中左翼社会民主主义者；希望为没有话语权的边缘人群发声者；致力于改善民权民生，做些实事
Liu Cixin and his "Three-Body Problem": the Coexistence of Conscience Pollution and Grandeur Deep（1）
(3) Ye Wenjie, Shaolin and the female Red Guards 5
(4) Three-body game netizens gathering 6
(10) Gender bias controversy 16
(12) The magnificent epic of Social Darwinism 19
(13) “What to do” after “what”? 21
In the past ten years, the science fiction novel "The Three-Body Problem" has become popular in China and around the world. Its success is not only that Chinese works have historically won the Hugo Award, the highest award in the world of science fiction, but also that it has illuminated, inspired and announced a generation of Chinese people (or at least a large group of a certain type of Chinese people) in the world. (a specific period of time) has achieved a broad and deep resonance among Chinese people, especially young people. The author Liu Cixin has also become a super idol among fans of "The Three-Body Problem", and his worship and maintenance have reached a level that is unmatched by any other contemporary writer.
I have read "The Three-Body Problem" many times myself, and I can basically read it without missing a word or neglecting any plot, and I was deeply impressed. I also have a limited but relatively sufficient understanding of the author Liu Cixin’s background, remarks, and values. The relevant conclusions should be mentioned at the end of this article, but I don’t know when this article will be completed, and I need to give a rough evaluation first. Therefore, I will first make an overall evaluation of "The Three-Body Problem" and Liu Cixin at the beginning of this article.
The book "The Three-Body Problem" is a sci-fi story about the struggle between humans and alien civilizations. It reflects some essential characteristics of human nature and human society, as well as reflections on the history and reality of humans and even the universe, and predictions of the future. It has rich literary content. , scientific and philosophical thinking, showing the author's profound insight, imagination, and powerful ability to construct, metaphor and express what he reveals through science fiction. However, the work and the author's emotional tendencies and implied value orientation are generally social Darwinism, non-sympathetic, non-human and non-philanthropic, and depreciate progressivism and social justice. The author's personal character and moral integrity are also very problematic. The quality of this work can be ranked among the thousands of literary works of great value, inspiration and influence in the world from ancient times to the present. However, the values 鈥嬧€嬧€嬧€媡hat it implies and guides, the moral values 鈥嬧€嬧€嬧€媋nd the humanistic spirit it contains are completely incomparable with those By comparison, it is even said to be a negative and harmful moral and humanistic value. This is my rough evaluation. More specific evaluations will be written in the middle and at the end of the article.
"The Three-Body Problem" is vast and densely packed with details, so naturally I cannot recapitulate it here. Therefore, I write this book review on the assumption that the reviewer has read The Three-Body Problem in its entirety. However, I will still include some background and plot introduction in the review, such as quoting the original text of "The Three-Body Problem", so that this article can be understood by those who have not read (at least not read it carefully) "The Three-Body Problem". For the convenience of writing, I will order the characters and events in "The Three-Body Problem" in the order they are mentioned in the book, use these characters and events as units to discuss and analyze, and provide appropriate summary and review.
I will make a lot of comments on the emotions and motivations of Liu Cixin's writing content in the article. Of course, this kind of judgment cannot have "conclusive" evidence in the legal sense. Instead, it relies heavily on speculation and association. Moreover, this kind of judgment cannot be 100% consistent with Liu Cixin's original intention, and no one has such ability, unless someone can detect what Liu Cixin is thinking in his brain. There are also many judgments based on the objective influence and reader response of Liu Cixin and his "The Three-Body Problem". The meaning expressed by a work largely depends on the meaning considered by the mainstream among readers who have the right to express freely (especially when the author has the ability to deny it but does not deny it, or denies it but does not follow logic). The relationship between the author and the readers, the work and the response is an interactive relationship, rather than a one-way infusion of meaning. The author should also consider what impact it will have when writing, including what he thinks is a "misreading." Therefore, I will use its recognition and influence on readers to infer the content and emotions of Liu Cixin in "The Three-Body Problem". This is not to intentionally wrong him.
Also, as a critical article, this article is of course mainly focused on criticism. Even if I agree with some of Liu Cixin’s views, I will not mention them in a large space. It won’t take much effort to deal with some of the less controversial characters created by Liu Cixin (or at least I don’t think there is any particular need to criticize), such as Zhang Beihai, Luo Ji and others, as well as some events and plots that have no special symbolic meaning. pen and ink. Most of what I write is the objectionable part. On the whole, as mentioned above, I praise his "ability" to criticize his "virtue".
