2. Cultural analysis of "Qian Zhongshu fever" in Chinese mainland in recent 20 years.
Hu
Qian Zhongshu was an outstanding scholar and talented writer in China in the 20th century. He wrote his own literary world with the style of a scholar, and also expressed his deep human feelings with his own literary world. In the past 20 years, his influence has gradually expanded from the intellectual and academic circles to the field of popular culture, forming a unique cultural phenomenon of "Qian Zhongshu fever" and experiencing three climax. Especially in the cultural context of the 1990s, Qian Zhongshu became a symbol of "cultural Kunlun" and "academic elite", representing a certain popular academic fashion. The cultural reasons of this phenomenon deserve our attention and reflection. Why can a pure scholar enter the public's cultural vision at a specific time? What is the psychological mechanism of "Qian Zhongshu fever"? From the perspective of reception history, this paper reviews the history and present situation of Qian Zhongshu's research in recent 2 0 years, reviews the development and evolution of Qian Zhongshu's craze, thinks about cultural production and cultural communication, and analyzes and describes the imaginary picture of contemporary China cultural heroes woven in it.
First, the "cultural Kunlun" stands out from the "cultural craze"
The first climax of Qian Zhongshu's acceptance was in the early 1980s, that is, after the Cultural Revolution. Qian Zhongshu first appeared in literary field of vision. A landmark event is that Fortress Besieged was republished by People's Literature Publishing House in June 1980+065438+ 10. Because the theme, style and appreciation interest of Qian Zhongshu's works are divorced from the background of the times, Qian Zhongshu has been unknown in the 30-year history of China's new literature from the founding of the People's Republic of China to the Cultural Revolution, and his works have not been reprinted in China.
The social and historical conditions of the ideological lifting of the ban revived Qian Zhongshu. Paying attention to money and Fortress Besieged was one of the unique cultural phenomena of "exporting to domestic market" in the 1980s. Since the 1960s, Fortress Besieged has disappeared in China, but it has attracted the attention of the Chinese community outside the mainland. Xia Zhiqing, an American scholar, devoted more than ten pages to Qian Zhongshu in his famous novel History of Modern Novels in China.
Introduction: Fortress Besieged is "the most interesting and carefully managed novel in China's modern literature, and probably the greatest one." Started the study of money in American sinology. 1977 produced two doctoral theses on money. In Taiwan Province and Hongkong, in 1970s, people began to study Qian Zhongshu systematically. After the mainland opened up, the voices from abroad deeply shocked the domestic academic circles. Fortress Besieged successfully broke through the "city", and its prerequisite was that Qian Zhongshu's political identity was clarified in 1979. With the republishing of Fortress Besieged, overseas research achievements have been introduced into China, which has aroused the curiosity and concern of literary historians about Fortress Besieged and triggered an academic debate for the first time. The focus of its debate is to give this "new thing" a proper place in the history of literature. The researcher mainly evaluates the political stance and social cognitive value of Fortress Besieged from the perspective of social and historical criticism. Because there is no departure from the original theoretical framework of "reflecting the times", it is inevitable that the discussion will be tailored. However, some researchers broke through the rigid ideological dogma at that time and spoke highly of Fortress Besieged with great academic courage, affirming that Fortress Besieged was "a masterpiece of critical realism full of sharp social satire", and the research by Li Jianwu, Guo Zhigang and Min Ze represented the initial evaluation height and understanding level.
In the new era, with the deepening of reform, the ideological imprisonment is slowly being broken. Theoretical circles put forward various viewpoints to dispel literary ideology, and began to emphasize the aesthetic essence and function of literature. A group of writers, such as Zhang Ailing and Shen Congwen, who are divorced from politics and insist on their own creation, have re-entered the researchers' field of vision and gradually gained people's appreciation and love. Qian Zhongshu's comeback also benefited from the influence of such literary thoughts. In addition, Ling Ke, Kun, Zheng Chaozong and others sang "Return Song" for Qian Zhongshu, which showed a profound, knowledgeable and talented Qian Zhongshu to researchers with vivid memories of historical witnesses, and attracted more and more attention from literary and art circles.
