting、偏分partial parting、大背头big back hair(Da Beitou)、一撮式Yi Cuo Shi、一字式YI Zi Shi (short floppy ear hair and floppy bangs)、梨花式pear-liked style (partial parting floppy ear hair)、倒扇形inverted fan shape (short floppy ear hair and fan bangs)、解放头liberation head、折辫folded braid

Questions

1.What does hairstyle include? 2.When did people enter the stage of bundle hair and bun? 3.Whoes main hairstyle was “the flag head”? 4.When did the “liberation head” appear?

Answers

1.It includes hair length, hair color, hair shape and hair accessories. 2. In the Neolithic Age. 3. Manchu women in the Qin Dynasty. 4. At the beginning of the founding of New China.

Reference

[1]李灏,蒋栋元.从文化角度看发型的演变及其功能[J].西北第二民族学院学报(哲学社会科学版),2005(04):39-42. [2]中国发型发式的发展史-你知道几个朝代？_头发 (sohu.com) [3]中国人头上的那些事儿：发型的演变史 - 简书 (jianshu.com)

Hu Xinping 胡欣平 Literature：Nalan Xingde's poetry

Abstract

Nalan Xingde was a famous litterateur and scholar of the Qing dynasty, and the words he wrote enjoy a high reputation in the Qing dynasty Poetry world,which had an irreplaceable position in the entire history of Chinese literature. His poetry had many types and they were also full of his reflections on his own painful life and his feelings of sorrow for life, resulting in a feminine, ebullient, sentimental and profound character.The reason behind this couldn't be separated from his own experiences.

Key words

poetry; Nalan Xingde; Nalan Xingde’s Poetry; style of the poetry

摘要

纳兰性德是清初著名的文学家、学者，他写的词在清代词坛享有很高声誉，同时在整个中国文学史上也有着不可替代的地位。他的词种类很多，也充满了纳兰性德对自己痛苦人生的思考和对生命的忧患之情，从而出现阴柔婉约、伤感深沉的特点，这背后的原因离不开他本人的经历。

关键词

词；纳兰性德；纳兰词；词的风格

1.Introduction

Naran Xingde's surname was Nalan, and his name was Rongruo, and his literary name was Lengqieshanren. He was originally named Nalan Chengde, but later changed his name to Nalan Xingde to avoid the name of Prince Baocheng (Aisin-Gioro Yinreng). He was born on December 12, the eleventh year of Shunzhi (January 19, 1655). From a young age, he was well read in poetry and literature, and became a famous litterateur and scholar of the early Qing Dynasty. He made some achievements in literature, classics and other fields, and his poems not only enjoyed a high reputation in the Qing Dynasty, but also occupied a dazzling place in the entire history of Chinese literature.（Baidu baike Nalan Xingde https://baike.baidu.com/item/%E7%BA%B3%E5%85%B0%E6%80%A7%E5%BE%B7/143602）

2.Characteristics of Nalan's Poetry

Nalan Xingde's words were soft and sentimental, full of Nalan Xingde's thoughts on his painful life and his sorrow for life. The fact that his words were already sung by everyone during his lifetime, and after his death, it was even more sensational in the whole Poetry World, which could not be separated from the characteristics of Nalan’s Poetry itself. The most important characteristic of Nalan’s Poetry was that it chose many images which can achieve empathy with people, among which the most used images were nature images and life images.（Yang Anqi."On the Choice of Imagery in Nalan's Words." Masterpieces.12(2022):84-86+90.） Nalan's favorite natural images were mainly "Wind" and "Moon". In ancient poetry, "Moon" could set off a beautiful scene, reflected the author's feelings and presented his state of mind.Nalan Xingde often used "Moon" to express his melancholy and thinking of life. The word "Wind" was also often quoted by Nalan and often appeared in the form of "East Wind". The image of "East Wind" represented the spring breeze, but it in Nalan's Poetry generally symbolized sorrow, which played an important role in "aiding sorrow".（Yang Anqi."On the Choice of Imagery in Nalan's Words." Masterpieces.12(2022):84-86+90.） As for life images, the most common images used by Nalan were "Dream" and "Lamp", which appeared to be illusory but were in fact realistic in the sense. They visualized Nalan’s own emotions. With these non-physical images, Nalan connected the illusory world with his own depressed inner world, portraying his own sad emotions.（Yang Anqi."On the Choice of Imagery in Nalan's Words." Masterpieces.12(2022):84-86+90.） It can be seen that Nalan liked to rely on some poignant images to make himself empathize with readers, so as to better express his emotions, And this formed the important characteristics of Nalan's poems.