(1) Shi Qiang
The first character to appear in "The Three-Body Problem" is the scientist Wang Miao, but the first character to be portrayed in detail is the policeman Shi Qiang who comes to interview Wang Miao. In just a few pages, a rough, savage, and invasive character is portrayed. Fans who are familiar with "The Three-Body Problem" will certainly know that the description of Shi Qiang in the opening chapter and similar descriptions in the following are all foreshadowing Shi Qiang's shrewdness, courage, and sense of responsibility.
Or to be more precise, Liu Cixin deliberately linked cunning and stubbornness with competence and responsibility, implying that characters with gangster habits are often "cold on the outside and hot on the inside" and are essentially good people.
By excerpting the description of Shi Qiang in the novel, we can see what kind of values 鈥嬧€婰iu Cixin wants to express and try to instill.
At the beginning of "The Three-Body Problem", when Shi Qiang and Wang Miao met:
(Wang Miao said) "'Science Frontier' is an academic organization that is very influential in the international academic community, and its members are all famous scholars. Why can't I get in touch with such a legitimate academic organization?"
"Look at you!" Shi Qiang said loudly, "Did we say it's illegal? Did we say we wouldn't let you come into contact with it?" As he spoke, the smoke he had just inhaled was sprayed into Wang Miao's face. superior.
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"I have the right not to answer, so please do as you please." Wang Miao said and turned to go back to the house.
"Wait!" Shi Qiang said sternly, waving to the young police officer next to him, "Give him his address and phone number, and go for a walk in the afternoon."
And it was this person who, when Wang Miao was almost committed suicide after being hit by the illusion created by the Trisolarans, he used a clever method to encourage Wang Miao to have the courage to live, and cheered up to participate in the crackdown on the Earth Trisolaran organization. (ETO) conspiracy. Later, Shi Qiang also made a clever plan (namely "Operation Guzheng") to ambush Evans and the "Judgment Day", and rescued and protected another scientist Luo Ji many times, which can be said to be a great contribution. In addition, Liu Cixin also described Shi Qiang's deep friendship with Wang Miao and Luo Ji. It was with Shi Qiang's encouragement that Wang Miao regained the courage to live, and helped the government and military police solve a series of crimes committed by the "Earth Trisolaran Organization"; for Luo Ji, Shi Qiang was a close friend and always protected him. Luo Ji, and pushed him from being bohemian to taking the responsibility of defending mankind.
At the beginning, we saw the image of Shi Qiang, which looked very much like a real evil policeman who abused his police power and oppressed the people. The book does list his bad deeds: ignoring the safety of the hostages when handling hostage-taking incidents, inciting gangsters to take advantage of others, and extorting confessions through torture... Such a "evil policeman" saved an important scientist, and thus saved the fate of mankind.
Liu Cixin's implication here is that morality is not important, but talent is the first; it doesn't matter if you abuse your power or violate laws and disciplines, the most important thing is to be "useful". Moreover, although such people are cruel to strangers and enemies, they can still treat friends with sincerity. Furthermore, Liu's Chunqiu style of writing implies that it is precisely evil people like Shi Qiang who have cunning, courage, and talent that ordinary people do not have, but people who are polite and law-abiding cannot do so. It is easy to draw an inference from this: people should tolerate evil people and evil policemen and tolerate their illegal behavior, because only people who have experienced ugliness and are full of gangsters have the ability to protect us. Perhaps, this is what Liu Cixin wants to convey to us. This is not an isolated case in "The Three-Body Problem". There are also some characters later, such as Thomas Wade, who can prove Liu's subtle hint.
Throughout the book, there are many positive descriptions of Shi Qiang, such as the aforementioned friendship with Wang Miao and Luo Ji, which is very touching. Liu Cixin tried to strengthen Shi Qiang's gangster color and chivalrous heart, so that people can form an impression that this kind of person who looks bad (actually has an obviously bad side) is essentially good, and people should understand, Tolerate, appreciate, and praise them. This is a bit like the description of those heroes in "Water Margin" who are both chivalrous and murderous. However, the "heroes" in Water Margin are those who are anti-system and anti-power. Liu Cixin's Shi Qiang and Thomas Wade are both members of the ruling class who wear official clothes and maintain order. They are also part of the violent machine. "Water Margin" celebrates the spirit of resistance, while "The Three-Body Problem" praises the "spirit of oppression." Regardless of Liu Cixin's subjective intentions, objectively it is a fact that he cleared the ground for members of the state's powerful departments. Most literary writers will denounce the barbarity of violent machines and the filth of the ruling class in their words (including the gangster novel "Once Upon a Time in the Northeast", which is not high in style, first talks about the corruption of the cadre class and even the regime's suppression of democratic protests, and then Talking about gang violence in civil society), only people like Liu Cixin can change the law and sing praises for the system and its attachments.