Fortress Besieged, which has been sealed for 30 years and once lifted the ban, really gives people an artistic impact. It is ingenious in new metaphors, detached in thought, full of wisdom in insight into the life world, and arouses readers' brand-new aesthetic feelings. Influenced by the "method craze" in 1980s, early critics were often attracted by the novel's unique artistic technique, rhetoric technique and comic spirit, and focused on aesthetic criticism. The research on the artistic style and language features of novels by Jin Hongda, He, Hu and others laid a preliminary foundation for the aesthetic research of Qian Zhongshu's creation. In addition, the study of Fortress Besieged involves many important topics, such as its theme, Fang Hung-chien's typical personality, etc., and basically does not break away from the theoretical framework of "social and historical criticism" and "typical personality in typical environment", but these studies present a diverse landscape, which vaguely makes people feel the great potential of multi-dimensional interpretation of Fortress Besieged.
The beginning of a new era always needs to re-examine history. In 1980s, "rewriting the history of literature" became a historical task that could not be ignored. 1984, in the influential literary works such as A Brief History of Modern Literature in China edited by Huang Xiuji and A Brief History of Modern Literature in China edited by Tang, Fortress Besieged was introduced with hundreds of words, which affirmed its outstanding satirical art and psychological description. But it was extended to 1987. In Thirty Years of Modern Literature in China by scholars such as Wen Rumin, Qian was comprehensively and profoundly evaluated as a heavyweight writer. In the 1980s, Fortress Besieged gradually stepped out of the circle of professionals and became a desk reading for intellectuals, which expanded its influence. Fortress Besieged, published by People's Literature Publishing House 1980, was printed five times in 1987, with a total of 273,200 copies. Fortress Besieged was translated and introduced overseas at the same time, which further gained the world reputation, and seven versions were popular all over the world. With the increasing fame of Fortress Besieged, it attracted enthusiastic publishers to dig up a "cultural grave" from Qian Zhongshu. After the mid-1980s, Qian Zhongshu's early works were republished all over the world, and all his works were reprinted one by one.
Qian Zhongshu has always been a famous scholar in Tibet because he has the purpose of "not being a teacher" and because scholars with clear knowledge have not been respected and recognized by society for a long time. Especially in the late period of the Cultural Revolution, Zhonghua Book Company published Qian Zhongshu's most important academic work "Guan Zui Bian", with five volumes and six volumes, which was praised as "all-encompassing". In view of this, Professor Zheng Chaozong of Xiamen University, one of Qian Zhongshu's classmates, initiated the study of money science in the early 1980s, and set up a course of money science for the first time in domestic universities to guide graduate students to challenge this "Chinese magic mirror". After the mid-1980s, Lu, Li and others expanded, advocated and clamored for research. Writer Zhan proposed to "popularize Qian Zhongshu" [1], and praised Mr. Qian as a "cultural Kunlun", and proposed that it is "urgent" to establish a research institute of Qian Xue. His high-pitched voice attracted a resounding response, and the voice of popularizing "money science" was correspondingly high. [2]
Why do you advocate the research and popularization of "monetarism"? The cultural psychological mechanism is intriguing. Under the background of "cultural discussion" in 1980s, the promotion of "Xue Qian" was put on the agenda. In the 1980s, China's modernization process started in an all-round way, and an unprecedented upsurge of cultural discussion was set off all over the country. People coming out of the shadow of the Cultural Revolution are sadly facing a desert of local culture. The import of western strong culture has made a strong impact on China's local culture, and China people are extremely anxious about culture. This requires the intellectuals to polish their eyes and rediscover the sheltered "cultural oasis" to find the ideological resources for recasting fault culture. Qian Zhongshu, who runs through China and the West, is famous for his erudition and versatility. Calling out this "master of Chinese studies" and setting up a banner of China traditional culture is of extraordinary significance in the contemporary cultural context. The admiration of Zhan and others conforms to the cultural and psychological needs of this era. For advocates, the purpose of studying "Xue Qian" is clear: ① to declare to the world that "China is not a great scholar who has made great contributions to mankind"; (2) "Enhance the resistance to feudal legacy and decadent bourgeois culture". [3] What is intriguing is that, from the very beginning, Xue Qian has a distinct ideological appeal. It is not a matter of "two or three simple-minded people in an abandoned wild house", nor is it a pure academic locked in an "ivory tower", but it is included in a cultural revival movement with a broad mass base in the 1980 s.
Of course, the whole Red 1980s was full of climaxes and heated discussions. Compared with the 1990s, "Qian Zhongshu fever" is still in its infancy. At this time, Qian Zhongshu first gained the cultural identity and value base in the special field, and took the "cultural discussion" as an opportunity to continuously expand his influence. In the academic and intellectual circles, he is quietly completing the construction of a "learned scholar" and shaping the image of a "cultural Kunlun".
