Seven Star Color

After reading the paper version, I'll come over and leave a message hehe😀 After reading this book day and night in the past two days, I felt like it was stuck in my throat at first. At first, I didn't understand what I couldn't figure out. When I think about it carefully, the root cause is not simply plot tension and heart-breaking, but the practice of a narrative ethics full of tension and self-subversion. Through a narrative language that seems to serve traditional male desires, the story finally completes a sharp deconstruction of this language and the power structure behind it. I think this is not a story about love, but a metafiction about how narrative itself becomes a field of power. Let's start with the superficial text. The text gives me the impression that it is a disciplinary narrative and a "male gaze" device. On the surface, the novel uses a lot of description methods that are in line with traditional novels about talented men and beauties and the perspective of male desire. Especially when describing Ji Cheng, the text often lingers on his appearance, figure and other objectified characteristics. I think this kind of writing is not unintentional, but a narrative trap and critical device that she carefully set up. From a narrative perspective, the novel constitutes a complex manipulation of reader expectations. First of all, it satisfies a certain pre-modern reading contract - the consumption of female beauty. However, when this description coexists with Ji Cheng's highly sober and even cold inner activities, a huge narrative rupture occurs. There is an invisible gap between the "gaze" on the surface of the text and the "consciousness of the person being stared at" at the core of the text. This gap forces us to make a judgment: Are we identifying with the narrator's gaze (a traditional, materialized reading position), or are we identifying with Ji Cheng's silent and turbulent inner world (a modern, subjective reading position)? This tearing of the reading position is the poetic source of the novel's discomfort. The second is the deconstruction of the core, which I summarize as the generation of memory politics, body politics and irony. The profundity of this story lies in the fact that it subjects all romantic appearances to power analysis, and its core plot constitutes a systematic deconstruction of traditional romance narrative elements. 1. Deconstruction of the "origin of love": the "Phoenix Terrace" incident of Queqiao Immortal as a trauma. In romantic narratives, the first union of the hero and heroine is often given a sacred or fateful tone. However, the "Phoenix Tower" incident completely turned this myth upside down. It is a unilateral violent possession under the influence of medicine. After the marriage, Shen Che constantly tried to reshape this place into a "place of love", which often revealed the cruel nature of narrative power: whoever can control the origin narrative of the story controls the entire moral legitimacy of the relationship. Ji Cheng's constant fear and insomnia are her body's resistance to the imposed narrative, and constitute the traumatic core of the text that cannot be silenced by romantic discourse. 2. Deconstruction of the "Redemption Narrative": The Absent Hero and the Cycle of Violence. In the crucial cliff falling incident at the end of the novel, the author deliberately allowed the hero's brother-in-law (another admirer) to fulfill the role of "hero saving the beauty", leaving Shen Che "absent". It feels to me like no accident, but a subtle narrative rejection. It rejects the cheap drama of having Shen Che achieve redemption through a heroic act, instead allowing him to perform emotionally only in the safe "afterwards." At the same time, sister Shen Nettle slaps Ji Cheng out of jealousy, which exposes the violence that occurs between women as they compete for male attention. Such a dual setting deconstructs the myth of "male protection" and reveals that in the patriarchal structure, women may simultaneously bear the predation from men and the internalized disciplinary violence from women. 3. Deconstruction of the "Happy Reunion": Marriage as Strategy and Silent Escape. The ending of the novel is not a reconciliation, but a highly rational strategic compromise by Ji Cheng. Ji Cheng's marriage is the "best survival plan" she can achieve by using the rules of the system. In the extra chapter, her business territory in Shu is a crucial "narrative hidden line" left in the novel. This hidden line implies that her subjectivity has never been completely absorbed by this seemingly perfect marriage, and she has reserved the final narrative right for herself—the possibility of breaking away from the main storyline and growing on her own in another space. This in turn makes the superficial "happy reunion" shrouded in a cold sobriety. Thirdly, I will first talk about the echoes of theory, which revolve around discipline, performance and resistance. The narrative structure and character creation of "Seven Stars" form a profound dialogue with many modern theories. The first is the disciplinary theory: Shen Che can be called a walking "disciplinary institution." His alternation of hot and cold and differential treatment is a typical "punishment and reward" mechanism, aiming to produce a docile and useful subject. Ji Cheng's "sobriety" lies in her seeing through this mechanism and learning to perform "strategic performances" within it. The second is the theory of gender performance: Ji Cheng's later role of "beautiful wife" can be regarded as an ultimate gender performance. She does not identify with it internally, but consciously performs a set of femininity that meets expectations in exchange for living space. This kind of performance itself is not only obedience to the rules, but also an ironic behavior that uses the rules to reveal their constructive nature. The third is the trauma theory: Ji Cheng's inability to shake off the memory of "Phoenix Terrace" and the trigger that almost killed him when the oil ran out are typical symptoms of post-traumatic stress. Trauma becomes a residue in the text that cannot be digested and absorbed by the mainstream narrative (the sober romantic narrative). Its continued existence also marks that historical violence cannot be completely beautified or forgotten. Finally, I would like to talk about my conclusion after reading it: this story may have an anti-romantic literary value. It cruelly rejects the redemptive promise of romanticism and fails to provide readers with emotional cleansing and sublimation. Instead, it leaves us in a desert of reality composed of power, calculation and trauma. Ji Cheng's "victory" is not a victory of love or morality, but a narrative victory: she retains the final interpretation of her life story, and writes her own, silent escape chapter in the gaps of the mainstream narrative. In fact, after reading it, it made me, a bookworm of more than ten years, think about what exactly I expected when I read a novel with a female protagonist. Is it to see a woman confirming her own worth by gaining the love of a man (no matter how tortuous the process is), or to see how a woman, under heavy shackles, still struggles, even imperfectly, to try to become the author of her own destiny? I think "Seven Stars" chose the latter, and completed its narrative ethics in a cold and almost cruel method. This is where its unsettling and thought-provoking literary power lies.