Another description of Shi Qiang not only once again enriches the image of Shi Qiang as a "rogue police hero", but also reveals Liu Cixin's stigma and resentment towards the relatively marginalized and unfortunate family victims in society. There is a scene in the book when Shi Qiang and the military police raided an ETO meeting and encountered a young girl threatening a bomb:
"Stop." The nuclear bomb girl warned Da Shi with a wink, her right thumb pressed tightly on the detonation switch, and her nail polish shone in the flashlight light.
"Take it easy, girl, there's something you definitely want to know." Da Shi stood seven or eight meters away from the girl and took out an envelope from his pocket, "Your mother has been found."
The girl's bright eyes immediately dimmed, but at this time, these eyes really led to her soul.
Da Shi took the opportunity and took two more steps forward, shortening the distance between himself and the girl to about five meters. The girl alertly raised a nuclear bomb and stopped him with her eyes, but her attention had been greatly distracted. One of the two people who just threw away the fake nuclear bomb walked towards Da Shi and reached for the envelope he was holding. Da Shi pulled out his pistol like lightning. His action of drawing the gun was just blocked by the person who took the letter. The girl did not see it. She only saw a light flash in the ear of the recipient of the letter, and the nuclear bomb in her arms was hit and exploded.
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"Who is that girl?" Wang Miao asked.
Da Shi grinned, "How the hell do I know? I'm just guessing. A girl like this has probably never seen her mother. I've been in this business for more than 20 years, and I've learned how to read people."
In Liu Cixin's writings, people who attempt to undermine the current order and use extreme means to fight against mainstream society are often victims of society and marginalized groups (of course, this is objectively true). Moreover, from the evaluation and tone of the girl spoken by Shi Qiang above, it can be seen that Liu Cixin does not sympathize with her but despise and dislike her. This tone is like that used in conservative societies towards women who have been sexually assaulted. Instead of expressing deep sympathy, they think the victim is "dirty". In the eyes of Liu Cixin and others, these extremes, troublemakers, and those who resist order are poor and hateful bugs who have been abandoned by their families and are "motherless."
And this is very consistent with the values 鈥嬧€嬧€嬧€媢nder the current wave of Darwinism in Chinese society. Whenever an extreme incident occurs in society, the Internet is full of voices saying "I don't want to know what he went through, I just want him to die." It seems that the guilty person is not Cai Jinggaoqiu, but Yang Zhilinchong (strictly speaking, of course) Yang Zhilinchong is indeed guilty). As for those poor people who protested peacefully and petitioned through formal channels, people looked on with indifference and even took schadenfreude. It’s not that they don’t know the suffering of these victims, but they despise and reject them from above. Not only do they not feel that they have to bear some responsibility and participate in some necessary changes in society, they also feel that these disadvantaged people are an eyesore and influence on them. own mood. The popularity of Liu Cixin's "The Three-Body Problem" is due to the resonance between the lines and the socialist and self-interested mentality of the middle and upper classes. (Of course, I don’t agree with hurting innocent people, and I believe that once you do something like this, you need to take responsibility regardless of the reason and cannot escape guilt. However, it is necessary to discuss the reasons and solve the problem, even if it eases the conflict, rather than just relying on Violent coercion, killing and rebound)
Characters like Shi Qiang in "The Three-Body Problem", there are also many gods-like images in European, American, Japanese and Korean literature and film and television works, that is, a person who seems to be not decent (or indeed not decent) but is in important matters and life and death. Guan Guan showed extraordinary courage and sense of responsibility to reflect the complexity and brilliance of human nature. However, after careful analysis and experience, you will find that the images and purposes of shaping Shi Qiang, Thomas Wade, Luo Ji, etc. in "The Three-Body Problem" are actually different from most European, American, Japanese and Korean works. The latter (such as the seemingly similar characters depicted in the novels of Chekhov, Maupassant, Hugo, and Balzac) is to reflect the complexity of human nature and the glory of justice, while the former is more like whitewashing the powerful and the evil. Giving money to the oppressors and vested interests. This can be reasonably analyzed and speculated through the emotional tendencies between the lines, detailed descriptions, the overall environment, and even the author's creative background and possible purposes. Of course, the readers' own values 鈥嬧€媋nd experiences will also cause different feelings. At least some people who have read Chinese and foreign literature, film and television works will have this resonance.
