The Research On The Bantering Narratives In New-story Style Of The Modern Shanghai Style Of The Novel

According to the first part of the record concerning the empress of the book History of the Later HanDynasty, there was a respecrful queen known as the Guanglieyin empress. During her reign, the empressadvocated thrift, seldom absorb in playing and did not like bantering. In chapter three of Wei Hu, one ofDingling’s early novels, there is an narrative as follows: Since Fusheng is not at home and goes to school,she(i.e. Lijia) and Wen(Fusheng’s wife) banter for a while. Banter is not only one form of writing usedfrom ancient time to now, but also accumulated a rich and complicated cultural connotation in the east andwest culture. As a literary technique,irony is the medium to connect subjectivity and objectivity, sensibilityand reason, reality and spirit, for it emphasizes the intense relation to the earthly world, highlights therevelation of, criticism of and attack on real life done in the form of art. As a unique art and aesthetic studymethod, the combination of banter and irony becomes an important carrier of literary criticism.Based on the view of bantering irony, this paper takes some new stories selected from magazines suchas Panorama Monthly and Chun Qiu as examples, and analyses them. On the basis of the simulation of theErchou(a role in the Zhedong opera) Art, the integration of Chinese folk humorous culture and,thereference of the theory of Bakhtin’s Carnivalization, this article tries to search for the different forms ofwriting in the new stories in the enemy-occupied areas of Shanghai in the40’s under the social, political,cultural, historical background, and explain and interpret them in a corelative way. And it wants to reflectthe core of this thought in the common discourse system of the recent and modern literature.This thesis is divided into the following parts:The introduction is mainly about the background and significance of this article, defines the main concepts and explains the researching methods being used.The first part not only analyses bantering irony under the chinese and west culture and emphasizes it’soverwhelming power, but also explains why new-story style came into being under special circumstancesand categorizes basically them.Started with the changes of character images in different works, the second part compared thecharacters in the new stories with the ones in the traditional origis from three aspects under the concretehistorical environment. And while it praises some historical small potatoes and females, it also criticizesand sneers at the big shots with little pity. By embodying outstandingly the characteristics of the times,breaking through the inherent class limitations and shuttling between the reality and the ancient times,breaking the logical impossibility of the Time Wrap, highlight the character itself be a wild legend anddisordered, In the humor and wit to make so-called classic collapsed, in order to question and revolt thetraditions, all these images manifest fully the absurd and the confusion of themselves.The third part discusses the diversity and complexity of languages used by the characters and in thenarrative. The bi-language and the various tones used by the images reflect directly their distortion of mind,which results in the obvious deviation from the intention of original language. This has an effect of punand reflects the social life in the enemy-occupied areas, making bantering irony obvious. Though somefactors are vulgar, their artistic performances and artistic effects are much more outstanding.The forth part focuses discussion on the characteristics of narrative contexts in the new stories which,under the attention of history and the present, break through the anesthetic conventionality. These storiesalso achieve an incredible art level by two methods: employing all the possible temporal and spatialchanges in material selection, in the thought of characters and in writing standpoint and, improvingthrough art the unreasonable, abnormal and disharmonious narratives. Besides, they bring a piece of "farce" and "comedy typical of chinese national culture, for the history in them is invaded by details ofmodern life and the daily experimental logic is subverted.As a summary of the previous parts, the conclusion conveys the practical significance of these storiesand states briefly their insufficient. All in all, despite their flaws in thesis, they are still a kind of brave tryof self-discovery, that the literature of the40’s Shanghai enemy-occupied area rely on a particular way.