New Century The Remember Of "the Cultural Revolution" Narration Research

It has been nearly forty years since the end of “the cultural revolution”, but writers inChina have never stopped pondering over this period. This political movement happening at1960s has become one of the most important writing resources of the writers. Since the newcentury, most of the writers who are keen on the narration of “the cultural revolution” havespent their childhood and youth at this time. Therefore, most of their writings on “the culturalrevolution” are retrospective and bear their unique experience. But compared with thepersonalized narration of the nearly completely deconstructed grand narrative about “thecultural revolution” at1990s, writers at the new century look at “the cultural revolution” andtheir self-growth experience with a calmer cultural mentality. They try to find a balancebetween reflecting on the history and writing their own memories. Thus, under this mentalmechanism of creation, how do they on earth write “the cultural revolution”?The first chapter mainly deals with the narration about the memory of “the culturalrevolution” at the new century from the following main aspects. That is, the growing-upnarration manifested in history, political identify manifested in the root-seeking awareness,personalized narration manifested in the revolution discourse and the survival stancemanifested in the change of times. Writers mixed their reflection on the history with thediscourse as regards their own memory. Their writings are mainly unfolded one by one fromthese above perspectives.The second chapter mainly discusses the narrative features about the memory of “thecultural revolution” of the new century. These features are demonstrated in the three followingrespects: namely, using the children’s view to build a composer-unknown narrativeatmosphere; utilizing the black humor genre’s writing techniques to de-familiarize thenarrative language; exploring the symbolic narration to construct the unique aestheticsensibility. The writers know it well that novel is an art of narration. When they arecomposing, they tend to consciously choose a variety of artistic skills or narrative strategiesto express their aesthetic ideas or the theme and implication of the novel. The third chapter mainly points out the limitations about the memory of “the culturalrevolution” of the new century. These limitations lie not only in writers’ hesitant and prudentattitude toward the new narrative exploration but also in the writers’ upheld aesthetic pursuit---“absurd for absurd’s sake”. All in all,“the cultural revolution” memory writings of the newcentury seem to have not absolutely extricated themselves from the tendency of vulgarizationemerging at the literary arena since1980s. When literature was continuously trying to winmore readers, what kind of quality and style should she herself stick to? This problem is worthexploring and pondering.This thesis adopts the way of text reading and takes full-length novels such as“Brother”“The River Bank”“The Fleeting Time”“The Record of Regret”“ENGLISH”“Hard Water”“Daughter of the River”“” etc. which have evoked strong repercussions as theobjects of study, to make the summarization and interpretation about the composition of thememory of “the cultural revolution” since the new century as informative as possible.