For example, Hugo's most famous work "Les Mis茅rables" depicts the character of Jean Valjean as a "criminal". But Hugo did not describe Jean Valjean as disgusting as the "Bomb Girl". On the contrary, he portrayed Jean Valjean as quite sympathetic. Sheriff Javert, who enforces the law and arrests Jean Valjean, is not as "cool" and admirable as Shi Qiang because of his badness. Instead, he is portrayed by Hugo in a way that makes readers feel hated. In the end, Sheriff Javert also awakened his conscience and completed the redemption together with Jean Valjean. In "Les Mis茅rables", everyone has a clear conscience, and it is precisely because they all maintain a bottom line, and even deliberately "let go of water (such as Javert letting go of Jean Valjean)" when they can achieve their goals, that "Les Mis茅rables" ends with End in the light (rather than turning France and the world into a "dark forest").
Maupassant's "Ball of Suif", Chekhov's "Wanka", and Lu Xun's "Blessing" all take the portrayal of a vulnerable victim as the theme of the novel, expressing deep sympathy for the person involved in every word, and describing her/ Their experiences were due to the harsh environment, especially the ruthlessness of others, which exposed the ugliness and common hypocrisy of society. More works by these three writers also have such emotional tendencies and moral stances. This is completely opposite to Liu Cixin's attitude of despising and even ridiculing the weak, praising the wicked, and praising order.
This is not only true for these famous works, but even some not-so-great literary and artistic works will retain a lot of basic "human flavor". For example, the criminal investigation drama "Serious Case Group 6", which was once popular in China, has police officers with different personalities, but they all retain a minimum of human conscience. Perhaps the image of Shi Qiang in The Three-Body Problem is more in line with the true appearance of some police officers, but it obviously should not be portrayed in a praising and encouraging manner. The police in "Serious Case Group Six" may be idealized, but such propaganda can also form a beneficial guidance for the police team, rather than an evil hint.
(2) Cultural Revolution
The mention of the Cultural Revolution in "The Three-Body Problem" has been regarded by some book critics as a breakthrough in contemporary literary works and has also become a major selling point of "The Three-Body Problem". Some people who don't know much about the details think Liu Cixin is a great writer who dares to touch sensitive issues and reflect on history. It is speculated that the first part of "The Three-Body Problem" won the Hugo Award that year, which may be related to the fact that the book dared to mention this political taboo in China.
Indeed, the scale of the crazy years and fighting scenes mentioned in the article is shocking. Among the best-selling literary works published in China, there are few that directly present the tragic Cultural Revolution scenes like "The Three-Body Problem". The book also describes the destruction of knowledge, the persecution of scholars, and the human tragedy of families being separated and friends betrayed under political struggles.
However, all these are just phenomena and phenomena. What's the essence? The reason? Who caused such a tragedy? Neither in the book nor in reality did Liu Cixin make any unfavorable judgments about the regime and the ruling group that led to the Cultural Revolution. While describing various phenomena during the Cultural Revolution, it completely avoids reflection and criticism on related systems, characters, and culture. There is only a statement phenomenon. This statement style and tone seem to tell people that this is a tragedy destined to happen in history, and there is no one responsible.
If Liu Cixin's calm description of the Cultural Revolution does not fully explain his political attitude, then his attitude towards the "initiators" of the Cultural Revolution is enough to reflect the problem.
In some documents about the "Red Bank Base" we can find a comment that clearly implies that it was written by Mao. The excerpt is as follows:
"[Instructions] have been read. This nonsense! Just post the big-character posters on the ground. Do not send them to the sky. The Cultural Revolution leading group should not intervene in Hong'an in the future. Such important letters should be carefully drafted. It is best to set up a special group and organize them in It was discussed and approved at the Politburo meeting.”
