The Argument About The Influence Of Foreign Literature On Yu Hua's Works

Yu Hua is one of the most representative avant-garde writers. And People pay much attention on his works. His productions think greatly of the experiment and investigation on technique level, and coagulate outstanding spiritual character. The novel style of Yu Hua has experienced three stages evolution- traditional realism, the vanguard experiment and teturn to tradition again.Yu Hua's earlier period woks mostly write about ordinary and placid life. He concentrates on reflecting the sweet and grief of small potatos. And he works hard to construct a kind of poetic sentiment and atmosphere, which is filled with sadness and full of tender affection. But in 80's anaphase, Yu Hua has changed from softhearted literature style to the main force of the vanguard novel, and made every effort to track for "heart true" in his works. In this period, Yu Hua's novels have a heavy experimental meaning, and make various subversion to traditional reading habit in many ways.The violence,blood and death is the keywords in Yu Hua's works. Since 90's, Yu Hua published 3 saga novels in succession:《Cries in the drizzle》,《To Live》,《Chronicle of a Blood Merchant》. Differing from anterior vanguard novels obviously, the works of this stage leak out a softhearted characteristics.Why the works in different periods of the same writer exhibit entirely different characteristics? This condition has a tight connection with Yu Hua's constantly exploring the essence of literature and constantly adjusting his own inditing principle. Speak of this, certainly we must talk about the foreign writer's deep influence on Yu Hua, who may hardly walk out the puzzle dom of inditing.As a Chinese contemporary writer, Yu Hua is actually fed growth by foreign literature. And the brilliancy of the vanguard literature benefits from Kfka Franz, who liberates his spirit. Then the stepwise consummation of inditing results in the feeling of William Faulkner. In this kind of influence and acceptation, Yu Hua discovers himself constantly and makes the writing independence more integrative, shows a creation of acceptee, makes literature of the vitality extending as well. This is Yu Hua's acceptation and absorbing, which is miscellaneous and creative. This paper, analyzing the influence and acceptation between three foreign writers and Yu Hua, depicting the inditing process from immitating to exceeding, tries to read the most hidden and deep heart reality in Yu Hua.This paper divides three parts. In the first part, we want to investigate the influence of Kawabata Yasunari. Kawabata is a Japanese novelist, who won the Nobel Prize for Literature (1968). The article compares the difference and similar in "death" and "the detail description" between Yu Hua and Kawabata. Under the influence of Kawabata Yasunari, Yu Hua gets acknowledged to the fundamental writing methods and masters the technique of depicting details by Subjective Expression, which lays a solid foundation for his writing career.Lining under the guide of Kawabata and walking up the road of grief sentiment, Yu Hua has faced the first predicament in his writing career: "the drying up of imagination and emotion". Then, Kfka Franz, coming from the west, shows Yu Hua another piece of new continent in literature. This meeting, by chance and by all means, guides Yu Hua to find out how to inquire the misplayed existent form. And Kfka Franz causes Yu Hua to introspect the reality of the existence, the circumstances of human beings' surviving and the spirit condition of the person. He resists "the reality of the life" with "the spirit is true".In the second part, we analyzes how Yu Hua accepts and absorbs the essence of Kfka Franz creatively. Kfka not only teaches Yu Hua how to write in details, but also teaches him how to build a building of subjective novel. We can find that Yu Hua begins to introspect the real world which we live in when he has trouble in writing on. He thinks that the real world is unreal, but the spirit of the individual is real. Only by piercing through the reality with our subjective spirits, we can recognize the nature covered by the reality. Yu Hua tries his best to show the subjective reality instead of just copy or image the real life in his novels, which well reflected his outlook on reality. This kind of effort lifts Yu Hua's novels to unprecedented height. We also compare two core codes - "typical techniques of allegorize" and "fantastic", and we find out that Yu Hua is just following and no-imitating.In the third part of this article, we investigate how William Faulkner liberates the mentality of Yu Hua, who sinks into the writing predicament once again. In 90's, the vanguard literature has already been inharmonious with the age, and the inditing of Yu Hua also sank into a predicament - how to exhibit the reality of survival better? The placid attitude to the reality of Faulkner indicates a direction to revive the nervous relation between Yu Hua and the reality, and leads him changed successfully from the formality of the vanguard to the vanguard on the spirit.Yu Hua isn't a fixed and unchangealbe writer. Under the influence of the foreign literature, he accomplished such a variety process that from write what to how to write, again from how to write to write what. But we must widely realize that the essence of Yu Hua's vanguard has never changed. This kind of circulation itself is a process of returning to original nature, is a process of negative and negative again, is a kind of progress and sublimate.