The Research On Chinese Literature In Japan Since1990by Narratology

The research on Chinese literature in Japan since1990is relative in blank, so this paper selects Chinese literature in Japan since1990as the research object, This paper decides to use the structuralism narratology and post structuralism narratology combined in the research to make a deep study choosing the narrative motif as a way to begin this study. From the development of performance and investigation about Chinese literature in Japan since1990, the narrative literature is divided into five units, According to the narrative theory, we make a analysis on the expansion of literary text, narrative voice, narrative time, narrative order, narrative discourse, narrative space etc. At the same time, In the research, we find that Chinese literature in Japan since1990as a branch of oversea literature, it has a strong transnational, cross-cultural, heterogeneous background, so it is a text with intersubjectivity which reflecting the cross-cultural background under the ideology and power distribution, and each different direction of the ideology and power to a certain extent is involved as "the other" in Japan and as a "self" between different subjects. Based on the rich cultural context information from text connotation to extension released, we in the study combine the theory of power and the postcolonial theory.The five units in Chinese literature in Japan since1990are lust motif, image motif, disaster motif, the other motif, edge motif, According to the evolution of each motif in Chinese literature in Japan since1990, the analysis is beginning from the perspective of the narrative motif. So, this thesis is divided into five chapters.Talking about lust motif, Chinese literature in Japan since1990is mainly in accordance with the passion of the private, hidden and social, consumer two logical ways. The former exhibits writer’s endless exploration of metaphysical significance on the "lust" symbols to target a significance of lust in the individual life. The latter mainly focuses on and demonstrates that the complex connection between society and contain elements of lust and power of modern consumer culture.In this context, passion is more of a relationship with the power, consumption. While the image motif is involved in an imaginary variant, the writers in the transnational, cross-cultural background send full ingenuity on "I think", So the construction of image type in different degree on the individual experience in different real contexts, personal history, personal memories of give birth to similar imagination, reappearance imagination, instead imagination, and reconstruction imagination image generation models.Different imaginary ways complete the outline of writers about Japanese experience and Chinese experience. The narrative motif on the disaster, the paper mainly is focused on narrative standpoint, narrative theme, narrative technique, the significance and the excavation on its meanings and prices.The fourth chapter begins from the "other" motif because of writers’double other identity in Japan, the other narrative concentrated expression in Japanese, Japanese landscape, Japan implements three aspects, the other narrative focus on the "other" and " self" relationship between thinking and construction. The fifth chapter is the edge of the narrative motif, the edge of narrative literature mainly reflects the construction of Japanese, Edge narrative space construction and narrative discourse strategy. Marginal narrative highlights Chinese awkward and difficult in Japan, but also reflects the Confucian culture as a cultural branch in modern consumer culture is very desolate and lonely, it reflects in the postmodern context some independent intellectual groups are beginning. From the point of literature narrative, the paper makes a study from the vertical and horizontal on the nearly20years of Chinese literature in Japan since1990so as to make some achievements on it.