The Study Of Wang Anyi’s Fictional Ideas

Thirty-odd years since the birth of New Era literature have witnessed the ups and downs of various literary trend, trauma, revolution, introspection, root-seeking, vanguard, new practical writing and new historicism, to name just a few. having stepped into the world of letters for more than thirty years, Wang Anyi has shown multiple changes in her creation style, narrative, thematic concerns and ideology orientation. This diversity is a proof that she is the most important contemporary female writer with regards to her high skills in creation ability and creation vigor. To a large degree, Wang’s works are following up the realistic fictions in China as there is not a single contemporary literary trend that can fully explain her. She is always innovating through her unceasing probe into new possibilities within oneself, within society and within human nature and she succeeds in building a literary world of her pecularity boasting of both ordinariness and transcendence. Reality is one of her consistent concerns in creation which is highly idealistic while concealing the spiritual power of changing the mundane world and directing for us the new possibility for imaging and building life. She use the eternal system of life to counter against the reality and nihilism, to compromise with life and self so as to build a harmony and poetic living situation for human beings.Wang has always been keeping distance with various literature trends due to the fact that Wan is repeatedly reflecting upon her creation before forming the unique yet mature system for her works which is applied in her novels creating a corresponding and intertextual relations. There are two major changes in Wang’s creation. The first one is the turn from the narrow world of within self to the broad world outside. This change shows its sign in her early writing and reaches the peak in Baotown (1986); the second change is the turn from "what" to tell to "how" to tell by highlighting the rationality in her novels, the typical of which is Uncle’s Story. From this on, she exerts high emphasis on the rational fictionality and narrative techniques which demonstrates her initial perceptions on novels, that is, to use the eternal imaginary textual world to fight against the fleeting being reality. Later, Wang builds up her unique criticism for her fictions. It is worthy to note that her criticism lay behind her creation. Sooner after the publication of Uncle’s Story, Wan published a series of literary criticism like the first collection of literary criticism Story and Story-telling, The Spiritual World and Novel Teaching Class. Involuntary auto-narration is transformed into "creation" novels which transcend individual experience by means of Wang’s rational involvement. Later, she focuses on the narration on subjective experience and emotions by highlighting the fictionality of "spiritual world"; at last, she tries to intermingle the ordinariness and transcendence of mundane life by presenting the eternal and poetic "forms of life" which is fully reflected by the works after Fuping. Wang defines novels as "spiritual world" which construct the "fictional" (such as human being’s destiny and poetic forms of aesthetics) by the "realistic"(such as individual experience and ordinary life), and transcend the rational. This definition expresses her understanding of the basic questions on novels which are the relations betweennovels and rationality, the fictionality and reality of novels and the ordinariness and transcendence of novels. This paper will start from Wang’s theory of the above three issues to explore the internal logic of Wang’s novel view system and compare her novels of different phases and her writing transformation so as to master her creation in a macro level. Moreover, this paper intends to interpret the pecularity of her creation of "spiritual world" and highlight the particular value and significance of her creation and literary theories in contemporary literary creation and criticism.