Second, the media, commercialization and narrative strategies: the construction of cultural heroes
Around the 1990s, the second climax of Qian Zhongshu's acceptance was marked by the publication of Qian Zhongshu's Research and the successful broadcast of the TV series Fortress Besieged. 1989165438+10. With the support of Wang Meng, then Minister of Culture, Qian Zhongshu's research was first published. It was the first pure academic publication devoted to Xue Qian in China, which set a milestone in the study of Xue Qian and became an academic activity incorporated into the official ideological system. 199 1 At the beginning of the year, the TV series 10, directed by the famous female directors Huang Shuqin and starring many acting schools, was broadcast to the whole country, and received rave reviews as soon as it was launched. The successful broadcast of TV series caused a sensation in the whole country, which triggered the continuous "Fortress Besieged" fever and greatly stimulated readers' interest in reading the original works. People's Literature Publishing House reprinted more than 60,000 copies of Fortress Besieged at the fastest speed, and it was quickly booked up. The grand occasion of readers queuing to buy Fortress Besieged has become a rare phenomenon in pure literary works for more than ten years. According to the feedback from the book market, by June 199 1 1, the largest Xinhua bookstore in Shanghai, Tianjin and Wuhan had listed it as the best-selling literary work. By the end of August, 1995 had been printed 14 times by People's Literature Publishing House alone, and the total number of albums had exceeded one million, and there were nearly a dozen pirated books. It is conservatively estimated that the readers of Fortress Besieged have reached nearly 10 million. Film and television art rapidly expanded the influence of literature, making Fortress Besieged rush out of the academic salon and fly into the homes of ordinary people. In this process, Fortress Besieged became more and more symbolic and entered the field of cultural consumption. The cultural shirts of avant-garde young people are printed with famous aphorisms from Fortress Besieged. Fortress Besieged became a popular word after 1990. When people comment on a certain phenomenon, they will naturally regard it as a "besieged city phenomenon" ... Fortress Besieged almost represents the cultural interest and style of a social period.
Under the joint efforts of national ideology and media guidance, Qian Zhongshu and Fortress Besieged were pushed to the front of the cultural stage. It has set off a "Qian Zhongshu fever" in full swing.
The popular acceptance of Fortress Besieged has stimulated another upsurge of in-depth study of Fortress Besieged in academic circles. Of course, in addition to these external reasons, there are more internal reasons for the craze of Fortress Besieged. At the turn of 1980s and 1990s, China is undergoing a difficult transformation of modernity, and people's aesthetic and cultural psychology have undergone great changes. Fortress Besieged can transcend the concrete life experience and realize the cold reflection on the universal human experience. The modern consciousness it reflects coincides with people's life experience and emotional experience in the drastic changes of the times. It reveals the "besieged city" phenomenon of people's career, love and marriage, and exposes the life confusion and spiritual crisis in modern society, which has realistic cognitive value. In addition, Qian Zhongshu's humorous language, outstanding comedy spirit and extraordinary wisdom in life can all attract readers and audiences for a long time.
Great progress has been made in the study of Fortress Besieged in this period, which transcends the single mode of "social and historical criticism" in the past and enters a new level of human nature exploration and modern philosophy. The research on the theme implication and characters of the works is more in-depth, and the rich hidden meanings of the works are constantly discovered. Mr. Wen Rumin put forward the theory of "polysemy" on the theme of the novel [4] and thought that the theme of Fortress Besieged could be considered from three aspects: life description, cultural criticism and philosophical thinking. Xie elaborated the inner spiritual connection between Fortress Besieged and existentialism philosophy and literary thought. [5] Researchers constantly explore new critical methods, or look for a breakthrough in the study of Fortress Besieged, which opens up the depth of research. [6] Or the limitation of the ideological perspective of Fortress Besieged touches the blind spot of research. [7] With the maturity of Qian Zhongshu's literary research, literary historians pay more and more attention to money, and the evaluation is also rising step by step. 1990 Tang pointed out in the article "On Rewriting the History of Literature" that the position of money in the history of modern literature should be appropriately improved. In the History of Modern Novels in China written by Yang Yi, an influential writer in 1990s, there are more than ten pages devoted to money. At this time, literary historians have fully demonstrated the "classic" significance of Fortress Besieged.
