Cross Faults And Literary Possibilities

Han Dong, known as the representative of the third-generation poetry, the novels in the 1990s, new-generation writers, late born-generation writers and individualized writing, stands as an indispensable figure when it comes to contemporary literature study. The studies conducted of him, however, suppress his uniqueness and individuality to a considerable degree though they have demonstrated his distinctiveness in different creative periods. In particular, his literature practices ever since his transference from the field of poetry to fiction at the beginning of the 1990s have been left with want of systematic study.This present paper then centers on Han Dong following his creative transition into the field of fiction in the 1990s. The study is carried out in two perspectives. In the first place, his creative course starting from poetry creation in the 1980s shall be under discussion, including the connection and the breaking through of the poetic ideas demonstrated in his novels in the 1990s and poetry in the 1980s, proceeding then to their representation. The textual presentation of such problems and the inter-textual anxiety of influence shall also be dealt with in this part. In the second place, against the broad literature context of the 1.990s writing, Han Dong reflects a number of problems, transformation and clues concerning contemporary literature.The paper is composed of three parts besides introduction and conclusion parts. The first chapter provides a general description of Han Dong's creation transition from poetry in the 1980s to fiction in the 1990s by replacing him into "Them" poet group with which he is closely connected. The problem of how his poetic ideas getting involved into his novel creation shall also be analyzed, with his linguistic view at the core.The second chapter conducts an examination on Han Dong's novel creation ideas and writing practices through text interpretation. The paper investigates Han Dong's experience writing and imaginary conception from his setting point series, his abstract lyric style from his city themes novels, and his conception of "truth" from the controversy on "repeated writing".The third chapter probes into the legitimate crisis of avant-garde literature in the 1990s, centering on the split action and the contention on intelligentsia writing vs. folk writing, followed by the analysis on the writers'living style, the relationship between writing and truth, and the potential possibility of contemporary literature introduced by Han Dong.