| Fang Fang, as one of greatly influential contemporary Chinese writers, keeps all the times her consistent social criticism and penetrates into the night-side of life and the dilemma of human nature of all kinds with her sharp eagle-like sight, frosty style and the incisive narrative method. Most characters in her writings are the roles of tragedies full of anxieties over love, family, dignity and survival and they struggle in the society and their human nature is twisted. Anxiety of this kind in her writing is, in a way, a mirror of Fang Fang’s mental awareness as a writer, a driving force of her writing or creation and also the tension of her novels. Novels are the carriers of Fang Fang’s resistance against anxiety, which is her great contribution to the contemporary Chinese literature too. Consequently, studies on the relationships between anxiety and Fang Fang’s novel writing are of two aspects of significance:one the one hand, it helps us to figure out Fang Fang and her writings are pessimistic to the society, and the method of her writing is neo-realism, to be accurate, is a critical neo-realism. On the other hand, it also helps us to clarify clearly their common psychological features and similar problems, which at the same time offers a helping hand to make a research on other writers and their writings as well.Based on the method of close reading, this dissertation is to study on the novels’ writing of Fang Fang from the perspective of the relationship between anxiety and literature. The theory of anxiety from the fields of philosophy and psychology is used to explore its impact on the expression of themes, the shaping of images, and narrative styles in her novels.Chapter I is the part of Introduction. This part introduces the fundamental connotation of anxiety and its relationship with literary writing. To Fang Fang, anxiety is her great driving force of writing. Further, it indicates the important significance of this research based on the point of anxiety.Chapter II is the part of Theory of Anxiety and Its Literary Expression. This part sorts out theories of anxiety from the Western psychology and philosophy and extracts "the domain of routine anxieties" and "the domain of literary anxieties".Chapter III is the part of Anxious Themes of Fang Fang’s Novels. This part explores the artistic mirror of Fang Fang’s pessimistic and desperate mental state and the embodiment of her strongly social criticism by analyzing the anxiety of identity, ethical confliction, love disillusion, shackle of doomed destiny and other tragic themes.Chapter IV is the part of Anxious Images in Fang Fang’s Novels. This part penetrates their real lives and the twisted human nature of characters in Fang Fang’s novels by dividing them into four groups, namely, citizens, intellectuals, military soldiers and performers.Chapter V is the part of Narrative of Anxiety in Fang Fang’s Novels. This part further explores her unique artistic style and the driving forces of "Anxiety of Influence" behind it by deeply analyzing the language, structure, and change of perspectives of narrative methods in Fang Fang’s novels.Chapter VI is the part of Conclusion. This part indicates that an outstanding writer must be a wise thinker. She has to grow and promote her artistic quality and spirit by fighting against anxiety, which simply is the enlightenment Fang Fang and her writings present to us. |
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