On Yan Lianke’s Theory Of Literature

A writer’s view of literary and world will profoundly influence and guide his literature. Yan Lianke has caused the widespread concern of academia recent years with his impressive works: Date,Riguang Liunian, Live, Feng Ya Song, Dream of Ding Village and the Story of Zhalie village. Under the influence of Western modernism and Latin American magic realism,Yan Lianke has been moving away from the traditional realism depicting realistic writing style and embarking on a“God Realism"creative path, which has been a unique writing style of him. The view of literary cannot get formed overnight, because it is closely related with the life experience and the long-term writing practice of the writer, which must go through a continued process from quantitative change to qualitative change. Yan Lianke’s view of literary has been going through that process. By his persistent exploration in form and content of his each work, his“God Realism"narrative style finally get formed. Using the writing methods of fabricating, fantastic, exaggerating and transforming, Yan Lianke describes the real world of heart and soul matched his mind, which is a metaphor and irony of Chinese current reality, and it is a kind of spiritual realism.This thesis is divided into four parts to study Yan Lianke’s view of literary. Firstly, I would like to analysis the influencing factors of the formation of Yan Lianke’s literature view,which includes the homeland,folk resources and reading accumulation of Yan Lianke. Secondly, I would like to point out how his literary view applys to his works from the point of literary genre, combing his works on the characteristics of language and structure. As the “God Realism" is interpreted by Yan Lianke himself, which has not get admitted by academia yet, so the third part of this thesis is to point out the core questions of this concept: the meaning, substance and performance practices of “God Realism". At last, I would like to discuss the value and significance of“God Realism" to his own writing practice, Chinese contemporary literature and the world literature.