| Folk is a widely referred topic in present literary arena, the discovery and application of which provide an expansive space for the study of literature. However, the definition of it is simultaneously ambiguous. As for fiction writing in the 1990s, Zhang Wei, Han Shaogong, Mo Yan, Li Rui, and Yu Hua are universally considered to have a folk tendency in their literary creation. Most of the studies are concentrated on what "folk" has brought to them. This dissertation explores these writers' reflection in their concerning of "folk", as a result of which this paper discusses non-folk theories through the folk angle of view.The concern outspreads by two dimensions: the first starts off from individual existence and explores the rationality of it; the second is based on the provincen point, rethinking and questioning collective utopia. The specific representations are: the reflection on political utopia in historical memory through the material plight of the weak, the oppugnation of economic utopia by the delineation of the tragic fates under cultural puzzledom; the paradox of strength and absurdity caused by the loss of normality and rationality through the creation of the strong characters, which is also the contradiction between the modern call of "strength" and the criticism on the loss of morality; the meaning of existence for the intellectuals, the embarrassment they encounter in reality and the disillusion of collective utopia by the description of different life styles for the intellectuals. The reflections above bring simplicity to the texts, a metaphysical meaning being given in the process. Limitations also exist in these texts. Because of the mismatching of present individual existence and collective utopia and the past country life, these texts lack the depth they ought to achieve. Since the beginning of the new century, the mutation of Zhang Wei's creation, Hint by Han Shao Gong, Yin Cheng Story by Li Rui, Sandalwood Punishment by Mo Yan are all in the attempt of exceeding this limitation.. |