And this paragraph: "In this era, if you want to bring down a high-ranking person, you have to obtain his black materials in various fields in charge of him. However, the two-bomb project is a tricky area for conspirators. This project is under the key protection of the central government. In order to avoid the storm of the "Cultural Revolution", it was difficult for them to intervene. "
It's the shameful logic of "it's all the people below who do bad things, the emperor is enlightened" again. After the reform and opening up, the worship model that portrayed Mao Zedong as a "great and righteous" saint in the "first thirty years" ended (although it has emerged again in recent years), and was replaced by the arrangement of some anecdotes and personalized remarks of Mao. Create an approachable, far-sighted, sharp-edged image, and cleverly avoid his huge sins, so as to attract the love and even worship of those who do not know the full picture. It has to be said that this way of describing is very confusing and can capture the hearts of contemporary young people far better than the images of "great righteousness" and "gao daquan". As for the "key protection" described for some scientists, it is also a common method of cleaning up the ground, picking up rice grains in the cesspool, praising the "emperor's majestic grace", and shifting all the blame to "conspirators".
What's more, in fact, those who developed the two bombs were not spared during the Cultural Revolution. They were also brutally persecuted. Some scientists such as Yao Tongbin were beaten to death, Zhao Jiuzhang was forced to commit suicide, and the "two bombs pioneer" Deng Jiaxian and many other scientific researchers who participated in the work It has also been criticized, and the description in "The Three-Body Problem" is a blatant falsification of history. Similarly, based on relevant historical facts, it is impossible for Mao to give such "enlightened" instructions on the field of two bombs (Zhou Enlai had relevant protection, even if it was not at the beginning but after the scientists were killed and committed suicide), This so-called "instruction" is also a fabrication (Mao did give instructions with a similar tone on other matters, but it cannot cover up his heinous crimes, and it does not mean that he did the same with the two bombs, and historical facts clearly prove it. He didn't do that). Literary works can of course contain reasonable fictions, but when it comes to specific real historical events, they must be consistent with basic facts, otherwise it is tampering and fabrication.
Liu Cixin used these techniques in the book to not only write off Mao's heinous crimes, but also gave Mao an enlightened, pragmatic, and de-ideological image. In this way, although Liu Cixin's "The Three-Body Problem" mentioned the cruelty of the Cultural Revolution, it not only failed to lead to reflection on Mao's totalitarian tyranny, but instead glorified the devil and gilded the dark era. This is also consistent with the fact that many young people today who do not know the truth worship Mao, so even though "The Three-Body Problem" mentions the Cultural Revolution, it is still well received by young people with many Mao fans.
Liu Cixin's depiction of the Cultural Revolution in this way is to some extent more detestable and has a worse impact than those authors who avoid talking about the Cultural Revolution in their works. Borrowing Mao's phrase "flying a red flag to fight against the red flag", Liu Cixin's portrayal of that period of history is very similar to "anti-red flag on the surface but actually flying a red flag" or "a small scolding but a big help". It seems to be talking about the tragedy of the Cultural Revolution, but in fact it is Excusing those responsible, using superb writing methods without avoiding sensitivity but drawing the opposite conclusion, making people feel that Mao and others were really enlightened and innocent even though they knew the cruelty of the Cultural Revolution. Obviously, this is the reason why the book was published in mainland China without a lot of deletions of plots involving the Cultural Revolution.
There are also passages in the book where you can see Liu Cixin's positive attitude towards Mao from between the lines. For example, when the United Nations wanted Luo Ji to move to a residence that was more suitable for an important figure like Wallfacer, Luo Ji said:
"Do you know Xibaipo? It's not far from here. It's a smaller village. More than two centuries ago, the founder of this country once directed the country's wars there. The scale of those battles is rare in the world."
From the tone of this paragraph and the context, you can smell the disgusting smell of powdered hair. The thoughts, policies and actions of this "national founder" killed tens of millions of people (including millions of people in Liu Cixin's hometown of Henan), and most of the victims were Luoshan County, where Liu was born, and Xinyang, where the county belongs. city 鈥嬧€(then called Xinyang District)), destroying tens of thousands or even countless cultural relics and historical sites, and plunged China into a decades-long authoritarian and cruel regime. The common people have lost their rights and the disadvantaged groups are suffering unspeakably. , this legacy still exists today. Created by Mao ZedongstolenThe name of "China" and the people do not understand it eitherA country with power and rights, let alone a "republic", allows more than one billion or even billions of citizens to live in the world's largest prison built with tangible borders and invisible walls.But Liu Cixin doesn't care about this, and neither does today's vested interest class. They enjoy superior material and non-material supplies, and then put their extravagance and extravagance in the cloak of patriotism and grand historical narrative, and are proud of being a big devil and a national sinner. This is not only a symptom of social Darwinism, but also a typical manifestation of the slave mentality.