This male protagonist is truly my most annoying male protagonist. He plots to bully the female protagonist from beginning to end, commits evil deeds himself, and makes the woman bear the bad reputation and consequences. After all, Su Yun and the heroine were also relatives of his family. He just watched Su Yun being bewitched and indulged her in poisoning the heroine, and he benefited from it. Later, when the heroine kills Su Yun, he provides a way and then morally approves the heroine's cruelty. It is really hypocritical. The heroine's revenge was purely caused by his Shen family. He did not think about the help that the heroine had given to his Shen family. Such deliberate efforts to destroy the reputation of the heroine's chastity must be subject to moral approval. What's more, he later plotted against the heroine, causing her to have a mental breakdown for several months and even almost die. This was really too much. He actually had the nerve to act affectionate. His love was not worthy of praise at all.

Chengche 99 [Star Eyes] If you can't take this bite, don't force yourself. Isn't it a good idea to go out and turn left to find what you like?

To be honest, there are very few novels nowadays that can be written with such a long lasting charm that makes people keep savoring it. This is undoubtedly a good novel and should not be constrained by the concept of moving forward all the time. Both Cheng Zi and Shen Er's creations are very full, and the character logic is completely tenable, so it is better to appreciate them carefully. Shen Er has always been criticized for his bad treatment of oranges. I thought the same thing in the early and middle stages of the film, because Shen Er's remarks were really harsh and irritating. It wasn't until I thought about it after reading it later that I realized it had other meanings. I think that Shen Er is not just interested in Chengzi because of sex. He is paying attention to Chengzi without knowing it. He has already put a lot of attention into it, but he is not aware of it. When it comes to the scene of drinking dew in the book, he only admits it when he feels lustful. But at this time, it is actually from intention to desire, not just pure attraction. He always emphasizes Cheng Zi's shortcomings because he is also confused by Cheng Zi's appearance, or there are very few women in his life that he thinks are worthy of further investigation. So when he thinks and accuses Cheng Zi of being selfish and vicious, in fact he has been attracted by Cheng Zi's perseverance, courage and wisdom. He never missed it once. He thought he had seen through Cheng Zi's viciousness and was also confused by Cheng Zi's beauty. Even if the truth was that Cheng Zi was witty and courageous, had an overall view of the whole situation, and had outstanding abilities. His heart could see this clearly, but his reason and emotions did not admit it. He couldn't believe how there could be such an existence that he couldn't understand. Even if he resisted fiercely, he was getting deeper and deeper into it. So from the beginning, his emotions towards Cheng Zi completely affected his reason, and it also blinded him, and he could not always see the facts clearly (the fact is that he also knew that Cheng Zi was very good, and he had been attracted to her for a long time). Cheng Zi said that he always sees through people's hearts and speaks outright, which makes people very embarrassed. It is precisely because of his ability that he rushed forward on the road of self-righteousness in the early stage without looking back, and fell hard in the middle and late stages. Let's go back to Chengzi. No matter how good and hardworking Chengzi is, she is just a powerless little lady who has not left the cabinet in a feudal environment. Needless to say, Shen Er is powerful, and men's status goes without saying. This huge inequality runs through the whole story. Even if Chengzi knows it well, she is unable to change it, and a determined person like her will not take things that she cannot change to her heart and make her sad. Therefore, she will not be like us now, because she realizes that the world and Shen Er are very unfair to her. So in the later period, she would not be resentful because Shen Er forcibly married her, or angry because Shen Nettle slapped her. It was not just because Shen Er thought she treated him as an outsider and did not dare to express it, but because there were so many injustices that she herself had become numb. It had been too long (since birth) that she had no confidence to fight. Even if Shen Er is good to her, he is not the kind that comes deep into his heart, can help her solve problems, and can give her confidence. Just like the two girls around her who had been serving her since childhood could only see her in pain and were unable to participate, she was very defensive, but this was not her fault, it was just her way of protecting herself, which was really heartbreaking.