Qian Zhongshu's popularity has rapidly expanded from the intellectual world to all walks of life. Various newspapers and media have introduced Qian and his Fortress Besieged with emphasis, which has promoted the media to explore this cultural celebrity full of amazing knowledge. However, Qian Zhongshu's detached attitude of repeatedly refusing media interviews and propaganda further boosted people's curiosity, wonder and reverence for him. It is worth noting that at this time, the mass media began to turn their attention to the life legend of money.
A remarkable phenomenon in the 1990s was the vigorous development of mass media and the formation of cultural market, which had a profound impact on the target of cultural communication. The information characteristics transmitted by the media are not transmitted intact, but selectively highlighted and amplified, with the purpose of grasping the cultural psychology of the audience, creating excitement, or finding a fit between the excitement of the public and the communication object, and the communication object will be deformed and compressed in this process. For this great scholar with both ability and political integrity, the media often describe him as "stunning", "mysterious and full of charm", "master", "cultural spectacle" and "the greatest wise man in China in the 20th century", highlighting his legend, relishing his anecdotes and appreciating his amazing stunts. Qian Zhongshu is admired not because of his academic achievements, but because ordinary readers are interested in him, and legendary stories and maverick personality are loaded on him. A female editor once bluntly said, "What about Qian Zhongshu's knowledge? We are not interested in this. " We are only interested in him! The words "[8] are very important. In the imaginary picture of the media building a "cultural Kunlun", Qian Zhongshu's richness as a gifted scholar and scholar has been stripped off, and his image in the mass media has two characteristics: one is "strange" and the other is "strange." Strange ",Qian Zhongshu is proficient in English and French, and has a camera-like memory, which is rare among scholars in modern China; The erudition, erudition and reading in ancient and modern China and the West are overwhelming and amazing. Full of wit and humor and unique style, he changed the image of intellectuals in the past and became a model of modern intellectuals combining Chinese and western. The reason why "strange" is "strange" is that he regards fame and fortune as dirt, and has always maintained a normal heart and a calm scholar mentality during the turbulent years of the Cultural Revolution. This detached scholar personality is in sharp contrast with the world trend of quick success and instant benefit, which makes people yearn for and admire.
The public's attention to Qian's legendary life directly triggered the rise of Qian Zhongshu's biography fever in the 1990s. 1990-65438+February, Qian Zhongshu, written by Hu Zhide, an American Chinese scholar, was introduced to China, which was the only critical biography that comprehensively introduced and studied Qian Zhongshu at that time. From 1992 to 1995, Chinese mainland published four biographies of Qian Zhongshu, namely Kong Qingmao's Biography of Qian Zhongshu; Emerson's Biography of Qian Zhongshu; Zhang Wenjiang's Biography of Qian Zhongshu, the wise man who built Babel Tower, and Li Hongyan's Mental Journey of the Wise Man. The first three biographies are mainly aimed at general readers and cultural markets, pursuing the legendary content and readability of the text. In contrast, the wise man has the best mental journey, which is characterized by recording Qian Zhongshu's "mental journey" under the projection of historical vicissitudes with the eyes of historians, being good at excavating materials and paying attention to learning rationality.
With the continuous highlighting and strengthening of the media and cultural market, Qian Zhongshu was gradually shaped into a "humanistic myth" at the end of the century.
In the early 1990s, "Qian Zhongshu fever" attracted more young and middle-aged scholars into the research field of "Xue Qian", forming a growing research team, and the study of "Xue Qian" began to take shape. Researchers participated in it from different perspectives and different research methods, and produced a number of monographs with more academic weight. Hu's research on Qian Zhongshu's academic and artistic thoughts has attracted considerable industry comments [9]; Zhou compiled Qian Zhongshu's Reader, explaining Qian's works according to the old school, and being good at argumentation; Hu Heqing has accumulated a lot of research on Qian's humanistic thought and linguistics, and his words have substance [10]. Royston Tan published more than 400,000 words of "On Monetarism", which systematically and comprehensively expounded the essence of "Monetarism". Li Hongyan put Qian Zhongshu in the framework of parallel comparison, and discussed his relationship with Janice, Ye Gongchao and other famous scholars in modern times, giving consideration to things, learning and science, and forming his own system ... The research results of "Xue Qian" promoted Qian Shu's position in academic history and interpreted its "classic" significance.
