Cover news reporter Zhang Jie
Mu Xin always seems to have the physique of "causing controversy" and "getting out of the circle". Two years ago, there was a debate about whether Mu Xin was a master. At the beginning of 2022, a Master of Arts thesis "Research on the Phenomenon of "Text Regeneration" in Mu Xin's Literary Creation" was widely disseminated and sparked controversy again.
The author of this article, Lu Hongbei, comprehensively inspected the phenomenon of "text regeneration" in Mu Xin's literary creation by comparing multiple works. In the abstract of his thesis, Lu Hongbei concluded: “Mu Xin’s regenerated texts are numerous, and the source of the original texts is extensive. Plagiarism."
Although this is a paper written 8 years ago, it made "text regeneration" a hot word, and also made Mu Xin fall into the "plagiarism theory".
On March 11th, cover news reporter interviewed Professor Jiang Yuqin of the Institute of Literature at Shanghai International Studies University. She believed that the problems in Mu Xin’s creations related to other writers’ works can be explained from the perspective of intertextuality. Say. This is Mu Xin's highly individualized artistic technique in his creations, embodying an aesthetic thought of "continuing", "reversing", and "transforming". The interpretation of Mu Xin's works cannot be simply taken literally, but must be understood in conjunction with Mu Xin's creative thought of "theft also has the way, and the way also has the thief".
Mu Xin Falling into "Plagiarism Theory"
The thesis of a graduate student of the School of Liberal Arts of Nanjing University became the focus 8 years ago. The cover news reporter found through interviews that the concept of "text regeneration" did not exist in the field of literary theory. For this "self-created" term, Lu Hongbei also defined it in his thesis. The so-called "text regeneration" means that the author uses other people's written works as raw materials (original texts) to rewrite to a lesser extent, forming Own work (regenerated text).
Lu Hongbei cites many specific examples in the article to illustrate that some of Mu Xin's works are "text regeneration". For example, Mu Xin's short poem "The Fennel Tree": "Tall fennel tree/Umbrella-shaped yellow flowers/The cemetery is fragrant and sultry/Master Frederick/I don't go to sea anymore." The poem has no hints other than the year it was written. According to Lu Hongbei's textual research, this poem comes from two irrelevant sentences in Zola's novel collection "Nais Mikulan": "There are tall fennel trees planted inside, and there are yellow umbrella-shaped flowers on them. Flowers... Often after a day of sweltering heat, the smell of fennel from the cemetery will perfume the whole of Priaac." "Master Frederick, you are no longer going to sea Are you done?"
In other words, Mu Xin rewrote the sentences in Zola's novels into his own poems. Moreover, Lu Hongbei also pointed out that only a few of Mu Xin's regenerated texts have clear hints about the text's regeneration, and the correct source is indicated; It cannot be understood immediately; and most of them do not have any text reproduction prompts, and even deliberately conceal or create the illusion of "originality", so they are suspected of "plagiarism".
There are mixed reactions from netizens.
As a reader, he is "disappointed" or finds it interesting from the comparison.
Although Lu Hongbei did not directly equate "text regeneration" with "plagiarism" in his paper, nor did he directly equate all of Mu Xin's "text regeneration" works with plagiarism, but many people are talking about "text regeneration" Sometimes, "text regeneration" is almost equated with plagiarism.
For example, a netizen "He Qingyi" wrote on Weibo: "I just realized that many of Mu Xin's poems and prose are 'text regeneration'. It is said that 'text regeneration' is actually plagiarism. As a reader of Mu Xin , I'm disappointed."