This drama is really good to watch. It is undeniable that the scenes between the two have dramatic conflicts. The acid drama is really awesome. Qixingcai is awesome. Carrots and greens have their own preferences, so don't read a novel ten years ago with your current romantic views. I came across a paragraph that I deeply agree with: Ten years ago we needed sweet pet articles, so the boss article appeared. Ten years later, thoughts have grown and women have gradually become independent, so romance literature has gradually moved into a new era. But this should not be an excuse to criticize earlier works.

I just feel that the heroine has no options. She can't escape anyway, so she might as well make her life better [Joker]

I read this book because someone recommended it. In the comments of the first few chapters, many people mentioned how many times they had read it and what their favorite ancient sayings were. I was curious to read it. The first part was okay, but I kept reading it patiently in the middle. But I really couldn't stand the second part, so I skipped to the end and read the two chapters of the ending. I was still disappointed. I thought that the article worth reading should be in line with the logic and cognition of most people. I am narrow-minded. In fact, it is radish greens. Everyone has their own preferences.

Shen Che is the image of a man with all the traps. He is arrogant and looks down on the heroine, but he is attracted to the heroine. He finds out that the heroine doesn't love him and wants to kill him to break his guard. Later, when he gets married, he finds that the heroine still doesn't love him. If he doesn't get it, he will destroy it. He uses her as a bait and makes the heroine suffer a lot. In essence, it is a process of taming a woman. Let's say he loves it. Kenfa also has love, otherwise there is no need to spend so much thought on the heroine based on his appearance and identity.

I have reread this book several times. I like Chengzi very much. I still remember that I felt a bit verbose every time I read the last chapter... Now that I have finished reading it carefully, I have a new feeling. The inner analysis of Chengzi and Shen Er is very delicate. Although it is not perfect, it is also fuller at the same time. In fact, Chengzi's crazy self-pull is very real... Sure enough, as the reader's experience has gradually changed and enriched, some of the perceptions are different now and a few years ago. [Star Eyes][Star Eyes] I really like watching the fight between these two enemies. The ups and downs are so good that I can't get enough of them.

Master, can you tell us what the new extras in the new version are about? How long? I have bought the old version and would like to know [poor]

The sister-in-laws and sisters of the Shen family are very miserable. Except for the two legitimate daughters of the second wife, what else are they?

The beginning is good, but the ending is unsatisfying

The beginning is good, but the ending is unsatisfying

I really couldn't stand it anymore and skipped to the last chapter. I was so disappointed...

"Zhao Youcai said: "Isn't that the gate of the city that only checks the men who have left the customs? Are you sure that Pei Song pretended to be a woman and left the city? ""Catch a big bug for the author~

Keep catching bugs! ! ! ! !

Keep catching bugs! ! ! ! !

Jumping directly to the finale, the portrayal of the male protagonist is truly the most outrageous I have ever seen. In the name of "deep love", he actually puts his consciousness above the female protagonist. It is called control, but in fact it makes people feel as disgusted as eating flies. If it is to satisfy the taste of current readers, the psychological logic of the characters behind it cannot be delved into. The characters can be flawed and obscene, but they cannot be superficial and cannot be loved for the sake of love, not to mention that this is not love. Putting the standards low, this is not a work that can be used for entertainment. If you have the time, it would be more worthwhile to watch a few short dramas.

My heartbeat will always be my top 1! Zhengnuo 99꒦ິ^꒦ິ

Come on, come on, it's nice to see more [red heart][red heart][red heart]