This "classic" symbolic meaning was quickly borrowed by the market. Taking advantage of the rapid popularity of Fortress Besieged, the publication of Qian Zhongshu's academic works created a miracle in China's book market. Money works with the least market value have become the fashion in the cultural market. The successive printing of Guanzuibian, Qinyilu and Selected Works of Qian Zhongshu has brought five or six figures of economic benefits to the publishing house.
In the 1990s, the "post-new period" entered an era of cultural consumption dominated by commercialization and mass media. Qian Zhongshu's second acceptance climax was caught by the market tide and brought into all aspects of mass culture production, circulation and consumption. Qian Zhongshu's classicality was fully displayed in the professional academic field, and then it was discovered and spread by the mass media, shaped into a cultural symbol of "cultural Kunlun" and "academic elite", endowed with subtle cultural consumption significance, and formed one of the popular academic fashions. Subsequently, the commercial culture was copied and spread, and it was successfully introduced to the market to realize its cultural and commercial value: it was used as a stepping stone for academic advancement by some academic speculators; Being used by unscrupulous booksellers as a favorable tool to grab profits; It is used by newspapers and media to enrich the layout and enhance the cultural taste; Provide readers with a pleasure of cultural consumption. To some extent, the acceptance and dissemination of Qian Zhongshu has become a "plunder" of money and cultural resources. His works and images have been covered up and misunderstood to some extent under the guidance of the media, the hype of publishers and the interest of the public. In this process, even serious academic research, some of them are branded as catching up with Shang Chao and being market-oriented and deeply influenced by business culture.
Third, say "cold" and "hot": the mottled landscape of "Qian Zhongshu fever" at the end of the century has shown mottled landscape from 1996 to the new Millennium.
During the period of 1996, when the "Qian Zhongshu craze" continued, some cutting-edge scholars began to question the "Qian Zhongshu phenomenon". Qian Zhongshu's craze: humanistic myth at the end of the century was published in the sixth issue of Contemporary Literature, and several doctoral students discussed it, pointing out that "Qian Zhongshu stepped onto the altar in Qian Zhongshu's craze and changed from a scholar to a saint in China's contemporary cultural circles". Qian Zhongshu is not a master of contemporary culture, but he just represents the lack of China culture which is not good at systematic construction. Jiang Yin, a researcher at China Academy of Social Sciences, also published an article "Returning Zhongshu to His True colors" [1 1], pointing out that Qian Zhongshu's true colors have been "blurred" and "unclear". The reason for this result is that "money scholars" have "all kinds of cheap praise and vulgar research"; He advocated "deconstructing the myth of Qian Zhongshu" and returning money to the standard of "excellent scholar".
1999 The book Criticism of the Top Ten Writers, which has caused a lot of uproar, simply "deconstructs" the classic status of Fortress Besieged. Known as the "apocrypha" in modern times, "besieged city contains everything except novels".
Yu Jie wrote that Qian Zhongshu "has an indifferent and playful attitude towards life, history and suffering" [12]. ...
The voice of "cool comments" is endless. ...
These criticisms from academic circles or folk deconstructed Qian Zhongshu's "humanistic myth" with a clear ideological stance, and the voice of criticizing the war also caused the "Qian School" to fight back. A thick book "Defending Qian Zhongshu" took the opportunity to come out, and literary contention even turned into a "thirsty" situation.
In the cultural scene of great criticism and contention on "Xue Qian", Mr. Qian Zhongshu set off a craze in the media for the third time by driving a crane to the west on June 199865438+February19. The most important newspapers and periodicals at home and abroad have focused on the death of Mr. Qian, and there are countless words of mourning, reminiscence and comment in various newspapers and periodicals. Many of them have real academic vision and theoretical analysis, such as Ji Jin's Qian Zhongshu and Modern Western Learning, and Liu Yukai's On the Parallelism of Lu Xun's Qian Zhongshu. But from the research of monetary science,
Judging from the situation, we still talk more about literature and art and less about academics; The combination of Qian's literary aesthetic thought and creative practice is rarely discussed. There are even fewer achievements devoted to the study of Lu and Guan Cone. The researchers of Fortress Besieged mainly pay attention to its relationship with world literature. As far as quantity is concerned, the years spanning the new century are the third harvest period of monetary science, and many researchers are eager to catch the last bus of monetary science fever. Some academic behaviors have evolved into cultural marketing behaviors in the market.
In the cultural picture of "Qian Zhongshu fever" at the end of the century, this kind of "heat" and "cold" are intriguing. The relationship between "cold" and "hot" actually represents the confrontation of different ideological discourses in the 1990s, and represents different cultural strategies to interpret money, which deserves our reflection.