However, some netizens had different reactions. For example, "Suianshi" published a long article on the Douban account in response to this paper. "Suianshi" believes that Mu Xin didn't remind the original text because "his presupposed readers can grasp the joints of the ins and outs, have followed his channels, traveled around his secrets, and comprehended his interests. The objects he melted have long been First he gets married,Even if the reputation of these Chinese and Western writers is somewhat obscure, there are always texts to rely on, evidence to check, and someone to know, so there is no need for plagiarism. "
Sui Anshi also wrote: "I have known Mu Xin's various intertexts for a long time. Since I can't be surprised when I look at the paintings of the four kings imitating Huang Dazhi, why should I be surprised by Mu Xin's literary variations? Not only did I not feel surprised, but I got a lot of fun from the comparison, just like an annotator who found the allusion and application of a certain poem. Mu Xin is not the best writer, and Mu Xin's "walking" temperament doomed him to find it difficult to find a proper place in the history of Chinese literature in the 20th century, but his writing has its own unique strength. "
"Mu Xin's Posthumous Manuscripts" reveals his views on writing:
I found poetry in other people's novels and prose, and I can turn poetry into poetry
What does Mu Xin think about his own "text regeneration" phenomenon? Attentive readers I also discovered that Mu Xin had actually "confessed" his behavior. In "Mu Xin's Posthumous Manuscripts" just published in the spring of 2022, there was an article about Mu Xin's writing views, from which we can get a glimpse.
article In it, Mu Xin mentions that his early writing pursued "pure originality" and "pure ego", and even entered into "pure rhetoric" and "pure rhythm", without taking names of people, places, and times. In fact, "symbolism" Driven to a dead end, poetry only has the soul of poetry, and all the meat of poetry. "I turned my head back and turned to accommodate all things in the world, collecting physics, human feelings, slang, and clichés with shame, and my poems became stronger. In fifty years, enough poems have been written, but why is there " Variations on a Certain Theme " on the music, and an imitation of "Such-and-so Mountain Man" on the painting? My initial understanding is 'game', and a further level is 'the artist discovers others'. Cézanne , Picasso all painted Velasques. Haydn's Variations on a Theme, and Bagnini's Variations on a Theme, in fact, artists have a predestined relationship with nature of "things for my own use". The sound is "his sound" and changed to "my sound". Color, is 'other color', changed to 'my color'. I found poetry in other people's novels and prose, and I was confident that I could work on it and turn poetry into poetry, so I decided to use it (mostly inadvertent transitional fragments in other people's novels and prose). This behavior does no harm to others, like fighting the air, the air is harmless, and the bird flies away. And after all, if you refer to novels and prose as poems, if you compare them to figure out, then the principles and techniques of poetry writing are really all in it (it's too much fun, it's too painful). It is much more difficult to obtain such a poem than to compose one by oneself, so the joy I get is much more. "
Professor Jiang Yuqin of Shanghai International Studies University:
I disagree with the "plagiarism" point of view put forward in this paper
On March 10, the cover news reporter interviewed Professor Jiang Yuqin of the Institute of Literature of Shanghai International Studies University. She is mainly engaged in Chinese Research and teaching of modern and contemporary literature and classical poetics. He is now a full-time researcher and writer at the Institute of Literature of Shanghai International Studies University. Since he has been researching and teaching Chinese modern and contemporary literature in the university, Professor Jiang Yuqin pays attention to and studies Mu Xin's works Compared with ordinary readers, the reading is more in-depth and systematic.
In addition, Jiang Yuqin received Nanjing University Ph.D. Lu Hongbei, the author of the paper, studied the same major. The two have the same relationship as seniors and juniors in the same department. Jiang Yuqin also has a full understanding of this highly regarded paper.
In Jiang Yuqin's view, the controversial The Master of Arts thesis "Research on the Phenomenon of "Text Regeneration" in Mu Xin's Literary Creation" is the author's personal research experience and opinions. Regardless of whether it is appropriate or not, his right to express opinions should be respected. Some so-called "text regeneration" is plagiarism, expressing "disagree".
