Liu Zhenyun's Theory Of Novel Creation In The New Century

Throughout Liu Zhenyun’s literary creation career in the past 40 years,his novel creation has been seeking changes and new ones.From the earliest realistic novel Tapu with the narrative characteristics of moral passion to the new realistic novel Unit,A Land of Chicken Hair and Official Man,which was later called zero Emotion,After that,the "New History" novels "The Hometown of the World Yellow Flower","The Hometown Living Together","Wen Shi 1942",etc.,have been at the forefront of the art creation road.Since the beginning of the new century,in addition to the "one cavity of nonsense",it still continues the fable and orgy narrative of the previous new historical period,and its novel creation has gone to the stage of realism.They created "Mobile Phone","My Name is Liuyuejin","One Top Ten Thousand Sentences","I am not Pan Jinlian" and "Children of the Melon Age",but they are not the return of early realistic novels.However,on the basis of learning from previous creative experiences,the spiral of rising and merging,whether in the theme of novel creation or in narrative art,presents the characteristics of his novel creation that is harmonious and mature.This article aims to make an in-depth analysis of the theme of his novel creation and the unique characteristics of narrative art,and to discuss how the author balances and integrates the folk discourse,popular culture,and elite intellectual discourse.In order to express the writer’s unique discovery of China’s daily local experience and cultural characteristics,and the complexity and twist of the life logic hidden under it,it still points to the attention and thinking of people themselves.Human beings have universal existence and mental state.At the same time,its unique narrative art strategy also has an irreplaceable effect on the expression of its narrative subject content.Therefore,analyzing its narrative strategy is also the main point of this article’s analysis.The first chapter of this article mainly discusses the general situation of Liu Zhenyun’s creation since the new century.Liu Zhenyun’s recognition of his own"descendants of the victims",the choice of folk narrative positions,and the uniqueness of novel creation are described in three aspects.The identification of the "descendants of the victims" is the source of his choice of folk narrative position,and the folk narrative position is an alternative theory of intellectual discourse.Therefore,Liu Zhenyun is in the conversion and blending between the experience of life in his homeland and the experience of urban life,and in the continuous creation and practice.In the new century,it realizes the integration of folk discourse,popular culture and elite intellectual discourse in his novel creation.In addition,in terms of the uniqueness of novel creation,the narrative style that contains irony and absurdity in its realism style first,and the selection of characters and events in the selection of material uniqueness are the second.In terms of characters,it mainly focuses on the attention and writing of"migrants" and shows the attention and philosophical thinking of the bottom "aphasia"spirit.In the selection of events,on the one hand,daily events around the world are taken care of,such as communication between people.For example,the works "Mobile Phone" and "One Pop Ten Thousand Sentences" tell such incidents.On the other hand,taking official corruption and other social events as the object of care,it tells the helplessness of the official system to human alienation.The novels "My name is Liuyuejin","I am not Pan Jinlian",and "Children of the Melon Age" describe such incidents.The second chapter mainly discusses the cultural implication of Liu Zhenyun’s novels since the new century.First of all,in the dual exile of the city and the countryside,the novel expresses the concern of instrumental reason for human alienation in urban life.The peasants at the bottom of the country also have ugly faces belonging to the countryside,so the author shows a kind of modern anxiety."One Top Ten Thousand Sentences" dispels its modern anxiety in a way that faces reality.Secondly,in the allegorical writing of power,it shows sympathy for the officials in the power system and also gives attention to the resistance of the people at the bottom.Finally,in the anxiety about the self-existence of private individuals,the novel mainly describes the daily behavior of "speaking" as an object to express the diaphragm of human communication.In the third chapter,the author mainly analyzes the narrative strategy of Liu Zhenyun’s novels since the new century.It mainly analyzes and discusses from the aspects of narrative perspective,narrative time,repetitive narrative,and folk narrative language.This series of narrative methods is for Liu Zhenyun to express life’s wringing and winding service,and thus presents a kind of content and form fit,harmonious characteristics.