3.Reasons for the Formation of Nalan's Poetry Style

The tone of Naran's Poetry was sad, euphoric and wistful, and the images he used were also , as mentioned above, poignant. There were many reasons behind this style, mainly related to his own experience.（Liu Yi."The stylistic characteristics of Nalan's Poetry."University Education.11(2017):126-128.） Although he came from a prestigious family and had been rich and prosperous since childhood, he was at odds with this worldly official style. Everything he had also became his shackles: he pursued a plain life and a noble spiritual world, but was bound to the corrupt and sinister court. The glossy label on his body eventually became the trigger for his tragedy, which was his greatest sorrow and the biggest reason for the formation of his poetry’s style.（Sun Mingxia."A Brief Discussion of the Causes of the Poignant Style of Nalan Xingde's Words."Journal of Chengdu Education College..04(2006):85-89.） Another important reason was that he aspired to a beautiful love, but just experiencing the pain of parting many times. Nalan's pursuit of "one life, one pair" was defeated many times by reality. There were three important women in his life. The first one was his first love when he was young, and he was separated before he could declare his love. His first love was sent to the palace and became the emperor's concubine; The second one is his wife, Lu, who was very gentle and caring for him, which made him fall in love with her deeply. But the good times did not last long. After three years of marriage, Lu passed away due to childbirth, and he went back to living alone; While the third one was the world famous song prostitute Shen Wan. They shared the same interests and managed to fall in love. Although they could not be recognized by the secular for a variety of reasons, they lived a life of love and affection. However, due to his own frailty and illness, he died of illness after falling in love for a short time, leaving his beloved forever. There was no doubt that Nalan's love was sad and all three of his relationships ended in tragedy, which laid a certain foundation for the sad style of his poems.

4.Content classification of Naran’s Poetry

Nalan’s Poetry mainly included the following types: The words of mourning for the deceased are mainly those written by Nalan. This kind of potetry were vividly expressed Nalan's inner pain and the feeling of missing for the death of his first wife Lu; The self-narrating poems were often used to express the pain and sorrow of Nalan himself, such as the loneliness of his noble soul not being understood and the pursuit of noble ambition; The words of giving friends mainly expressed the value of friendship of Nalan; The Biansai Poem expressed the loneliness and sorrow in Nalan's heart, expressing his ambition and missing for his hometown.

5.Conclusion

Nalan's Poetry is an important part of the history of our Chinese poetry culture and have an extremely important place in the world of poetry. The style of Nalan’s Poetry is fresh but full of the author's sorrowful and unforgettable feelings, which are inseparable from his own sad and melancholy experiences. He was a nobleman of a prestigious family, but he had seen all the past; He was a royal guard who spent his days in and out of the Forbidden City, but only had melancholy in his heart; He was a handsome man with unparalleled talent, but just trapped in mediocre officialdom. He was perfect, but he was pathetic living in a time that didn't belong to him when he walked alone and lingered briefly on earth. The fact that we can sometimes shed tears of sympathy for his misfortunes probably stems from the fact that we all live in this poor world, and are all just lonely and despondent people walking alone on earth. At the age of only 30, Nalan left this world in a hurry, but the words he left behind and the true love he poured into them will remain in this world forever.

Terms

surname 姓氏 Aisin-Gioro Yinreng 爱新觉罗·胤礽 natural images 自然意象 life images 生活意象 aiding sorrow 助愁 the words of mourning 悼亡词 the self-narrating poems 自述身世词 the Biansai Poem 边塞词

Questions

1. What are Characteristics of Nalan's Poetry? 2. Which images did Nalan usually use? 3. What was the main reason for the Formation of Nalan's Poetry Style? 4. What did Nalan’s Poetry mainly included?

