On The Spatial Narration In Ye Guangqin’s Family Novels

In the 1990s,due to the warming environment of ethnic literature creation,Ye Guangqin published a series of Manchu family novels one after another,which attracted the attention of the literary world.Her family novels show the vicissitudes of aristocratic families in an all-round way.She not only narrated the vicissitudes of aristocratic families in the past as a witness,but also revealed the decadence and backwardness of big family system and culture as a spectator without mercy.After entering the new century,the social groups swept by the commercial tide have spiritual variation.Ye Guangqin,based on the present,looks back at the old garden,inherits the essence of traditional culture in the contrast,and strives to reshape the ethnic spirit for the ethnic individuals with mental variation.She has experienced the emotional journey from the rebellion and escape of the old family to the reflection on modernity and then to the nostalgia of the hometown.Ye Guangqin recalls and writes the family,and the scene often becomes the carrier of memory.The experience of spatial migration from three cities and the complex emotion of coexistence of nostalgia and criticism make her novels present a spatial narrative style.This paper intends to study Ye Guangqin’s family novels from the perspective of spatial narrative,combining the theory of traditional Chinese narrative and the western narrative and so on,taking the three family novels of "caisangzi" series,"pavilions,terraces and towers" series and "Peking Opera repertoire series" three big series novels as the research object,the text space types,spatial form and space of the narrative significance for in-depth analysis.It is of great practical significance to analyze Ye Guangqin’s spiritual pursuit and cultural thinking behind her space construction,to analyze the relationship between her spatial position and cultural identity,to explore her reflection on the coming of modernity and her dialectical thinking on traditional culture,and to find the development path of traditional culture in the contemporary context.The first chapter focuses on the spatial narrative types of Ye Guangqin’s family novels.Her story of Beijing constructs three Spaces,which are repressed and closed,the hutongs of cultural nostalgia and the new Beijing of urban consumption.She rebelled and fled in the repressed and closed space of the big house door,reflected on the modern material civilization in the new Beijing of urban consumption,and recalled her spiritual home in the hutong space of cultural nostalgia.To explore the spatial characteristics of Ye Guangqin’s novels,we hope to lead readers to reflect on the present in the process of recollection and reflection.The second chapter tries to explore the spatial narrative form in Ye Guangqin’s family novels.Ye Guangqin’s family novels mainly include three kinds of space forms: orange flap,box set and circle.It is about to connect the scattered Spaces together,and use the narrative techniques of juxtaposition of space and dilution of time to highlight the orange petals of space.Using the same story narration to form space nesting,the family story space is nested into the drama story space,and the narrative structure creates a "drama within drama" sense of space box style;Through the repeated interlacing of memory and reality,the two narrative perspectives alternately form a dialogue between time and space,which expands the circle of the sense of space in writing.The third chapter explains the meaning of spatial narration in Ye Guangqin’s family novels.This paper analyzes Ye Guangqin’s spatial position and cultural identity,and explores the influence of the movement in different Spaces and cultures on Ye Guangqin’s ethnic cultural identity.On the one hand,the novel uses classical poetry and opera as a preface,and on the other hand,its prose plots are the development of modern novels.This kind of formal innovation breaks the continuous narration of plots,and the plots quickly change scenes with the flow of Ye Guangqin’s emotions,which is easy to stimulate the sense of space in the novel.At the same time,Ye Guangqin’s space of old and new Beijing not only reflects on the dregs of family culture in modernity,but also reflects on the spiritual variation of social groups under the influence of modernity.Finally,she hopes to inherit the positive factors of traditional culture and reshaping the spiritual civilization and values of modern people,which is of great practical significance.