The Bottom Narration Research Of Chi Zijian Novel

Has been relying on the persistent belief of literature in the literary arena more than 30 years, Chi Zijian has written the literary works more than six million words. The underlying ordinary people is the main character in the literary world. She stood in the bottom position to describe their living conditions, expressing their desire tosurvive, describing their joys and sorrows. In Chi Zijian’s bottom literary works there is always a steady spiritual philosophy and literature emotion-she shows a deep understanding and empathy to the underlying people. Understanding the bottom of the world’s most precious and pristine beauty, she painted a picture of tenderness underlying survival.The introduction states Chi Zijian’s achievements of literature history and creation, and leads to the underlying concept of literature. The first chapter expounds the underlying feelings in Chi Zijian’snovels. It mainly discusses her affinity at the bottom of the literary position and focus on the underlying emotion. Her underlying feelings are not only from the bottom experience, but also from the lives of the villagers’attitudes and ideas disseminated its spirit. The second chapter discusses Chi Zijian how to dig the underlying spirit. ChiZijian is good at digging out the spiritual wealth, the meaning of life and the value of the times from the bottom world. This spirit dimension mainly as follows:showing original vigorous vitality and life forms of freedom, calling for reverence of nature, alert to modern civilization; Publicizing the survival toughness of bottom, Praise the bottom face of the difficulties of strong and forbear; Performance atthe bottom of the confession consciousness, emphasis on the salvationof the good for evil; Advocate harmonious relationship. The third chapter analyzes the aesthetic characteristics of Chi Zijian’s narration. Chi zijian loves bottom life, so she sees the bottom warmly, surpassing the bottom of the suffering, with the combination of realism and romanticism, she writes a soft bottom of the world. The time dimension of writer’s understratum narration includes not only the present, but also covers the history of the past. The writer through the mouth of the bottom to describe history, not only expand the bottom writing content, but also innovation of the historical novel writing, and enrich the aesthetic value of the underlying narrative. Art defects of Chi Zijian’s bottom narration is discussed in the fourth chapter. It mainly points out the lack of the criticism in her bottom narration and the one-sided refused to modernity.