Answers

1.soft and sentimental 2. nature images and life images 3.It mainly related to his own experience. 4.The words of mourning, the self-narrating poems, the words of giving friends, the Biansai Poem.

Reference

[1]Yang Anqi."On the Choice of Imagery in Nalan's Words." Masterpieces.12(2022):84-86+90. [2]Sun Mingxia."A Brief Discussion of the Causes of the Poignant Style of Nalan Xingde's Words."Journal of Chengdu Education College..04(2006):85-89. [3]Liu Yi."The stylistic characteristics of Nalan's Poetry."University Education.11(2017):126-128. [4]Baidu baike Nalan Xingde https://baike.baidu.com/item/%E7%BA%B3%E5%85%B0%E6%80%A7%E5%BE%B7/143602

1.引入

纳兰性德姓纳兰氏，字容若，号楞伽山人。他原名纳兰成德，后因避讳太子保成（爱新觉罗·胤礽）而改名纳兰性德。他出生于顺治十一年十二月十二日（即1655年1月19日）。他从小便饱读诗书，文武兼修，是清初著名的文学家、学者。他在文学、经学等领域都取得了一定的成就，他写的词在清代词坛享有很高声誉，同时在整个中国文学史上也有着不可替代的地位。（百度百科 纳兰性德 https://baike.baidu.com/item/%E7%BA%B3%E5%85%B0%E6%80%A7%E5%BE%B7/143602）

2.纳兰词的特点

纳兰性德的词阴柔婉约、伤感深沉，充满了纳兰性德对自己痛苦人生的思考和对生命的忧患之情。他的词在其生前就已经出现了“家家传唱”的现象，在他死后更是轰动整个词坛，这离不开纳兰词本身的特点。 纳兰词最大的特点是选择了许多能够与人达到共情的意象，其中使用最多的就是自然意象和生活意象。（杨安琦."论纳兰词的意象选择." 名作欣赏 .12(2022):84-86+90.） 纳兰性德喜欢的自然意象主要是“风”和“月”。“月”在古诗词中可以衬托美景，可以寄托作者的感情，可以呈现作者的心境，纳兰性德经常借用“月”表达自己的惆怅之感和对人生聚散离合的思考；“风”字也常被纳兰性德引用，并常以“东风”的形式出现，“东风”意象代表着春风，但是纳兰词中的“东风”一般都象征着哀愁，“东风”在纳兰词中起着“助愁”的重要作用。（杨安琦."论纳兰词的意象选择." 名作欣赏 .12(2022):84-86+90.） 对于生活意象而言，纳兰性德最常用的便是“梦”和“灯”等意象，这类意象看似虚无缥缈，实则是以虚写实，将纳兰性德自己情感的具象化，用这些非实物意象将缥缈虚无的世界和他自己苦闷的内心世界相连接，描绘出了纳兰性德本身的伤感情绪。（杨安琦."论纳兰词的意象选择." 名作欣赏 .12(2022):84-86+90.） 由此可见，纳兰性德喜欢依靠一些令人伤感的意象使得自己与读者共情，从而更好地表现自己的情感，而这也形成了纳兰词的重要特点。

