Collide And Present

“Non-fiction Writing”,a popular trend now,has been developing rapidly ever since the new century,published from the literary journal to the online media platform,advocated from the mainstream official to the civil society,and extended from writing practice to theoretical discussion.Rather than sticking to a clear stylistic boundary for “Non-fiction”,it is better to regard it as a phenomenon that occurs in a particular period.“Non-fiction writing” uses its“inclusive”and “openness” characteristics to summon a wide variety of writing explorations,sincerely restores the relationship between literature and reality,writers and readers,stimulate the vitality of literature,and responds to our reality of life.In addition to the “introduction” and “conclusion”,this article has four chapters:The first chapter focuses on the occurrence and development of "Non-fiction Writing" in the new century.Under the mutual agitation and collision of many factors,“Non-fiction Writing”has certain legal premise.From the outside,there are both revelations from the wave of “Non-fictional Writing”in Europe and America,and a multi-complex and lively real life that provides rich writing materials for “Non-fiction”writers.From the inside,on the one hand,the record and description of reality in “Non-fiction Writing” has its own realistic tradition,and highlights the new characteristics of the daily routine and privatization of the subject matter;on the other hand,“Non-fiction Writing” is a counteraction to the internal crisis of the current literature.In just a few decades,“Non-fiction Writing”has not only been limited to one phenomenon,but has developed into a wave of great momentum in society.It not only urges more people to go out of the study,re-establishing tangible connections with the lively scene and the land,but also prompts everyone to pay attention to more social issues and cultural crises.The second chapter focuses on the natural ecology of “Non-fiction Writing”.First of all,from the perspective of the purpose of running a journal,historical traditions,editorial ideas,time and space,explore the deep connection between literary journals and “Non-fiction Writing”.Literary publications provide a front-line position for the publication of“Non-fiction”texts.They are engines and boosters for “Non-fiction Writing”,guiding and correcting their future development direction in a timely manner.On the other hand,“Non-fiction Writing”has also enabled literary journals to regain their right to speak,and once again take the lead in leading the trend of Chinese contemporary literature.Secondly,from the three dimensions of Non-fiction Writing:Cross-border“Non-fiction Writing”,civilian“Non-fiction Writing”,extraterritorial “Non-fiction Writing”,explain in turn the openness and diversity of “Non-fiction Writing”.“Who can become a Chinese commentator” is not a single-choice question.Whether the “outside” perspective of a foreigner or the“inside”perspective of a native Chinese,it is an indispensable part of describing the real picture of China today.It is precisely because of the intertwining and integration of the two that constructing a multi-dimensional view of China has a dual possibility of both theory and practice.The third chapter focuses on the writing status of “Non-fiction Writing”.With the first-hand information about writing theory and interviews,this paper discusses the activityprocess and writing rules of “Non-fiction Writing”.The “Explicit” and “Hidden” writing stages constitute the important two poles of “Non-fiction Writing”.What the former solves is the question of “what to write”,and the focus of the latter is “how to write”.The“Explicit”writing stage,focusing on collecting data,is the preparation and foundation of the“Implicit” writing stage,creating powerful conditions for the smooth development of writing activities.The “Hidden”writing stage based on conception and expression is the further deepening and sublimation of the“Explicit” writing stage.They permeate and intertwin,throughout the entire process of “Non-fiction Writing”.There is a certain difference between“Non-fiction” and traditional fiction literature in the specific writing.In the stage of “Explicit”writing stage,the former is deeply immersed in the quagmire of life;the latter is outside the "things" and has a long-term attitude towards life.In the stage of implicit writing,the writers of “Non-fiction” must be constrained by objective reality.On the other hand,the writer's thinking activities are mutually inspiring,and in this case,the “Non-fictional” literary world is built.In fictional literature,the writer's conception and cogitation plays a leading role,and thus extends horizontally and vertically.In the expression of the text,the “Non-fiction” works are simple and clear,and the fictional texts are complicated.The fourth chapter summarizes the artistic aesthetics of “Non-fiction Writing”.“Non-fiction writing”has three characteristics: “non-fictional”,“personal perspective and folk appeal” and “cross-style with interdisciplinary”.The “non-fictional” constructed on the basic things is the most fundamental aesthetic element.“Personal perspective” is an entry for readers to enter “Non-fiction” texts,the “civil appeal” conveyed by this perspective has a shared nature of aesthetic implication.“Cross-style and interdisciplinary”constitute two aspects of “cross-border”.The former pays attention to the cross-border integration of various styles within literature,while the latter attaches importance to the inter-integration of different disciplines.At present,many “Non-fiction” works lack artistic aesthetics,and there are serious problems in literature.From the perspective of literary aesthetics,Zhao Yu's "Non-fiction" creation practice may be a good example.Starting from a comparative perspective,"Non-fiction Writing" has both the capture of the wonderful moments of the remote and small towns,and also a display of the village ruins.The difference between writing position and observation angle leads to the difference in text reading,and presents the difference between objective “display” and subjective “telling” in narrative strategy.