Possibility And Necessity

A generation who succeed a generation have mounted the historical stage, this is of necessity of historical development. Just in this meaning, going up on the stage one after another, the writers of the new generation are probable to mount the literary stage just in transitional period of China. What is the new generation? Having no need for avoidance, we use the scientific concept of the geology to name the batch of the writers who were born in the1960s and mounted the literary stage in the 1990s, to a certain extend this name is relative, fuzzy and still in the transition. Because the group of writers is opening and at developing stage, when reviewers study them, they are always tirelessly listing a big bunch of lists: having Han Dong, Zhu Wen, Lu Yang, Bi Feiyu, the writers of Jiangsu; Qiu Huadong, the writer of Beijing; Zhang Min, the writer of Shanghai; Li Feng, the writer of Guangxi; HeDun, the writer of Hunan; DiaoDou, Shu Ping, the writers of Northeastern, and so on.It is the primary problem and need to be solved for the writers of the new generation how to show one's own real individual character especially in a kind of plural culture pattern. It is also a breakthrough point of this thesis. This thesis catches two characteristics of the new generation's novels--namely the desire and individualized. I begin with the great 1990s backgrounds of Chinese politics, economy and culture which the writers of the new generation depend on, and thencomb the possibility and necessity of the new generation's novels. The so-called possibility refers to some common brand of the era and history among the new generation's novels because of the common linguistic context, that is to say, there are distinct 90s characteristics. Such as the understanding of the market economy and the city of China under the plural culture, and the lifelike description about the personal desirous existence. The so-called necessity means there are some limitations and contradictions in the new generation's novels unavoidably because of the era aesthetic prevailing custom, the culture interesting of the common customs, the influence of the commercialized atmosphere and oneself restriction of the artistic ability. The writers of the new generation need look for reasons and then extricate themself from a plight if they want to improve their own creation level.I comb the four--dimension of the new generation's novel in article I .The so-called four-dimension is four aspects from which I study the new generation's novels. The four aspects are: the survival dimension-- desirous anxiety, the spirit dimension-- the drifting of the soul, the psychology dimension of the culture — the query of practical reason and aesthetic modernity; the value dimension— the misplaced survival. I study four dimensions around the desirous and individualized writing. They do not exist in isolation, but connecting each other, going forward ring upon ring.I summary limitations and contradictions of the new generation's novels from two aspects on the basis of having studying the texts in article II. One hand , though the new generation's novels have shown the social pictures of China of the 1990s, but many pictures are superficial; On the other hand, the new generation's writers create nowels based on personal experience, though they offer one new possibility of creation for us, because one's own limitation of experience causes literary imagination tired. So, I regard the creating subject as the research target and then continue to probe the reasons which cause this kind of phenomenons again, in order to expect the writing of the new generation's novels can go to a new step .