New Times Short Story Artistic Innovation

The distinctive stylistic features of short stories determine its unique role in the process ofliterary development, and it is often easier to achieve the aspirations of artistic experimentationand exploration in the period of literary change. The new period is an important transition stageof Chinese literature development, and short stories present such salient features as artisticinnovation in the process of constant changes of literary concepts and trends, playing a guidingrole in the literary change to some extent. The research of artistic innovation of short stories inthe new era is not only a complex theoretical issue, which needs to be analyzed and discussedfrom the novel theories, but also a specific problem, which needs to be elaborated extensivelyfrom the novel texts; the research not only needs a macro-vision of fiction history, putting thenew-era short stories in the novel history of the 20th century for contemplation, but also amicro-vision of texts, that is to speak according to texts. Based on the in-depth and detailedtextual analysis and through the exploration of the historical changes and lateral comparison, thispaper puts much emphasis on the stylistic concept and innovation in creative practice of new-erashort stories, analyzes the artistic experience, grasps aesthetic value, assesses the significance forthe literary development in the period of artistic innovation, and tries to realize the reflection onthe evaluation of new-era short stories from the theoretical level.Chapter one combs the origin of the stylistic concept of new-era short stories, and discussesthe inheritance and exploration of their stylistic concept. The stylistic concept of new-era shortstories originates from the consciousness and establishment of the stylistic concept of modernnovels, while the Chinese modern novel concept must be traced from the evolution of westernnovel concept. The novel theories of such western scholars as Edgar Allan Poe, BranderMatthews, and Clayton Hamilton are the important origin of Chinese modern novel concept,directly impact Hu Shi's novel theory. The classic short stories of Mao Dun, Yu Dafu, Lao She,Fei Ming, Shen Congwen, Zhang Ailing and so on also present different styles of paradigmatictexts, reflecting the diversity of creative forms of modern short stories and also enriching anddeveloping the stylistic concept of modern short stories from the perspective of creation and practice. On the whole, the construction methods of the stylistic concept of modern short storiesmainly include three levels: first, the conscious style of fragmentation and transplantation;second, the construction style of selection and orientation; third, the paradigmatic style of artisticpractice, which are also the starting point for reflection and evolution of stylistic concept ofnew-era short stories. The creation of short stories in the 17 years lost the richness and diversityof modern literature to a large extent, forming a single-type creative pattern with thecharacteristics of the era. After entering the new era, short stories began to step into a newdevelopment stage of stylistic concept and creative practice. The new-era short stories first makean inheriting and independent reflection and exploration of the stylistic concept of modernshort stories, and display a more conscious and independent stylistic concept from form, typeand style, showing the distinctive artistic features of inheritance and innovation.Chapter two focuses on the analysis of the breakthrough features of thematic discourse ofnew-era short stories. The new-era short stories not only moves from the center to the edgeon the social impact, but also their peaceful and calm state makes the thematic discourse in amarginal zone. The marginal state of thematic discourse of new-era short stories is expressedin three aspects: first, the latency of revealing the discourse of social contradictions; second, theexile of discourse for historical and practical change; third, the alienation of leisurely lovediscourse. Lying in the "marginal" zone of thematic discourse, the new-era short stories makeexplorative and innovative efforts in the aesthetic concept and presentation ways of themes,demonstrating many breakthrough features: first, the thematic aesthetic purpose of replacingderogation with contemplation; second, the thematic presentation way of replacing prominencewith concealment ; third, the thematic expression characteristic of replacing externality withinternality . The thematic discourse change of new-era short stories originates from the uniqueselection of short stories on social life. The unique observation of the world of novels acts asthe origin of the exclusive thematic discourse of short stories, forming thematic discoursecharacteristics different from other genres. The marginalized color of the thematic discourseforms the unique thematic discourse type of new-era short stories. The discourse type expressesthe non-systematic scattered features, clearly showing a discrete discourse pattern, anddemonstrating the breakthrough and innovative artistic quality of new-era short stories in thefield of thematic discourse. Chapter three discusses the artistic innovation of new-era short stories from the aspect ofthe elements of characters . The change of stylistic concept and thematic discourse of new-erashort stories has a profound impact on the narration and description of characters. The