A Study Of Non-Fiction Narrative In "Homecoming Writing" In The Recent Decade

In the past decade or so,both in creative practice and theoretical research,non-fictional narration has become a literary hotspot,forming a certain echo with non-fictional writing and research abroad.As an emerging creative attitude and writing form,in China’s current non fictional narrative,“returning home writing” exhibits a significant writing tendency,which is popular among most non fictional writers.Like Liang Hong,Qiao Ye,Huang Deng,and others,while inheriting the traditional “Depart,return,and leave again” and “Homecoming”mode,they use non fictional narrative methods to create beloved homecoming works for readers,and demonstrate the vitality of development in the current media integration environment.Unfortunately,there are currently few research results on it in the academic community.We will now combine narrative theory,adopt historical research methods and text analysis methods,and systematically explore the non-fictional narratives in the “return to hometown writing” in the past decade.This will help to examine the real changes in the modernization process of rural areas in the new century,and promote the theoretical research and creative practice of contemporary non fictional narratives in China.From the narrative content,these works focus on the rural society during the urban-rural transition period.Writers have taken the form of “me” returning to their hometown and actively “intervened” in the local area,observing the real problems that exist in the development of rural reality.This includes changes in the external forms of rural areas,such as environmental degradation,land abandonment,ecological imbalance,and illegal construction.It also involves changes in the internal ethical spirit of rural areas,such as left behind children,empty nest elderly,marital chaos,and high priced marriage.It also touches on the turning points of traditional rural customs and traditions,such as the loss of cultural education,crisis of folk beliefs,and indifference to human relationships.From the perspective of narrative strategies,these works utilize various documentary strategies to maximize the representation of the real rural society.The frequent alternation between different narrative perspectives forms the flow of perspectives,which produces the effect of “defamiliarization” and gives people a real feeling.The interaction of field research,oral record and historical data reflects the diversity and hybridity of narrative styles.The easy to understand dialect slang not only allows the text to accommodate more aspects of content,but also forms a polyphonic structure with multiple voices,enhancing the objectivity of narrative language.In addition,the narrative technique of combining language and images has improved the sense of thinness brought by the text,enriched the expressive space of the work,and enhanced the authenticity and credibility of the text content.The emergence of non-fictional narratives in homecoming writing has changed the creative habits of contemporary writers who live in seclusion in their study,stimulated their conscious contemplation of their hometown,and carried a distinct problem consciousness and strong sense of social responsibility in writing.In the continuous pursuit of truth,it not only effectively challenges the prevalence of simulation culture in the information age,but also has an impact on the current situation of experiential and representational literature.Simultaneously utilizing the power of the internet and new media to expand communication,expressing concern for rural reality and resonating emotionally with readers.It can be said that this writing ethics related to “authenticity” not only provides a new creative perspective for traditional rural writing in China,but also a reasonable connection between the ages of traditional documentary literature in China.