The voices of revolt: Zhang Chengzhi, Wang Shuo and Wang Xiaobo (China).

摘要

This research explores the complexity of Chinese ideology in the post-Mao period by analyzing three contemporary Chinese writers whose works drew broad attention: Zhang Chengzhi, who has maintained the Red Guards spirit in the reform years; Wang Shuo, so-called representative of the commercial culture in the polyvocal post-Mao period; and Wang Xiaobo, a liberalist writer who drew readers with his anti-emotional narrative. The three writers formed a rebel chorus in post-Mao's literature.; These ideological rebels conducted their revolt at three levels: first, they challenged the official ideology, or in other words, they challenged different aspects of the official ideology, which became a mixture of pragmatism and the remainders of revolutionary discourse; second, they also criticized mainstream intellectuals, who were the main force behind the liberation of China from Maoist "modern superstition" but gradually became the ally of pragmatist official ideology; third, they even attacked each other, because their stands were so different and even opposite. This research emphasizes the new ingredients these rebellious writers brought to the originally polarized ideological structure of the Mao period. These new ideological rebels were no longer interested in targeting arbitrariness of the official ideology, but its degeneration (for Zhang Chengzhi) and hypocrisy (for Wang Shuo). For Zhang the official ideology is the capitulator that yielded to the overwhelming craving for materials wealth, but for Wang Shuo it became the wretch who had to wear a mask to hide its emptiness. Wang Xiaobo, however, considered all these narratives---that of the mainstream, Zhang Chengzhi, and Wang Shuo---too emotional. He showed his revolt by narrating violate and sexual stories in a deliberately non-moral tone.; This research also investigates Mao went (Maoist writing style), the literary form of Maoism that dominated the mode of people's expression in the Maoist era and has been influential---though much diluted---in the post-Mao era, and its relationship with these rebels, who were nurtured in Mao wenti. The question is to what extent these writers challenged, deviated from, or inherited Mao wenti.