3.纳兰词风格的形成原因

纳兰词的基调是悲哀婉转，怅惘萧瑟的，纳兰性德使用的意象也正如前文所说是令人伤感的，而这一风格背后形成的原因有很多，主要与他本人的经历有关。（刘夷."纳兰词的风格特征." 大学教育 .11(2017):126-128.） 虽然他出身名门望族，从小便是锦衣玉食，但他却与这种世俗官场之风格格不入，他所拥有的一切也成为了他身上的枷锁：他追求平平淡淡的人生和高尚的精神世界，却被束缚在腐败险恶的朝廷之中。他身上光鲜亮丽的标签最终成为了他走向悲剧的导火索，这是他最大的悲哀，也是纳兰词风格形成的最大原因。（孙明霞."略论纳兰性德词凄艳风格的形成原因." 成都教育学院学报 .04(2006):85-89.） 另一个重要的原因便是他向往美好的爱情，却多次经历离别之苦。纳兰性德追求“一生一世一双人”，但现实却多次打败了他。他的一生中有三位重要的女人：第一位是他年少时的初恋，他还未曾将心意宣之于口便得到了分离——他的初恋被送到皇宫成为了皇帝的妃子；第二位是他的结发夫妻卢氏，他的妻子很温柔，很关心他，这也使得他深深爱上了她。但好景不长，成婚三年后，卢氏因为生产离世，他又回到了一个人的生活；而第三位是名满天下的歌妓沈宛，他们志趣相投，成功相爱，虽然因为种种原因得不到世俗的承认，但却过上了恩爱的日子。但由于纳兰性德本身的体弱多病，在没相爱多久后便因病去世，永远地离开了他所眷念的爱人。毫无疑问，纳兰性德的爱情的悲哀的，他的三段感情最终都以悲剧收场，我想这给他诗词悲哀的风格奠定了一定的基础。

4.纳兰词的内容分类

纳兰词主要包括以下几种：悼亡词、自述身世词、赠友词、边塞词等。悼亡词主要是纳兰性德为悼念去世的结发妻子卢氏的词，这一类词生动地表现了纳兰性德内心的痛苦和对妻子的想念之情；自述身世词多用来抒发纳兰性德本人的痛苦哀愁，比如对自己清高灵魂不被理解的寂寞和对高洁志向的追求；赠友词主要表达了纳兰对友谊的珍视；边塞词表现了纳兰性德内心的寂寞与忧愁，抒发自己的壮志雄心以及对家乡的思念。

5.结语

纳兰词是我们中华词文化历史上浓墨重彩的一笔，在词坛中有着极其重要的地位。纳兰词风格清新但充斥着作者的哀婉之情，让人共情难忘，而这离不开纳兰性德本身悲哀惆怅的经历。他是出身名门的贵胄公子，却看尽了这过往云烟；他是朝夕出入紫禁城的御前侍卫，内心却只有惆怅之感；他是拥有旷世才华的俊美才子，却被困于庸碌官场之中。他很完美，但他很可悲，他活在了一个不属于他的时代，他独行于世，短暂流连人间。我们有时因为他的不幸遭遇能共情地流下泪来，大概也是源自于我们都不过是生活在这可怜的人间，都不过是这踽踽独行的人间惆怅客而已。年仅30岁，纳兰便仓促地离开了人世，但他留下的词作以及他在词中倾注的真情，却永恒地留在了这人世间。

参考文献

[1]杨安琦."论纳兰词的意象选择." 名作欣赏 .12(2022):84-86+90. [2]孙明霞."略论纳兰性德词凄艳风格的形成原因." 成都教育学院学报 .04(2006):85-89. [3]刘夷."纳兰词的风格特征." 大学教育 .11(2017):126-128. [4]百度百科 纳兰性德 https://baike.baidu.com/item/%E7%BA%B3%E5%85%B0%E6%80%A7%E5%BE%B7/143602

Deng Yingjie 邓颖杰 Modern Chinese Literature: Wang Xiaobo and his spirit of rebellion

Topic

Modern Chinese Literature: Wang Xiaobo and his spirit of rebellion Deng Yingjie 邓颖杰 202130092248,翻译系

Abstract

The passage provides an introduction to the life and literary works of Wang Xiaobo, a highly praised writer, scholar, and cultural critic in modern Chinese literature. It highlights Wang Xiaobo's unconventional style, rebellious spirit, and his challenge to established literary norms, as well as his portrayal of the socio-political conditions in China during the 1980s and 1990s. The passage discusses some of Wang Xiaobo's notable works, such as the novel "The Golden Age," which explores the lives of young intellectuals and criticizes the Chinese political system, and "The Silent Majority," which critiques conformity and collective mindset in Chinese society. The passage also mentions Wang Xiaobo's collection of essays, "The Meaning of Life," which reflects his concerns about consumerism and the erosion of traditional values. Despite Wang Xiaobo's untimely death, his legacy continues to inspire new generations of writers and intellectuals, emphasizing the enduring power of literature and the importance of fighting for one's beliefs.

