Heteroglossia And Contemporary Chinese Novels

Extending from the perspective of inner poetics, this dissertation tends to discuss the heteroglossia in Contemporary Chinese novels. Literature is essentially the psychological poetics of human beings. Heteroglossia is a complicated and flexible state of psychology conveyed by literature. The core of heteroglossia of novel lies in complexity and depth of emotion and psychology.As novel heteroglossia of soul world ,in essence ,it is contradictory representation of writer thought , it is differing representation of thought and feeling , it is entanglement representation of apparent consciousness of psychologic undercurrent.This dissertation consists of six chapters.The introduction throws light on the global influence of the theory of heteroglossia and points out the current dilemma in heteroglossia research in China: lack of theoretical subjectivity and absence of aesthetics.The first chapter systematically analysed history ,present situation and trend of criticism of heteroglossia in Chinese Contemporary.It is the location of standing point that decides the current setups of heteroglossia research centering on Bakhin's theory in China. The upsurge of Kundera and Bakhin, joining at heteroglossia, has provoked some new thoughts. Generalization and mummification tend to be the basic situation of contemporary heteroglossia criticism in China.The second chapter study theoretical system ,core and linguidtic ambiance of the idea of heteroglossia of Bakhin. Heteroglossia of Bakhin bases on the dialogic philosophy taking ideological subjectivity as its core. Therefore, heteroglossia proves to be an extension of Bakhin's theory of ideological language. Overstated rationalistic orientation accounts for Bakhin's misinterpretation of Tolstoevsky's novels. Bakhin's heteroglossia is in some extent one-sided due to its neglect of complexity of the novelists' inner world and the multiplicity of the character's psychological world. Bakhin's theory is the counter-effect of social-historical criticism and keen aesthetic perception, which duly explains the paradox in his heteroglossia: blocking psychology as well as opening mind. The enlightenment left here is whether it be an interpretation or theoretic criticism, a profound psychological exploration is essential.The third chapter put forword and demonstrate origin and standing point of heteroglossia of literature. Original Point, Standing Point and Tendency, extending from the perspective of the correlation of literature and music, aims to relocate the theoretical origin and standing point of heteroglossia on the basis of the criticism of heteroglossia from China and the West. Furthermore, a combing of the phenomenin and tendency of Chinese heteroglossia theory is also conducted here, combining accounts with criticism.Chapter four, coming from the innermost psychology of the self and the historical concern of the society, takes the novels of Bai Xianyong hand Jia Pingwa as case study to discuss the psychological heteroglossia in these novels. The former emphasize relationship of deeply psychology and heteroglossia of novels .The latter emphasize relationship of contradictory feeling and heteroglossia of novels.The narrative world of Bai Xianyong is in essence a psychological history of self-exploration, self-struggle and self-surmounting. The "psychological image structure" of his novelette and the "sentimental heteroglossia" of his novels project as his most outstanding aesthetic creation and the reflection of the novelist's unique psychological structure as well. The innermost psychology is the origin of Bai Xianyong's creative intuition. A perfect blend of the West and China, the modern and the ancient on the basis of his' own psychological perception proves to be the foundation of Bai Xianyong's cultural and literary orientation.Jia Pingwa's unique creative feature lies in his presentation of the psychological world of the self in an atmosphere of society, especially fitting into the grand social situation in the turning period. Qin Qiang metaphorically blends the irreversible elapse of tradition into an irreconcilable fragmented structure of family, and in some degree achieves the new profound perspective in the theme of "native soil—home" in the 20^th century Chinese literature. This expressionistic novel in the shape of representation is the psychological pattern of the novelist himself, which shows a division of the physical self and the psychological self as well as a contrast between the mental self and the sentimental self. Stylistically, it derives a lot from the traditional artistic resources, which may show it best in its sentimental narration which well combines the narration with affection. The gain and loss of this novel grants enlightenment on the spiritual pursuit of Chinese native-soil literature: discover the inner world in the representation of psychology.Chapter five discuss heteroglossia of novels of Kundera from humanistic point of view, spiritual viewpoint of novels and artistic form of novels.Existential phenomenology stands as Kundera's philosophical basis and the theoretical core of his humanistic point of view, which in due course contributes to his unique insight into human being and the world. Besides, it is also internalized in his contemplation on heteroglossia. With a comprehensive artistic style as well as multi-perspective narration, Kundera's heteroglossia presents a systematic structure comprehending the visible and the invisible, the outer and the inner. However, the deep structure may be condensed into one feature -- paradox, which means a dialectical integration of simplicity and complexity, separateness and unification, time and space, location and dislocation. Form Bakhin to Kundera, an obvious demarcation and substantial turn has been marked in the theory of heteroglossia, which also explains that heteroglossia is an eternal aesthetic proposition exhausting interpretations from every side.Chapter six, taking mainland novels after 1980s as research object, combs and analyzes the derivation, typology, perspective features of two types of heteroglossia: "multiple narration" and "dislocation of narrative hierarchy". Multiple narration comprises "story juxtaposition" and "multi-perspective narration" and its artistic features lie in "repetitive accumulation", "integration of contrast and complementation" and "displacement and fragmentation". Dislocation of narrative hierarchy mainly discusses "the child's perspective" and "the idiot's perspective". The comparative approach is adopted here to implement a principle which well blends stylistic analysis with humanistic analysis, textual study with discourse analysis, case study with universality study. In addition, this part also involves the reevaluation of some significant works and literary phenomena in contemporary Chinese literature.According to the analysis and discussion above, this dissertation point out that fiction is the narration of psychology, revealing the complicated psychological condition hiding behind the various narrative surfaces. The complexity and flexibility of human's innermost world, perfected with human being's unexhausted exploratory desire into the psychological corner of self, promotes and gives initiative to the stylistic and narrative innovation in the fiction characteristic of psychological narration.