Transcending Monologue

In recent years, studying chinese modern literature using Bakhtin's polyphony theory and exploring polyphonyness in modern literature have been a noteworthy phonomina. But so far researchers have only concerned polyphony phonomina of works from individual author, they could not get an overview of all polyphony novels in chinese modern literature. Furthermore, among the results I have garned there are a lot of problems. Some researchers don't understand the concept of polyphony novels clearly and completely, therefore they could not summarize sufficiently and analysis deeply about polyphony characteristics in novels. Or they have cited too many terminologies from Bakhtin's theory, their results look like introduction of Bakhtin's theory. Consequently, the contributions are not significant. Considering the weekness in the results in this field, I am going to explore polyphony phonomina in the following aspects. On one hand, from my reading comprehension about Bakhtin's polyphony theory, polyphony novel takes a form opposite to that of monologue novel, and it renovates monologue novel in many aspects. Especially I am most interested in its uniqueness of structure. Taking Lu Xun's and Lu Ling's novels as examples, I analysis in detail their polyphony character in structure and their special Chinese character. In my opinion, the discussion in this thesis will provide an accordance for people to appraise whether a Chinese modern novel belongs to polyphony novel. It is well known that modernization of Chinese novels began at literature revolution of "May Forth Movement", in the process of modernization authors learned a lot from foreign novels, Chinese novels changed to new forms from traditional "Zhang Hui" novels. The fundamental transformation of the traditional novel in narrative pattern or form pattern has been a problem in the process of modernization. A various of complex characters of polyphony novels provides us a great platform to study the form development of Chinese modern novels. The accomplishment achieved in Chinese polyphony novels, I believe, represents the altitude reached in modernization of Chinese novels. On the other hand, because researchers have found polyphony structure in works from many authors, Chinese polyphony novels are not accidental instances as individual authors learning from foreign novelists. Therefore it is necessary to search for the reasons that polyphony structure appeared in Chinese modern literature. After reading related works and summarizing research results on polyphony novels, I found the "family tree" about Chinese polyphony novels and studies, i.e., Lu Xun – Hu Feng – Lu Ling. There is a clear transition of the disciplines from generation to generation. Also Hu Feng's literature theory could be considered as a summary of Chinese polyphony novels. So we should not consider polyphony novels in china as an accident result, like a Chinese saying that "unintentionally plants the willow tree, the willow tree create shades ". There are some inevitable factors for their appearance. In the "slick" counter- tradition and counter- seriousness characteristics in Lu Xun's "New Edition of Stories", in the difference between Hu Feng's theory and Left-wing theory of literature, and in the heterogeneity manifested intensely in esthetics in Lu Ling's novels, I find that they all have spirit of freedom and independence. This spirit is shining at the literary arena mainly occupied by Left-wing revolution literature at the time. It is interesting that they were thought as belonging to the Left-wing Association. Different from persons such as Zhou Yang and Guo Moruo who belonged to the Left-wing Association, they kept a subtle relation with the association, they were IN, but NOT IN THE CENTER, or not belonged to the association. This kind of situation has fostered their unique border consciousness. Furthermore, I get the general conclusion that the subjective conditions fostering polyphony novels are author's edge life feelings and cons...