A Stylistic Study Of A Cheng's Novels

A Cheng is a special existence among contemporary writers.In addition to his position as a writer in the history of literature,he also has the status of painter,playwright,critic,etc.Besides his passion for literary and artistic activities,he is also proficient in cooking and woodworking.Such multiple social identities and wide interests bring A Cheng rich life experience and broad life horizons,which are reflected in his literary creation,which involves a wide range of ancient and modern.In March 2016,Jiangsu Fenghuang Literature and Art Publishing published the first collection of A Cheng Literature in mainland China,which included seven works,namely,The King of Chess,the King of Trees,the King of Children,The Romance of the World,The Venice Diary,Common Sense and General,Gossip Talking,Culture Is Not MSG,Dropping Out of Voice,among which the first two are novel works.The following is a collection of essays and interviews.As far as the current publication situation is concerned,A Cheng has only two novels,both short and medium-sized,with mostly educated youth stories.Although the number of novel works is small and the content seems to be single,if we change the research perspective from "content" to "form" and from the perspective of "style",we can find A Cheng's creative skills.Good intentions.This paper takes A Cheng's novel text as the center,takes "style" as the breakthrough point,and refers to the evolution of the definition of "style" in ancient,contemporary and Western countries.It summarizes the stylistic characteristics of A Cheng's novel from three aspects: language,style and narrative personality,and excavates the psychological context of A Cheng's creation and its emergence.Aesthetic effect.In the first chapter,the author takes the language of A Cheng's fiction as the research object,studies its linguistic features and generates its social functions,deconstructs the long and arduous logic sentences with "short" instead of "long".Thecombination of implication and irony is an elite attitude that can't be said explicitly but can't be avoided;and breaks away from the aesthetic variation of everyday language.Novels without subject break the conventional grammatical structure of subject,predicate and object.They are intended to criticize the cruel era of "school"theory of human beings.Their strange use of verbs is not only the inheritance of traditional Chinese culture,but also the deviation from the daily language,which makes the novel endless in charm and makes readers memorable.In the second chapter,the stylistic features of A Cheng's novels are taken as the object of study.In addition to the new notebook fiction recognized by The Wind Over the Earth,the author raises it to the overall height,so that it can be distinguished from other writers' single novel because of the similarity of the overall style and the large number of articles,so as to achieve the new notebook style and the group of characters.In the second section,the function of dialogic fiction in the original text is not only to shape the character and increase the authenticity of the novel drama,but also to obtain great freedom of narration by replacing the narrator by the reflector and the narrator by the display,leaving behind the precious "empty meaning" that needs the reader's own appreciation." In the third chapter,the narrative individuality of A Cheng's novels is taken as the research object,and the different narrative perspectives and the way of expression of characters' discourse between "Three Kings" and "The Romance of the World" are distinguished and the meaning is explored,and how A Cheng finds the most suitable narrative way to unfold the story in the two novels with completely different styles is analyzed.Although the number of A Cheng's novels is not enough to compare with other high-yielding writers,and their themes are close to each other,it is another vast space to enter his novels from the perspective of "style".