Of course, some people will excuse this by saying that "China today is a dictatorship, and Liu Cixin has no choice." But at least he can use neutral terms to describe Mao Zedong and related content, rather than depicting it in a eulogizing way. This was entirely possible, but he didn't do it. Therefore, Liu Cixin's praise is very worthy of criticism.
(It is worth mentioning that there is also a paragraph in this part. After Mao denied the far-left remarks, he asked someone to write a message to launch to aliens. The content is as follows:
Best wishes to the world that receives this message.
Through the following information, you will have a basic understanding of earth civilization. After a long period of labor and creation, mankind has established a splendid civilization, emerged with rich and colorful culture, and initially understood the laws of the operation and development of nature and human society. We cherish all of this.
However, our world still has great flaws. Hatred, prejudice and war exist. Due to the contradiction between productivity and production relations, the distribution of wealth is seriously uneven, and a considerable number of human beings live in poverty and misery.
Human society is working hard to solve various difficulties and problems it faces and to create a better future for earth civilization. The undertaking of the country sending the message is part of this effort. We are committed to building an ideal society in which the labor and value of every human member are fully respected, where the material and spiritual needs of all people are fully met, and where the civilization on earth becomes a more perfect civilization.
With good wishes, we look forward to establishing connections with other civilized societies in the universe, and looking forward to working with you to create a better life in the vast universe.
Such a passage whitewashes the Cultural Revolution and glorifies Mao. In fact, under the political fervor during the Cultural Revolution, it was more likely that the original far-left fanatics wrote this:
To the world that has received the above message, please note that the message you received was sent by a country on earth that represents revolutionary justice! Before this, you may have received information from the same direction, which was sent by an imperialist superpower on the earth. This country competes with another superpower on the earth for world hegemony in an attempt to pull human history backwards. I hope you will not listen to their lies and stand on the side of justice and revolution!
This is exactly in line with the political rhetoric and diplomatic rhetoric during the Cultural Revolution. Liu Cixin deliberately wrote these two paragraphs and the comparative display to say that "Mao and his regime were not bad or crazy, it was just some of the people below who were crazy." This is an old trick used to defend the Cultural Revolution. However, this old trick has been tried many times, and under Liu's artistic processing, it can be more fake and real. It is especially confusing for people who are not particularly clear about the historical facts of that period and only have a partial understanding)
(3) Ye Wenjie, Shaolin and the female Red Guards
Liu Cixin himself and his work "The Three-Body Problem" both have strong misogyny. The villains in the article or those who cause bad things are generally women; while those who save the world are all men (of course there are exceptions, but this is generally the case). We will leave the rest for later, but now we will only talk about Ye Wenjie and the characters related to Ye Wenjie, Shaolin, and the female Red Guards.
Liu Cixin's portrayal of the character Ye Wenjie is still very penetrating. The book devotes a lot of space to describing the various persecutions Ye Wenjie suffered, such as losing her parents due to the Cultural Revolution, being abused by political review cadres, and being betrayed by journalist Bai Mulin, etc., creating a woman who is bitter and full of hatred and distrust of human beings. image. Liu Cixin must have understood and come into contact with such victims in reality, or studied relevant historical archives and news materials, in order to portray a character like Ye Wenjie in such a profound way. As with the aforementioned portrayal of Bomb Girl, Liu Cixin clearly has a lot of knowledge about the behavior of victims of society in planning revenge against society.
However, unlike the disdain and disgust with Bomb Girl, Liu Cixin showed a certain degree of sympathy for the character Ye Wenjie. But fundamentally, Liu Cixin still classifies victims of the era like Ye Wenjie as those who undermine the mainstream social order. Although Liu has written more sympathetic words about the character Ye, he still views Ye from the perspective of mainstream society and counterinsurgents. That is to say, he will never praise the resistance of victims and weak people, but instead reminds the world to beware of such people. In Liu's writing, Ye Wenjie brutally killed her husband Yang Weining and leader Lei Zhicheng, causing the Three-Body Problem to flood the earth. In the final analysis, she was a sinner and a great sinner. It may not be so obvious when you look at "The Three-Body Problem" alone, but compared with authors such as Chekhov, Maupassant, and Ba Jin who praise the struggle of the humiliated and damaged weak, Liu Cixin's meanness to the victims and maintenance of order are incomparable. It's clearly reflected. In the book, Ye Wenjie was poured cold water all over her body and quilt by a political cadre in winter. Liu Cixin also used her pen to pour cold water into the hearts and minds of the weak.
