Annotation,dialogue And Counterpoint

Heaven-Tibet is a novel published by Ning Ken in 2010.Because the novel text adopts the form of novel annotation and causes the innovation of novel narrative form,it attracts the attention of critics.Ning ken creatively uses the annotation of the novel in Heaven-Tibet,enriches the space of the second text of the novel parallel to the text of the novel as the first text,and makes the annotation of the novel an integral part of the whole novel.The extensive use of novel annotations in Heaven-Tibet not only brought about changes in the narration of the novel,but also enriched the Polyphony of the novel,showing the Polyphony of narrative perspective,dialogue and counterpoint,making Heaven-Tibet the most polyphonic novel in Chinese novels at that time.This paper will discuss the aesthetic pursuit of Ning Ken’s Heaven-Tibet through the analysis of annotation and three kinds of polyphony.The first chapter mainly discusses the annotation of Heaven-Tibet.first of all,classifies the forms of annotations,then explores the functions of annotations,and again to explain the impact of annotation on the three kinds of polyphony.The second chapter mainly discusses the Polyphony of narrative perspective,from all narrative perspectives in the text and annotations,to study how these narrative perspectives form polyphony,the application of narrative perspective,and the aesthetic significance of narrative perspective polyphony.The third chapter mainly discusses the Polyphony based on dialogue,using Bakhtin’s polyphony theory to demonstrate the Dialogism in the works,involving the dialogue between characters,the dialogue between texts,and the aesthetic significance of the dialogue polyphony.The fourth chapter mainly discusses polyphony based on counterpoint,mainly with the help of Kundera’s counterpoint principle to discuss the relationship between prose style,historical style,dialogue style and the novel itself,how they form counterpoint,and the aesthetic significance of counterpoint polyphony.