Jiang Yuqin believes that the world's writers can be roughly divided into two categories: one is based on "I" as a genius-style creation The other is based on the culture and spirit of the whole human being, to start a dialogue with the previous writers and works, that is, to integrate one's own creation into the existing cultural heritage, so as to form a kind of The relationship between intertextuality. Mu Xin’s creation belongs to the second type. She believes that “the problems that appear in Mu Xin’s creation are related to other writers’ works,In nature, it is a kind of intertextual writing. "
Cover news: Lu Hongbei concluded in his thesis: "Mu Xin has a large number of regenerated texts, and the original texts come from a wide range of sources. Most of the regenerated texts do not have the hint of 'text regeneration', and some are even intentionally hidden. In addition, some reproduced texts are plagiarized. "What do you think of this point of view?
Jiang Yuqin: I have read her master's degree thesis. It should be said that both the content and the way of discussion are familiar to me. (I was still called the "Chinese Department" when I was there). The rigorous and realistic style of study that has always been advocated. For a master student, this topic selection is a bit difficult. One of the core directions of the thesis is to explain and demonstrate The phenomenon of "plagiarism" exists in Mu Xin's literary creation. To make this point of view valid, it is necessary to point out in detail which "original texts" Mu Xin "plagiarized" in his creation. We know that Mu Xin not only The amount of reading of Chinese and foreign books is astonishing, and his creative forms are also diversified, including novels, poems, and prose, etc. It is conceivable that it is difficult to complete such an "identification" task. Lu Hongbei In her article, starting from a large amount of data, she initially sorted out a so-called "plagiarism" evidence chain, which also took a lot of effort. To be honest, writing this is easier than writing an article praising Mu Xin. She From my standpoint, I think it is understandable to draw such a conclusion. After all, there is a saying that there are a thousand Hamlets for a thousand readers. Besides, everyone should have the ability to express their inner thoughts. The right to come out. So as far as this paper itself is concerned, I don’t think there is any big problem, it just says what I want to say.
Of course, for me, the “plagiarism” point of view raised by this paper is my opinion I can’t agree. The literary world has always been composed of all kinds of writers. There are some writers, and there are others. Everyone likes it. I believe that a really good writer and some really good works are not afraid of being questioned.
Jiang Yuqin (photo courtesy of me)
Some people dislike Mu Xin, maybe it’s just because of the different aura
Cover News: After this paper was spread, some readers of Mu Xin were indeed affected after seeing the examples she gave, and even felt "disappointed with Mu Xin". Mu Xin’s things need to have a certain threshold, just like reading Lu Xun’s books, if you are too young and have too little experience, it will affect your understanding and acceptance of it. This is why many people appreciate it more and more as they get older The reason for Lu Xun. Similarly, reading Mu Xin also requires certain conditions. First, I think it is necessary to have a basically similar spiritual temperament and aesthetic pursuit. This is very important. There is a saying that different ways are different Conspiracy. The current antipathy towards Mu Xin, in addition to ordinary readers, there are also some professional writers, even famous writers or editors. It cannot be said that these people have no life experience and no aesthetic taste. They reject Mu Xin, I think it's mainly due to lack of aura right. Let a person who always likes to listen to "Symphony" listen to " Serenade ", he will naturally "have a different feeling in his heart".
In addition to that, it is still the same sentence, which is also related to Mu Xin's creative method. Writers in the world can be roughly divided into two categories: one is based on the "I"-based creative style of genius; the other is based on the entire human culture and the entire human spirit. The predecessor writers and works start a dialogue, that is, integrate their own creations into the existing cultural heritage, so as to form an intertextual relationship. Just as Mu Xin explained himself: "I am not a pioneer, nor a spiritual leader, but a tireless practitioner who has witnessed that ancient and modern culture and art should be connected, and that east and west culture and art can be integrated. "
Mu Xin is smart and wise, and possesses some spiritual qualities unique to geniuses, but he chose to take the latter path. This may be related to the fact that he has read a lot of books since he was a child, and his personality is rigorous, restrained, and self-disciplined. In addition, I think it is mainly his value identification and aesthetic choice, that is, he believes that this kind of creation with allusions and sources will appear more historical.Just like his several summaries of the concept of "cultural nostalgia": "The old ones are wooden editions, with more notes and entries almost exceeding the text, the middle-aged ones are revised editions, the list of reference books is full of foreign literature, and the trendy ones are The translated version, and it is an abridged version with extremely poor translation. There are even some people who are only fond of local specialties in their hometown, and it is a simple popular version that reads pictures and reads." From the "wooden version" of "old generation" to "pictures A popular book for literacy", obviously one is inferior to the other. Judging from the fact that Mu Xin set the best version as the "old wooden version" with "there are almost more notes than the main text", it is obvious that he takes "notes" very seriously.