In Liu Cixin's writing, Ye Wenjie achieved redemption by teaching Luo Ji about the sociology of the universe, and was subsequently arrested and tried, and received "deserved" punishment. The trauma Ye Wenjie suffered was attributed to Bai Mulin and other individuals, instead of rising to the system and political power or even culture and social structure. Even though the book vaguely mentions the general background of the times and people's helplessness in the political storm environment, it also adheres to the red line of not criticizing historical reality. Screaming, reflection, and condemnation will never be touched.
Moreover, throughout the book, it can be reasonably assumed that Liu Cixin used Ye Wenjie to introduce the power of Trisolaris to "transform" the earth, metaphorically referring to China's social victims as inviting the power of the United States to invade. Or, at least that's how others might reasonably understand it. This understanding of the relevant plot was mentioned in an article by a Chinese-American reporter in The New Yorker interviewing Liu Cixin. Based on this metaphorical inference, Liu Cixin’s criticism of ETO for bringing Trisolaran into the earth is to criticize some “road-leading parties”, or to force Chinese liberals to be “way-leading parties”. It is also Liu and “Three-Body” that have gained China’s vested interest groups. A reason to be sought after.
Another negative female character portrayed by Liu Cixin is Ye Wenjie’s mother Shaolin. This female character has a negative image. She not only betrays the relationship between husband and wife and fights against her husband (but also lies with open eyes and denies recognized physical theorems as a physics expert). She also schemingly hooks up with a decentralized cadre and gains prosperity and wealth. Together with her new husband, she alienated and abandoned Ye Wenjie. This kind of plot should not be uncommon during the Cultural Revolution, or even when many disasters occurred. What Liu wrote is a representation of the facts. But the problem is that Liu vilifies women's forced self-preservation, implying women's ingratitude. Moreover, this article (including Liu Cixin’s other articles) never appears as an image of a man who is always in love with women. On the contrary, there is an image of a man like Luo Ji who seems cynical but is very loyal and loving to his wife and children. Of course, it is not necessary for a work to deliberately maintain a balance on gender issues, but the text is written from the heart, and combined with Liu Cixin's entire book and the values 鈥嬧€嬧€嬧€媏xpressed in his daily life, there is sufficient reason to believe that it is gender biased.
The three female Red Guards portrayed in the article better reflect Liu Cixin's misogyny complex. The article specifically describes five Red Guards, three women and two men. Three female Red Guards are middle school students, and two male Red Guards are college students. The three female middle school Red Guards were very violent, brutal and completely unreasonable. They would only use slogans to deny Ye Zhetai's fact-based arguments, and then beat Ye Zhetai until his skin and flesh were bruised, and he eventually died. But the male Red Guards "(Have) a trace of residual sympathy for the teacher", and when three female Red Guards were about to beat Ye Zhetai to death, they shouted "Supreme Directive: Fight with words, not with force” (Well, here’s another piece of Mao’s defense) trying to prevent the tragedy.
There were indeed many violent female Red Guards and other "revolutionary" women during the Cultural Revolution. It was a group of female students headed by Song Binbin who beat to death Bian Zhongyun, the principal of the Female High School Affiliated to Beijing Normal University. In addition, there are many records of female Red Guards and rebels beating and killing people. For example, Ji Xianlin recalled that the female rebel leader Nie Yuanzi directed the rebels to persecute teachers and students at Peking University. The violence of young people and teenage women, as well as the various atrocities committed by some women who became Red Guards and rebel leaders, were specifically mentioned by Yang Jisheng and other official history scholars, who were surprised by the madness of women, especially teenage women. In Beijing, the capital city where the Cultural Revolution was most intense, and on certain occasions, female Red Guards indeed showed unusual destructive power, and their atrocities were witnessed by all.
However, this does not mean that women in violent movements such as the Cultural Revolution were generally more brutal and anti-intellectual than men. On the contrary, most of the perpetrators of beatings and murder during the Cultural Revolution were still men. This is also proved by a large number of facts, especially those involving various perverted abuses, which were mostly committed by men. For example, most of the violent cases or incidents mentioned in Feng Jicai's "Ten Years of One Hundred Men" were committed or led by men. The reason why the violence of the female Red Guards is so eye-catching is largely because their violent behavior is in huge contrast with society's traditional positioning of women and their behavior before the violence. It is even less in line with society's original expectations than the violent men. Therefore, It becomes more prominent and unique. This exactly reflects the discipline and restraint placed on women by the patriarchal society. Even if women do the same bad behavior as men, they will receive more objections and condemnations. Of course, women’s violence does have its unique characteristics and at certain moments, certain actions are more radical and fanatical than men’s. However, if this creates the impression that “women are more violent, fanatical, and easily incited”, then it is a sign of patriarchy. The constructed consciousness is nested in the nest. In other words, even if this is a reality that exists sometimes and should not be stripped of its background, it should not be evaluated from a traditional biased perspective.