narrativestyle of characters in the short stories has an obvious change, and the connotation of thecharacters is expanded significantly, exhibiting the unique gradient personality of characters,which presents the evolution characteristic of the character concept in the new-era short stories.Three innovative characteristics in character narration of new-era short stories are demonstrated:first, from image to symbol: the deep change of narrative style; second, from externality tointernality: the pioneering change of character and image; third, from the whole to the part: theexquisite mutation of character and image. To some extent, the pioneering change of characterand image of new-era short stories enriches the expression mode and image connotation offictional characters.Starting from the integrated turning of narrative structure of new-era short stories, chapterfour investigates the artistic innovation of the narrative structure, and explores the aestheticcharacteristics of innovative change of new-era short stories and their impact on literature in thenew period. The fictional narrative strategy of new-era short stories makes the narrative structurein a discrete state, and it also makes an exploration and innovation of the artistic structure withan inceptive posture of change. In the evolutionary path of the lyrical narrative structure, theshort literary style promotes the evolution of the artistic structure of new-era short stories, and itforms an interconnected layout with the transformation of fictional structure, co-contributingto the development of the artistic structure of new-era short stories. The switch of the narrativestructure of new-era short stories is a gradual process of artistic evolution, and also anexplorative process of inheritance and mutation. In this process, new-era short stories implymany changes in the aesthetic consciousness, showing the explorative and innovative efforts innarrative structure, and they also accomplish another promotion of the aesthetic subject realm,developing and enriching the aesthetic concept of the literature in the new period.Chapter five focuses on the pioneering change of the narrative language in the new-erashort stories. The new-era short stories achieve their language strategy in an innovativereforming way, and their language change and the exhibited language style have become one ofthe distinguishing features of the new-era short literary style, presenting a unique artistic world6 of short stories for the readers to the greatest extent. The language change of new-era shortstories demonstrates three distinctive forms: first, from experience to narration, second, from thepublic to the individual, and third, from the stability of order to the stretching of imagination.The language change of new-era short stories has a pioneering meaning in the developmentprocess of new-era literary language, which adds a brilliant color for the innovation of languagechange of new-era short stories.Chapter six explores the innovation of new-era short stories from the dimension of theartistic style. The common manifestations of stylistic features in the new-era short storiesoriginate from the artistic personality of writers and their works, and the promotion process frompersonality to universality generates the stylistic artistic style of new-era short stories. Artisticinnovation has become the internal driving force of the formation and development of new-erashort story style. Simultaneously, the artistic style propels the continuous development of theartistic innovation of new-era short stories. Purity and delicacy are the two most evidentstylistic patterns of new-era short stories, representing the basic stylistic aesthetic styles andfeatures of new-era short stories. In the stylistic pattern of purity and delicacy , refinementand remoteness present the artistic features of new-era short stories from other levels,becoming two significant forms of their stylistic representation. The stylistic expectation is theimportant emerging form in the acceptance process of the artistic style. The difficult occurrenceof the stylistic expectation in new-era short stories makes us more aware of the existence ofartistic innovation in new-era short stories and their unique artistic individuality demonstrated.The final part mainly discusses the limitations of new-era short stories, and makes aprediction of the future possibility of creation. Making a constant artistic exploration andinnovation, new-era short stories demonstrate such creative characteristics as over-emphasis ontechnicality . The prevalent trace of imitation appeared in short literary works weakens thedegree of innovation of new-era short stories to a large extent, and it also suggests that thenew-era novelists are lack of imagination and artistic capacity to some extent. At the same time,the literary works of some writers are confined to their own narrow field of vision and tooobsessed with their own private space, which hinders the links between the creation of shortstories and reality. More and more young writers join in the creation of short stories, whichallows us to see the future of short stories. They pay more attention to the openness of the creative state and extensity of the creative vision, no longer satisfied with the display of blatantpictures and self experience, but trying to point to the writing of the spirit and soul, which tosome extent, indicates the future of the creation of short stories.