The Construction Of Hometown Narrative

Relying on his hometown,American writer Faulkner has created a series of novels about his hometown,created his own "Yorknapata Fa lineage",established his own spiritual home in literature,and attracted the attention and study of the world literary world..Many Chinese writers in modern and contemporary literature have used their hometown as their spiritual support and literary creation resources to construct their own literary world,such as Shen Congwen ’s Xiangxi World,Sun Li ’s Baiyangdian,Hebei,Wang Zengqi ’s Gaoyou Town,and Moyan ’s Gaomi Northeast Township,There is also the "Yinghe Town" series of Henan writer Mo Bai who has been creating since the 1990 s.Among them,Mo Yan built his own "Gaomi Dongbei Township" literary lineage without stopping his writing,and received the Nobel Prize in Literature for his worldwide recognition.Mo Bai also used his hometown,Xinzhan Town,Henan Province,to construct the "Yinghe Town" series in literary geography,which attracted the attention of the literary world.Due to the similarity and similar fame of their childhood humiliating experiences,the two of them succeeded in raising their unique personal life experience to a universal life experience after exploring the path of literature.Their hometown is not only A corner with a unique regional culture symbolizes the status of local folk throughout China and the world.Through the comparison of Mo Yan Mobai’s hometown writing content and aesthetic style and narrative techniques,he explores how the two build a spiritual home with their own personal characteristics on the basis of their predecessors’ hometown narrator,and then how to use this personality The experience is refined.Biochemistry has risen to the universal life experience of mankind,thereby breaking through the limitations of regional culture,paying attention to the development of the community of human destiny,and issuing metaphysical philosophical questions about the significance of human existence.The full text is divided into three parts: introduction,body and conclusion.The introduction mainly introduces the significance of this topic and its value,and clarifies the current status of research on this issue at home and abroad.The main text is divided into four chapters: The first chapter introduces Mo Yan and Mo Bai’s similar childhood growth experience and the same writer’s road.Both of these experiences are generally humiliating and painful,and are accompanied by life experiences affected by hunger,fatigue,and political disturbances.And then explain how these profound childhood experiences influenced the two people in their later writings,and they were jointly skeptical about authoritative narratives.Therefore,they chose the deconstructive writing tendency of neo-historicism and avant-gardeism;Chapter 2 specifically compares Analyze the aesthetic content of "Gaomi Dongbei Township" and "Yinghe Town,Henan Province",and discuss the structure from the keywords of folk,mystery,sex and body,power,suffering,and abandoned hometown.The two took their unique and unique life experience as a universal co-existence experience,so they shared the spirit with their predecessors,such as Shen Congwen,when they wrote the essay.They chose these hometown writing motifs as keywords to build their hometown.This chapter expands specifically Under the hood of these keywords,the two’s aesthetic styles show the aesthetic style of similarities and differences,and similarities and differences;Chapter 3 compares and analyzes the pioneering narrative skills of Mo Yan and Mo Bai,specifically from the perspective of narrative,polyphony,and consciousness Discussions on stream,psychoanalysis,warm and cold colors,and style of speech.Due to their doubts on authority,they did not follow the realist writing tradition of modern Chinese local writing when they wrote in their hometowns.Instead,they did not seek new voices from foreign countries,and regarded Western writers such as Faulkner,Kafka,and Borges,Marquez and others’ avant-garde narrative skills organically borrowed from their hometown narrative.The choice of this technique reflects the deconstruction of authoritative historical narratives,doubts about official ideology,and unique thinking from the bottom folk intellectuals.At the same time,it also opened up another feasible way for Chinese native literature,which is different from realism writing,and also made a practical and useful attempt for the continuation of Chinese avant-garde;Chapter IV discusses the influence and limitations of the narrative of the two people’s hometown.Specifically,it discusses from four aspects: the inheritance and development of new historicism and avant-garde novels,the return of national tradition and the enlightenment of spiritual homeland,the overkill of reshaping history,the obscure and incomprehensible of avant-garde narrative,the consumption of hometown resources and the crisis of repeated narrative.Mo Yan and Mo Bai combined hometown narrative with avant-garde and new historical writing.Moving forward,Mo Yan opened up the experience of early avant-garde and new historical writing.Backward,Mo Bai further developed the two and made useful attempts for the development of avant-garde and new historical writing.At the same time,the writing mode of the two based on their hometowns interchanged the national tradition and the return of national self-confidence,and provided a inspirational paradigm for later writers to construct their own homes for the gods.But at the same time,both of them inevitably fall into the trap of New Historicism evading the mainstream narrative and going to the other extreme.The pioneer’s narrative of the two is also criticized by critics for its obscure and unconstrained to a certain extent.Finally,it discusses how far Mo Yan and Mo Bai’s hometown writing can support the two of them.When they leave the foundation of their hometown,how can the two find a new possible way out of their hometown?The concluding part summarizes the above discussion and sublimates,and at the same time breaks through the barriers of writing in the hometowns of China,the West,ancient and modern times,borrowing the useful experience of the former hometown narrators to explore the direction of Mo Yan and Mo Bai ’s future writing,and also for the future.A writer who takes his hometown as his spiritual home provides some inspiration and creative experience.In the end,hope that hundreds of years after Western literature has dominated world literature by virtue of economic and political influence,how can Chinese writers take advantage of local ethnic cultural resources and the rich nutrition of world culture to take their essence and remove their dross,and gradually create their own The country’s contemporary Chinese characteristic literature,thus getting rid of the shackles of the Western spell,and then becoming the leader of the world literature trend.This requires not only Chinese writers and critics,but also the common efforts of the general Chinese readers.