But Road Who - On The Narrator Fei Ming

Feiming's particularities lie rather more in the art of his narration than that of others aspects. Just as his words: the significant of the life is not the stories but thefinesses of it. This paper will try to fix eyes on one part of Feiming's narration------narrator to further the research.After clearing the query about whether the narrator is singular or plural, male or female and still more, whether the narrator and the author is the same one in the preface, the paper shows its standing-point to these disputes first of all.The first part begins with a story in the beginning of the novel of the bridge about a remote village breaking out a fire hi the middle night, hi this story, the doll of Asbas acts as a hermeneutics symbol to expatiate the author's playful narrative concepts, which are carried forward by the narrator all the way.The second part emphasizes on the concrete playing methods and gametechniques. When /play vAUhyou, when the narrator------who occurs both where /amthinking and not thinking------presents and conceals his true being, and then weachieve the understanding that the narrator exists actually anywhere and everywhere. Filled with multifarious fiddle-faddle, amphibolic garden-road sentences, and complicated and confusing solecism, Feiming's texts, the specialties of which rest on the breakthrough of the styles broad-line, the transcendence over the normative description, and the eccentric sentences, show an narrating style at his pleasure and a playful spirit.Since the narrator, who is created during the course of description, as same as the roles, has his own personality and characteristic, the third part of this paper pay attention to this point. Aiming to the sightless innermost being, Feiming' narrator looks like, with great interest and enthusiasm hi his own self, an extreme introvert person, who indulges himself into the ulterior monologue, and hence has a schismatical personality. Under a self-knowledge and consciousness of his description, he put his narration into the frequent investigation and estimation, which cause the activity of narrating being apparent and distinct and then to be an organic part of the text. Meanwhile, the gap between the ceremonious narrating rite and the trivial day life leaves an introspective room for the readers: it is a great surprise that the day life could be so colorful and unique, this seems untouchable in our previous experience. If not, however, seek the richness and uniqueness of ourselves in the day life, where andhow can we hold them? Feiming's narrator sets traps for the readers and draws them into his dreams but expel them at the same tune, since one could dream one's own dream after all.The fourth part touches on the dilemmas of the narrator. Despise his introspection and overthought, the narrator turns hot eyes to the childish angle of views, and places a not so faraway childhood in his world. The contradictions, one of which is between the mature adult description and the childish angle of view, make the narrator being an old head on young shoulders. That the purpose to be nature goes against the affected artificial narrative intonation, which leads his recountal to a cul-de-sac, is an inevitable narrative corner for him on the one hand. On the other hand, what are demanded for line and action element in the traditional description is a blank in Feiming's narration, this is no doubt a challenge to the tradition. In the fictional world of Feiming, only temporaries are integrated hi the anti-growing space-time, which can be hardly called thread with direction and continuity. Insomuch as the discrepancy of the unchangeable and indrawn space-time, how to escape the thread is another dilemma for the narrator. The reason for these puzzeldom is that it is impossible to uproot the connatural weakness within the linguistic sphere. Even though with the strong lust of narrating to flood everything, the narrator still find a place of being ineffable, which let the narrator say nothing but that "lose the truth, if sm...