(4) Three-body game netizens gathering
In this gathering, in addition to Wang Miao and Pan Han, Liu Cixin portrayed six characters:
"The old man with gray hair and childlike face is a famous scholar, famous for giving modern scientific connotation to Eastern philosophy. The lady dressed in weird clothes is a famous writer, a rare novelist with avant-garde style but many readers. She wrote You can start reading the book from any page. The other four are two middle-aged people, one is the vice president of the largest software company in the country (dressed simply and casually, you can’t tell at all), and the other is from the National Power Company Senior leaders; two young people, one is a reporter from a major domestic media and the other is a PhD student in science."
Liu Cixin gave these six characters different value choices. To put it simply, the six people were divided into two groups. One group included a reporter, a female writer, an elderly philosopher, and a doctoral student. They were given the image of hating human reality (or even hating the entire human race) and welcoming the invasion of the Three-Body Problem; while the IT deputy The president and Guodian leaders are given an image of being calm, rational, and defending human civilization. Broken down further, journalists and female writers were portrayed as the most radical, an image of being completely disappointed with humanity and eager to embrace the Trisolaran invaders.
This fully reflects Liu Cixin’s views on various groups in society, and is also a view shared by members of the China Socialist Industrial Party. In the eyes of Liu and others, journalists, writers, women, literary and historical philosophers, and young students are all irrational, fond of empty talk, easily emotional, fanatical converts, easily deceived, overly idealistic, and unscrupulous. Reliable, easy to betray... On the contrary, middle-aged men from Kochi Institute of Technology, those working in the science and engineering department, or national civil servants are mature, rational, pragmatic, firm, conservative in ethics and morals, reliable, and committed to career and career. Loyal to the country and mankind...
Through this short chapter, Liu Cixin portrays several groups of people into what he and his peers think they look like. These Socialist Industrialists have always valued theory over literature, despised social justice and humanitarianism, believed in the supremacy of strength, opposed criticism of the system, power, and the strong. They are good at selectively using cold logic, emphasizing spontaneous order and opposing equality and revision. He talks a lot about law and order, but he often takes advantage of legal loopholes and skillfully uses hidden rules to enjoy various privileges and superior conditions as a vested interest. They also like to play with their half-baked knowledge of literature and history, using a mechanical but cunning attitude to understand and explain humanities and social phenomena. What’s even more frightening is that some of these people have also joined key national departments, managing national affairs that should only be handled by people with backgrounds in the humanities and social sciences departments, in a state of “a layman leading an expert”. Such people are the most powerful force among China's vested interests and are very powerful in China today. Liu Cixin praises such people and despises their opposite, the humanistic and human rights camp, and of course he gets cheers and applause from his people. (Of course, this does not mean that all people in science and engineering are Socialist Industrialists, only some or even a small part. But this small part is quite harmful)
(5) Evans
The image of Ivens is what Liu Cixin and others recognize as the "white left". However, Liu Cixin deliberately set up this "white left" to be an extreme environmentalist and animal rights activist, and several "adventists" who joined the Trisolaran organization were also set up to have a similar image, implying that this is common to all "white left" Characteristics and tendencies. By generalizing the extremes, Liu achieved his sinister intention of stigmatizing the "white left".
Liu Cixin first described a Bethune-like figure who was passionate about environmental protection and animal protection, and was unselfish and dedicated to benefiting other animals. But this is just a desire to suppress. As Liu portrays Evans's despair over mankind's destruction of the environment and his desire to destroy mankind, the great good man and the great evil man are equated, and "White Zuo" is equated with the devil. In the view of Liu Cixin and social activists, these "white leftists" who live a comfortable life and are enthusiastic about the environment and animal protection have abandoned the principle of putting human beings first and "human" rights first, and will eventually destroy mankind. Liu Cixin also hinted that people should be wary of such "white leftists" in power to prevent them from bringing devastating consequences.
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