As mentioned above, Qian Zhongshu's craze is the product of the "cultural craze" in the 1980s, which further evolved into the "Chinese studies craze" in the late 1980s, and at the same time, there appeared the "Chen Yinque craze" and the "new Confucian craze". The "threat" of "post-colonial discourse" made the study of Sinology and the revival of traditional culture become the value goals of some China people in 1990s, which reflected some demands of cultural nationalism. Moreover, in the 1990s, Shang Chao was thriving, money worship was prevalent, and the ugly phenomenon of social rebirth was contrary to traditional morality, which required to carry forward the spirit of traditional culture again. This is one of the reasons why money started in the "Fortress Besieged" trend in the 1990s, but it lasted for a long time. On the other hand, as Li Zehou pointed out: "One of the characteristics of academic fashion in the 1990s is that' thinkers fade out and scholars stand out'." In the 1980 s, there were many thoughts and ideologies, and the collision of multi-cultures interwoven into an extremely wonderful rhapsody of the times. A "lonely" scholar like Qian Zhongshu is not attractive. However, in the late 1980s, the criticism of history and culture suddenly fell into a trough, the powerful market economy promoted the rapid transformation of culture, and the boundary between elite culture and secular culture was more and more smoothed by the trend of "postmodernism". All this led to the weakening of the enlightenment spirit of the intellectuals in the 1990s. Under this background, scholars were re-valued by the intellectuals, and money was really hot. Scholars take the pursuit of truth as their responsibility and devote themselves to research as their value. Qian Zhongshu represents the academic personality advocated in the 1990s.
These are the deep-seated reasons for the "Qian Zhongshu fever" in the 1990s. For another group of intellectuals who insist on the position of "new criticism", they obviously tend to value the balance of western humanism and demand to go deep into social affairs in a critical and realistic way. These intellectuals, who have super-academic utilitarian interests, find it difficult to agree with the ideological position of "the craze for Chinese studies" and the cause of "writing books with white heads" by Qian scholars. Therefore, they criticized Qian Zhongshu's "humanistic myth" with the reference of western humanism. In view of the empty praise and touting atmosphere in the "Qian Zhongshu fever", some critics' predictions are thought-provoking: Qian Zhongshu may become a victim of the "Qian Zhongshu fever". However, from "killing with a stick" to "killing with a stick", academic rational discussions are often replaced by personal attacks. Some articles are completely commercial packaging strategies, with "approving" money as a signboard, grandstanding and self-hype.
Generally speaking, in the last few years of the end of the century, the "cold" and "hot" arguments about Qian Zhongshu came into being under the background of cultural and academic reflection and reconstruction, showing the multidimensional symbiosis of contemporary cultural context and the multidimensional differentiation of elite culture under the impact of secular culture. Whether it is "cold" or "hot", whether it is "cold" or "hot", it is actually a kind of cultural force at work, showing different cultural needs and motives in a specific period, representing different interpretation strategies of mainstream ideology and market ideology.
End of movement
Although Qian Zhongshu repeatedly refused to be studied and interviewed and insisted on hiding behind the public's field of vision, the choice of culture and history did not depend on his personal will. Therefore, in the last 20 years of the 20th century, a pure scholar unexpectedly became a hot figure in the mass media and cultural market, which constituted an important coordinate in the cultural topographic map of the 1990s. The study of money, which should have been silent, has also become a "remarkable study" comparable to "A Dream of Red Mansions" and "The Study of Lu Xun". In full swing, Qian Zhongshu completed the writing of a contemporary "cultural Kunlun" and "academic elite": through the intervention of the media and cultural market, it evolved into a "cultural symbol" and fashion in the field of mass culture. And borrowed by ideology, it became the spiritual resource of different cultural positions and ideological "discourses" in the 1990s. Under the joint action of ideological manipulation, media guidance and commercial operation, Qian Zhongshu's prototype image was greatly rewritten and misread.
After 20 years of research, there are three climaxes. In Qian Zhongshu's "Drifting Away", we may realize that our understanding of him is still "looking at flowers in the fog". Moreover, the craze is gradually disappearing, and the society will gradually return to its original position. For Qian Zhongshu, the real acceptance should be to cross the barriers, rub the classics, enter his discourse space, integrate all life experiences and thoughts and feelings, and let a real Qian Zhongshu float in our clear vision.
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