This point can also be confirmed from his creations, in which there are often sayings such as "listen to the elders". To some extent, Mu Xin's creations are the "wooden version of the old generation". Of course, just staying here, Mu Xin is at best an "old scholar" who has read poetry and books, not the elegant and refined Mu Xin he is today. Therefore, the secret of his success lies in breaking away from the past and bringing forth the new, learning from the past to know the present.
There is no need to use "privacy" to fight against "plagiarism" Accusing
is not "text reproduction", but a way of creation
Cover news: Some people pointed out that Mu Xin's writing "is actually very personal, and some are not It is written for publishing or publishing. Accusations such as washing manuscripts and plagiarism are not appropriate for him.” What do you think of this point of view?
Jiang Yuqin: Anyone's creation should have the characteristics of "very personal". However, whether he publishes it or not, publishes it or not. As soon as the text is out of the hands of the author, it has independence. In other words, if you plagiarize, it is plagiarism, and the nature of plagiarism cannot be changed just because it is not written for publication. I understand that some readers use "privacy" to counter accusations of "washing manuscripts" and "plagiarism" out of the consideration of protecting Mu Xin. But in my opinion, this kind of defense is weak, and it may not be in line with Mu Xin's original intention. Because many books and articles were published when Mu Xin was still alive, there shouldn't be a problem of ignorance.
I think this problem is not with Mu Xin, but mainly with us. That is to say, the literary creation we understand now is different from the literary creation concept that Mu Xin followed. Mu Xin once said: "Half a lifetime of wandering around the rivers and lakes, my own master gave me a lot of secluded histories and out-of-the-way books. After reading them, my heart is moved. It's strange, there are also Taos for thieves, and there are also thieves for the Tao." Chinese culture pays attention to "Tao", "Tao gives birth to one, one gives birth to two, and three gives birth to all things". By deduction, everything in the world is derived from "Tao". And this "Tao" is equivalent to "piracy" in Mu Xin's view. From this, we can understand the reason why there is often an "original text" in Mu Xin's works that is criticized by contemporary people: in our view, this is "plagiarism", but in Mu Xin's view, this is It is a process in which "Tao" is born from "stealing" in creation.
Is this our mistake, or Mu Xin's mistake? We are not wrong, and neither is Mu Xin. The difference lies in our different understandings of "originality". Mu Xin believes that originality is a process from "stealing" to "Tao". The so-called "stealing" is to face ancient and modern China and foreign countries, learn from others' strengths, and derive one's own "Tao" from "all strengths". Thinking about it from another angle, Mu Xin's understanding is not without reason. Is the so-called "originality" purely created out of nothing, and has no connection with human cultural traditions and other people's creations?
This is clearly not the case. In this world, apart from Kaitiandidi and Oracle Bone Inscriptions, which can be regarded as original, others are not considered original, but are a kind of re-creation based on other people's creative achievements. Lu Xun, known as "the father of new literature ", the batch of novels created by his vernacular should be said to be original, right? Compared with Chinese classical Chinese novels, can be said to be original, but in the world literary world, Lu Xun's novels, including "Sui Gan Lu" may not be considered original. I wrote about the relationship between the "madman" in Lu Xun's novels and the "superman" in Nietzsche's philosophy one or twenty years ago; Impact traces. This kind of influence is obvious, and I can point it out one by one like Lu Hongbei's paper, but I never think that this is a kind of "text regeneration", on the contrary, it is a kind of writer'sCreative way. Because this kind of influential creation is not imitating or repeating the other party's thoughts, but consciously continuing, reversing or transforming the words.
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