Keywords

Wang Xiaobo, spirit of rebellion

题目

中国现代文学：王小波及其反叛精神

摘要

本文介绍了中国现代文学中备受推崇的作家、学者、文化批评家王小波的生平和文学作品。它突出了王小波的非传统风格、叛逆精神和对既定文学规范的挑战，以及他对中国在20世纪80年代和90年代社会政治状况的刻画。文章讨论了王小波的一些著名作品，如小说《黄金时代》，探讨了年轻知识分子的生活，批评了中国的政治制度，以及《沉默的多数》，批评了中国社会的从众和集体心态。文章还提到了王小波的散文集《生命的意义》，反映了他对消费主义和传统价值观受到侵蚀的担忧。尽管王小波英年早逝，但他的遗产继续激励着新一代作家和知识分子，强调了文学的不朽力量和为信仰而战的重要性。

关键词

王小波，反叛精神

Introduction

In 1952, Wang Xiaobo was born in Beijing. His parents may not know, after 30 years later, the baby they hold on hand will become a highly praised writer, scholar, and cultural critic in modern Chinese literature. Wang Xiaobo is best known for his critical essays, novels, and short stories. All of those works vividly portrayed the socio-political conditions of China in the 1980s and 1990s. The unconventional style, boldness, and rebellious spirit characterizes his literary works and challenged the established literary norms and provoked the readers to question the prevailing social order. 1952年，王小波出生于北京。他的父母可能不知道，30年后，他们手中的婴儿将成为中国现代文学史上备受赞誉的作家、学者和文化批评家。王小波以批评文章、长篇小说和短篇小说而闻名。所有这些作品都生动地描绘了中国在20世纪80年代和90年代的社会政治状况。他的文学作品具有超常规的风格、大胆和叛逆的精神，挑战了既定的文学规范，引发了读者对当时社会秩序的质疑。

Wang Xiaobo's literary career began in the 1980s when China was undergoing a significant transformation under the leadership of Deng Xiaoping. At that age, the economic reforms called "Reform and Opening-Up" held by Deng Xiaoping opened up the Chinese society to market forces. The Communist Party was also slowly losing its grip on the society. So, the political atmosphere became more relaxed, and the intellectuals were free to express their opinions and engage in critical debates.Wang Xiaobo, a towering figure of his era. His written works were infused with a rebellious spirit that brazenly defied authority, sprinkled with wit and laced with biting satire that exposed the flaws of the socialist system. 王小波的文学生涯始于上世纪80年代，当时中国正处于邓小平领导下的重大转型时期。在那个时代，邓小平所推动的被称为“改革开放”的经济改革。中国社会市场逐渐开放。中国共产党也减少了对市场的干预。因此，政治气氛变得更加宽松，知识分子开始自由发表意见。王小波是他那个时代的杰出人物。他的书面作品注入了一种公然挑战权威的反叛精神，夹杂着机智和尖锐的讽刺，揭露了社会主义制度的缺陷。

Wang Xiaobo's works

The Golden Age

In his novel, The Golden Age, Wang Xiaobo mainly portrayed the life of a young intellectual called Wang er in Beijing during the Cultural Revolution. Thorough Wang er, Wang Xiaobo describes the life and emotional stories of Chinese educated youth in the 1980s and 1990s, as well as their feelings and thoughts on social and political aspects. It also reveals the various problems and injustices that existed in Chinese society at that time, including the forced labor and uncertainty faced by the young intellectuals, as well as the oppression and exploitation of women. In addition, the novel also touches on criticism of the Chinese political system, including bureaucratic red tape and institutional rigidity. 在他的小说《黄金时代》中，王小波主要描绘了文化大革命期间北京一位名叫王二的年轻知识分子的生活。通过王二，王小波描述了20世纪80年代和90年代中国知青的生活和情感故事，以及他们在社会和政治方面的感受和思考。它还揭示了当时中国社会存在的各种问题和不公，包括青年知识分子面临的强迫劳动和不确定性，以及对妇女的压迫和剥削。此外，小说还涉及对中国政治制度的批评，包括官僚主义的繁文缛节和制度的僵化。

