Su-Tong's Bank tells a story of the Cultural Revolution through the eyes of the young. The novel shows grim and grotesque features, and such absurd qualities are especially obvious in his body writing. My discussion consists of four sections: ＂Relationship between the river and the bank: in the case of Narrenschiff＂, ＂See and be seen: the body's autonomy and non-autonomy＂, ＂Punishment and desire: the junior's body anxiety＂ and ＂Proof of revolution descent: the body's persist and escape＂. First, I discuss the physical punishment of exile, the town residents' collective executive for the boat people, and the mother’s private discipline of the father. Secondly, I discuss the public's view of the female body and the attribution of the female body. Thirdly, I discuss the body anxiety of the young's growth, the anguish of the desire, and the public display of the desire, etc. Finally, I return to the image of Narrenschiff to discuss the descent of father and son. In the end, my discussion points out that Bank is a body parable of politics and desire, and the protagonist is suffered from body exile in the name of ＂just punishment＂ and ＂erotic punishment＂.
|Translated title of the contribution||Body Description in Su-tong’s Cultural Revolution Novels: Take Bank as an Example|
|Original language||Chinese (Traditional)|
|Number of pages||27|
|Publication status||Published - 2010|
- Cultural Revolution Novel
- Michel Foucault