A Study Of Absurdity Aesthetics From The Perspective Of Narrative Discourse

The paper attempts to delve into the categorization of absurdity aesthetics of absurd novels in the eighties China. Our effort starts from the debate within the intellectual world of that age regarding true and false absurdity and the categorization of absurdity aesthetics and, in particular the categorization of aesthetic absurdity. We hold the view that most scholars developed the issue mainly from the periphery of the text. Thus basing our endeavor on texts, and selecting a series of typical texts used for their commentary, we try to find out the specific origin of the absurdity aesthetics through a discourse analysis of these absurd novels by employing the theories concerning structural narratology. According to three main layers of the origin of absurdity: the intradiegese receptor, the intradiegese narrator, and the intradiegese character; and referring to the inner nature of absurdity aesthetics shown in the study of western absurd literature, we divide the category of aesthetic absurdity of the absurd novels in the eighties China into three groups, i.e., the concept and technique of absurdity; conditional situation absurdity; ontologic absurdity aesthetics. It is through this inner analysis of texts that we can see clearly the hidden proofs of various arguments concerning the true and false absurdity, and hence the issue is made self-evident.