In a time overshadowed by the rigid confines of mainstream socialist realism, The Golden Age emerged as a fearless rebellion against the stifling literary norms of its era. Wang Xiaobo fearlessly charted an uncharted path, discarding the shackles of convention with audacious abandon. Through his daring and unconventional style, punctuated by colloquial language and unreserved exploration of once-taboo subjects such as sex and desire, he fearlessly confronted the established literary order. The Golden Age stood as a resounding battle cry, beckoning all who yearned for the liberation of self-expression and the birth of a new literary frontier. 在一个被主流社会主义现实主义的僵化限制所笼罩的时代，《黄金时代》作为对那个时代令人窒息的文学规范的无畏叛逆而出现。王小波无畏地走出了一条未知的道路，大胆地摆脱了传统的束缚。通过他大胆而非传统的风格，不时地使用口语化的语言，以及对一度禁忌的话题，如性和欲望的毫无保留的探索，他无畏地挑战着既定的文学秩序。黄金时代像一声嘹亮的战斗口号，召唤着所有渴望自我表达解放和新文学边疆诞生的人。

The Silent Majority

As The Silent Majority soared to the pinnacle of the bestseller list in China, it forged an indomitable path for Wang Xiaobo, securing his place as a resounding voice amidst the rising tide of new Chinese writers. Through his essay in The Silent Majority, Wang Xiaobo criticizes the conformity and collective mindset prevalent in Chinese society, which suppresses individuality and discourages independent thinking. He laments the fact that many people conform to societal expectations, avoiding controversial topics and maintaining a veneer of harmony, even if it means sacrificing their true beliefs. He argues that this conformist attitude contributes to a lack of progress and intellectual vitality in society."The Silent Majority" can be seen as a call to action for individuals to break free from the chains of conformity and apathy, to engage in critical thinking, and to express their unique perspectives and ideas. Wang Xiaobo encourages readers to question authority, challenge social norms, and strive for a society that values individualism, open dialogue, and intellectual freedom. 随着《沉默的大多数》在中国登上畅销书排行榜的巅峰，王小波开辟了一条不屈不挠的道路，确保了他在日益高涨的中国新作家浪潮中发出响亮声音的地位。王小波通过他的《沉默的大多数》里的文章批评了中国社会中盛行的从众和集体心态，这种心态压制了个性，阻碍了独立思考。他感叹，许多人顺应了社会的期望，避免了有争议的话题，保持了一种和谐的外表，即使这意味着牺牲他们真正的信仰。他认为，这种墨守成规的态度导致了社会缺乏进步和智力活力。“沉默的多数”可以被视为呼吁个人摆脱从众和冷漠的枷锁，进行批判性思考，表达自己独特的观点和想法。王小波鼓励读者质疑权威，挑战社会规范，为一个崇尚个人主义、开放对话、知识自由的社会而奋斗。

The Meaning of Life

In 1994, Wang Xiaobo released The Meaning of Life, a poignant collection of essays. This novel is about to delve into the mysteries of the human condition, which also reflected Wang Xiaobo’s profound concern of Chinese society’s future. The book was a searing critique of the consumerism that had taken root in China following the economic reforms, as well as a heartfelt lament for the loss of traditional values and the erosion of social morality. Through his eloquent words, Wang Xiaobo implored his readers to question the direction of their lives and consider what truly gives life meaning. 1994年，王小波发表了一部辛酸的散文集《生命的意义》。这部小说即将挖掘人类状况的奥秘，这也反映了王小波对中国社会未来的深切关注。这本书是对经济改革后在中国身上扎根的消费主义的猛烈批评，也是对传统价值观的丧失和社会道德的侵蚀的由衷哀叹。王小波用他雄辩的文字恳求读者质疑自己的人生方向，思考什么才是真正赋予生命意义的东西。

