On The Cross-Genre Fusion Creation Of Chinese Science Fiction Literature Since The New Era

In recent years,Chinese science fiction has gained widespread attention due to the award-winning Three Bodies series by Liu Cixin and the blockbuster sales of Wandering Earth,a hard science fiction writer known for his "neo-classical" style(Put forward by Wu Yan),which has evoked a desire for "typical" science fiction works.This artistic style evoked a desire for "typical" science fiction works.In fact,since the new era,the science fiction community has explored more diverse creative directions,and a significant number of works have boldly fused elements from other artistic genres,presenting a distinctly "cross-genre" character.The discussion of "cross-genre convergence" is premised on how "genre" is defined.As we can see,although there has been a great deal of discussion about the concept of science fiction,in many cases,we have adopted an empirical perspective based on labeling to measure the presence or absence of "science fiction" attributes of a work.These labels are often distilled from the classic features of science fiction works from previous generations of creative practice.With the concept of cross-genre fusion clearly defined,we first explore a creative attempt to fuse romance and science fiction(Chapter 2).In a review of previous science fiction works,we can see that the elements of romance have long been embedded in the material of science fiction works,which makes the fusion of the two extremely natural.The main representative of such works in China is He Xi.By analyzing He Xi’s creative practice,we can see the different percentages of romance and science fiction elements in romance science fiction works and their corresponding artistic expressions,as well as He Xi’s conservative stance in both the romance and science fiction fields.In order to compare with He Xi,we can introduce another creator,Xia Jia.In her work,we can see a more hazy narrative style and a gender consciousness that is unique to women.The third chapter focuses on the science fiction genre that incorporates weird talk,we can call it weird science fiction.We can trace the genre of weird tales back to Lovecraft’s Cthulhu mythology system,and this art genre also has certain similarities with science fiction,but the difference lies mainly in the focus of the subject matter and thinking.Creators who are good at creating weird science fiction.The most representative one in China is Han Song.In his works,there are a lot of horror and grotesque elements in the background of science fiction,and the plot gradually evolves to absurdity as it progresses.There are at least three typical scenes in his works: the red ocean,"cannibalism" and subway journeys.In terms of creative themes,his works are characterized by three dimensions: techno-skepticism,reality criticism and narrative labyrinthine dystopia.We can also see the pessimism,techno-skepticism,nihilism and other spiritual qualities that are often expressed in weird science fiction.Chapter 4 deals with the phenomenon of the fusion of fantasy and science fiction.This genre is very large,and in fact,science fiction is also potentially related to fantasy,but the fusion of the two is relatively delayed due to the contradiction in the discourse system of the worldview framework.Many works have reconstructed the discourse system to make the two compatible,while some works have deliberately collaged the two.Although domestic works in this field lack the artistic achievements of Liu Cixin and Han Song,there are valuable experimental directions such as combining Chinese classical mythology with science fiction,"rare science fiction" and "infinite stream",which deserve our It deserves our continuous attention.In the fifth section,the results of cross-genre fusion research are summarized and reflected.Two models of cross-genre fusion can be summarized: "narrative embeddedness" and "worldview fusion".The impact of cross-genre fusion on science fiction works is different in different directions:romance science fiction tends to show its adherence to traditional lifestyles,gender-specific conceptual pursuits,and poetic language;weird science fiction often shows its denial of technological civilization,integration of psychological and religious elements,and relatively pessimistic approach to reality;fantasy science fiction is prone to the disintegration of science fiction The fantasy genre is prone to the disintegration of the rational spirit of science fiction,the disintegration of its scientific and technological inspiration,and the stimulation of artistic tensions across different discourse systems.Moreover,it is important to note that the phenomenon of cross-genre fusion is very widespread,even in the works of Liu Cixin,who is known as a "classical" writer.Finally,the dissertation also engages in self-reflection,recognizing that the study’s reliance on empirical facts has led to difficulties such as loose structure and lack of rigor at the theoretical level.However,based on the objective existence of science fiction works characterized by cross-genre fusion,the paper still tries to fill the theoretical gap in this field and looks forward to a more prosperous and diverse future for Chinese science fiction.