| Wang Anyi is one of the most important writers in the contemporary Chinese literary circle.Her works almost run through the whole process of the development of contemporary Chinese literature from 1970 s to now.Wang Anyi’s works are rich in subject matter and varied in style.No matter from which Angle to interpret his works,people can find his unique writing.In the fruitful research results,however,in view of wang anyi’s works written discussion near no senses,despite scholars will focus on the line of sight to the her works built after the film adaptation of the auditory and visual narrative space,but after the novel text by the film and television will belong to the second creation after lens language,in the study of the current visible did not appear in the novel text to her senses written interpretation,There is also a lack of attention to the non-visual and auditory senses of the text.Therefore,this paper takes the olfactory writing in Wang Anyi’s novels as the research object,combines the concept of olfactory physiology and physics and the relevant content of cultural research,and tries to start from four aspects: the types of olfactory images in Wang Anyi’s novels,the construction of olfactory and space-time,the connection between olfactory and emotion,and the narrative function of olfactory.This paper analyzes the rich signifier and the meaning of continuous displacement of olfactory writing in Wang Anyi’s novels.The introduction part of the paper firstly combs Wang Anyi’s growth experience and creation overview.Wang Anyi’s writing is not only to pour out his feelings,but also to build his own "spiritual world" in writing.Secondly,the concept of the word "smell" is defined from the physiological sense,and the evaluation of traditional scholars on the sense of smell is briefly combed.Finally,it summarizes the research status of Wang Anyi’s works at home and abroad,as well as the research status of sensory research and olfactory research.The first chapter of the paper combs the tradition of olfactory writing in Chinese classical literature,organizes the olfactory writing in Wang Anyi’s novels,and makes a preliminary classification of olfactory images in the text.The olfactory images involved in the novel can basically cover the three categories of living body odor,inanimate body odor and abstract odor.The classification of the first part is the basis of the subsequent research.The second chapter starts with the relationship between olfaction and space.In space,the occupation of space by odor shows that olfaction can reflect the unique odor landscape and serve as a clear marker of the occurrence of events,so as to distinguish it from the daily living space.In the temporal relationship,olfaction can mark the natural time through the seasonal periodic changes of odors,and can also serve as a node in one’s history to connect one’s past and present.Finally,when olfaction is associated with characters,time,and space,it can induce relevant memories,which,unlike the real representation of time and space,can be imaginary reconstructions.People have a strong and emotional memory of odor.Odor bypasses language and can directly connect the material world with people’s inner state to evoke people’s nostalgia.It can also be used as a release agent of memory to reconstruct a person’s childhood.The third chapter starts from the relationship between smell and emotion,how smell affects the character’s emotion is interpreted.In the realm of emotional morality,the threat of a bad smell becomes a means of exclusion.Smell bias is like an invisible boundary,which becomes an insurmountable barrier in the process of communication and interaction between people,and smell becomes a means to divide ourselves from others.Moreover,from a psychoanalytic perspective,traumatic events experienced by individuals are encoded into memory through olfactory cues.Odor appears in the process of emotional conflict,which gives the event the character of trauma.Odor,as an absent participant,can also evoke the memory of traumatic experience.The fourth chapter discusses how olfaction plays the narrative function of flashback and stream of consciousness in the novel.In shaping the character,odors can serve as distinctive olfactory faces,becoming unmistakable markers of specific substances or individuals.At the same time,smell also serves as a boost to the development of the story and improves the narrative structure.In the conclusion of the thesis,Wang Anyi’s olfactory writing is analyzed in the context of her creative psychology and writing purpose,and the aesthetic pursuit of Wang Anyi’s writing is discussed.Wang Anyi believes that emotion,as a kind of psychological experience,is an essential component in the process of artistic creation.In the process of emotion penetrating into works,rationality bears the important responsibility of testing the quality of emotion and relieving emotional pressure.That is to say,Wang Anyi not only emphasizes rationality and technology in writing,but also attaches importance to perceptual emotional experience.The relationship between rationality and sensibility in her novels is mutually permeable and interconnected.Wang Anyi’s attention and practice to olfactory writing marked her active exploration with new ideas and personal characteristics in writing,and constantly expanded the writing boundary of contemporary Chinese literature. |