Conclusion

Wang Xiaobo died suddenly at the age of 45 - a tragic loss for the Chinese literary world and a heavy blow to those who admire him and set him as a goal. However, even in death, Wang Xiaobo is still an unquenchable torch that stimulates the new generations of Chinese writers and intellectuals. His unwavering commitment to the truth, his brave challenge to the authority, and his rebellious spirit have made him a symbol of freedom. His works continuing to inspire and encourage those who seek to challenge the status quo till now. Although he is no longer with us, The spirits he conveyed is immortal, keeping reminding us of the enduring power of literature and the importance of fighting for what we believe. 王小波突然去世，享年45岁--这是中国文坛的悲剧性损失，也是对那些仰慕他并以他为目标的人的沉重打击。然而，即使在死亡中，王小波仍然是激励着中国新一代作家和知识分子的不灭的火炬。他对真理的坚定不移的承诺，他对权威的勇敢挑战，以及他的反叛精神，使他成为自由的象征。他的作品继续激励和鼓励那些寻求挑战现状的人，直到现在。虽然他已经不在我们身边，但他传达的精神是不朽的，不断提醒我们文学的永恒力量和为我们的信仰而战的重要性。

Beyond his rebellious nature and unwavering dedication to truth, Wang Xiaobo's exploration of the intricate dynamics of human relationships within a rapidly evolving society remains a defining aspect of his work. Through novels like "The Golden Age" and "The Silent Majority," he artfully portrayed characters grappling with the search for purpose and connection in an increasingly fragmented and isolating world. Wang Xiaobo's incisive critique of literary conventions and his fearlessness in questioning established norms also positioned him as a cultural critic of great repute. Though his untimely demise at the tender age of 44 was a tragedy, his lasting legacy continues to captivate and challenge readers, serving as a testament to the enduring power of literature to reshape society and offer fresh insights into the intricacies of human relationships and the world at large. 除了叛逆的天性和对真理的坚定不移的奉献，王小波对快速发展的社会中错综复杂的人际关系的探索仍然是他作品的一个决定性方面。通过《黄金时代》和《沉默的多数》等小说，他巧妙地描绘了人物在一个日益支离破碎和孤立的世界中努力寻找目标和联系的过程。王小波对文学传统的犀利批判和对既定规范的无畏质疑，也使他成为一位享有盛誉的文化批评家。尽管他44岁的英年早逝是一场悲剧，但他的持久遗产继续吸引着读者，并向读者提出挑战，证明了文学重塑社会的持久力量，并为人类关系和整个世界的错综复杂提供了新的见解。

Wang Xiaobo's enduring legacy brights as a powerful symbol of resilience and defiance. The rebellion and relentless quest for truth that Wang Xiaobo conveyed have sparked a flicker of hope in the hearts of a new generation of Chinese writers and intellectuals. As they tirelessly fight for freedom of speech and the fundamental right to express their beliefs, Wang Xiaobo's profound influence becomes an unwavering beacon, which helps a lot for modern writers to illuminate their own path and inspire them to overcome the challenges ahead. 王小波的不朽遗产闪耀着韧性和反抗的强大象征。王小波传达的叛逆和对真理的不懈追求，在中国新一代作家和知识分子的心中点燃了一线希望。当他们不知疲倦地为言论自由和表达信仰的基本权利而奋斗时，王小波的深远影响成为坚定不移的灯塔，这对现代作家来说，很大程度上照亮了他们自己的道路，激励他们战胜未来的挑战。

Total number of English words: 1,184.

Questions

1. When was Wang Xiaobo born?” 2. When did Wang Xiaobo's literary career began? 3. Did you get some masterpieces of Wang Xiaobo? List three of them.

Answer

1.In 1952 2.Wang Xiaobo's literary career began in the 1980s 3.The Golden Age, The Meaning of Life, The Silent Majority

References

王小波. (2012). 王小波全集 (第四卷): 黄金时代 南京译林出版社 王小波. (2012). 王小波全集 (第七卷): 沉默的大多数 南京译林出版社 梁鸿王. (2009). 小波之死—90 年代文学现象考察之二 文艺争鸣 李静. (2008). 一个作家的精神视野—重读王小波杂文 南方文坛 王尧. (2012). 关于“九十年代文学”的再认识 文艺研究