Study On The Maolun's And Mao Zonggang's Narrative Theory

As the explaination to the narrative works, Criticism has got a growing concern recently. It's the rise of Narratology that makes people image there seems to be some similarities between the Chinese Criticism and the Western Narrative theory. Thus, the study on the Criticism to novels in 17th century in China advances along the way to look for its similarities with the Western Narrative theory. In this kind of study, inflexible comparation is inevitable. So that Chinese Criticism to the novels in Ming and Qing Dynasty can't often appear his real face, nor get enough respect. The relative study to the Criticism falls to be the footnotes to the Western Narrative theory. In order to find the appropriate seat for the Criticism, this article discusses the real connotations of the Maolun's and Mao Zonggang's Criticisms by their criticisms to The Romance of the three Kingdoms.The "Narrative" understood by Maolun and Mao Zonggang comes from tradition, but transcends tradition. They didn't insist on the old narrative norm, that is, they didn't require editors to reappear history distinctly, but seek for esthetic expression of history. They took Narrative as editors' creative actions, by which they showed all kinds of persons and things, whether they are turn or false. This opion think about texts from editors' perspectives. Comparing with the Western "Narrative", what they caught was the unfrequented part Narrative action. Along this train of thought, Maolun's and Mao Zonggang's Narrative theory showed different features from the classic Western Narrative theory. It included two parts:First, the theory on narrative target is the special part in Mao's theory of Narrative. Narrative target is the editor's narrative focus and aesthetic target. Of course, the editor was rebuilt subjectively by Maolun and Mao Zonggang. This theory is discussed from two levels, content and art. The content includes the range of narrative target, the stories of narrativetarget, the relations between narrative target and the things out of narrative target, and so on. The layer of art includes the narrative targets about the interpretation of things or persons. The theory on narrative target makes up for the blank of the narratology in contemporary time, because the Western Narrative theory has still untouched it.Second, There are some similar opions in the theory on narrative method both between Mao's and Western classic theory of Narrative. But they finally walked along different ways. Narrative method includes all kinds of measures and mediums, which were used by editor to achieve his narrative target. Of course, the editor was rebuilt subjectively by Mao. Some other questions in the Western Narratology such as narrative point of view, narrative structure, narrative space-time and so on are all deeply concerned by Mao. But they understood these categories by method, which was deliberately discussed from three layer-' narrative point of view, narrative structure and narrative space-time. Mao's interpretations obviously infer editors' purpose by a subjective attitude and they also set out of from the angle of aesthetic or readers' aesthetic mentality to make all kinds of arrangement for the texts. In other word, the aesthetic function of these categories got emphasis and concern from Mao's Narrative theory. Just like this, Mao's theory of Narrative overcomes the drawbacks of the Western Narrative theory. That is, they never cut works and never made texts lose touch with aesthetic. In this sense, two kinds of narratology make up for each other's drawbacks and help to get help to establish the frame of the formalism Criticism.