Liu Shaotang’s Research On The Legendary Narrative Of Local Novels

Since his debut in the literary world in the late 1940s(at the age of 13),Liu Shaotang has become one of China’s most notable writers as a ’child prodigy’.He used the Northern Canal in Tongzhou as a model,combining the legendary narrative of ancient Chinese literature with the ’three paintings and four colours’ of vernacular literature to create a local legend in the style of the region.This paper analyses Liu Shaotang’s vernacular novels from the perspective of legendary narratives,dissects the composition of Liu Shaotang’s vernacular novels in terms of legendary narratives,identifies the deeper cultural origins of the writer’s legendary complex,and finally summarises their values and limitations.The thesis is divided into the following sections.The introductory section focuses on the proposal and significance of the thesis,the explication of the main concepts and the current state of research on the topic.The introduction section focuses on the formulation and significance of the thesis,the interpretation of the main concepts and the current state of research on the thesis.The research status of the thesis also includes three parts: "Research on Liu Shaotang’s Vernacular Novels," "Research on Legendary Narratives," and "Research on the Legendary Color of Liu Shaotang’s Vernacular Novels.The first chapter provides a multidimensional overview of the research results related to the topic.The first chapter grasps the content of the legendary narratives in Liu Shaotang’s vernacular novels as a whole,categorising them into four types: the legend of the countryside heroes who are chivalrous and righteous,the legend of love between a talented man and a beautiful woman,the legend of the customs of the northern canal,and the legend of life in the countryside with a diluted history,and analyses the texts separately to point out the legendary nature of his vernacular novels.The second chapter focuses on how the legendary narratives of Liu Shaotang’s vernacular novels are constructed.Firstly,as legends are born out of historical literature,they naturally retain the gene of ’zhiren’ in their narratives,and Liu Shaotang also adopts a bizarre characterization in constructing his vernacular legendary world.Secondly,the influence of the post-Ming-Qing legendary narrative tradition on Liu Shaotang is not only reflected in the linear narrative structure,but also in the deeper spiritual dimension,as the psychological structure of ’emotion’ and’reason’ clashes in Liu Shaotang’s novels to produce a new change for the times.Finally,Liu Shaotang is deeply influenced by the art of opera and consciously applies the legendary narrative tradition to the creation of his novels,imitating the narrative perspective of the storyteller in the construction of space and time,forming a parallel between the present and history,the field of "storytelling" and the textual space,realising the "virtual" and "real " The third chapter looks at the cultural psychology and cultural soil.The third chapter analyses the cultural origins of Liu Shaotang’s vernacular novels from two levels: cultural psychology and cultural soil.In the section on cultural psychology,the writer’s individual life experience and the reader’s receptive psychology are discussed respectively,in an attempt to grasp the reasons why the writer chooses the legendary narrative to construct the vernacular literary world;the section on cultural soil analyses the spiritual inheritance of the chivalrous public case novels of the Ming and Qing dynasties,the inculcation of folk opera art in the eastern part of Beijing,and the legendary tradition of Chinese modern and contemporary vernacular narratives,revealing the influence of literary and cultural resources on the The fourth chapter examines Liu Shaotang’s vernacular narratives.Chapter 4 summarises the values and limitations of Liu Shaotang’s legendary narratives in his vernacular novels.Liu Shaotang combines vernacular literature with legend,exploring a writing style that is truly in line with the reading habits of the general public and demonstrating the writer’s folk stance,making a great contribution to the construction of a ’Chinese style’ vernacular literature in China and providing a creative direction for vernacular fiction in the new century.His aesthetic style and storytelling are also unique from other writers.Of course,Liu Shaotang’s vernacular novels also have limitations such as typecasting characters,a single plot pattern and solidified themes.In addition,the contradiction between the writer’s popular literary line and his own enlightenment perspective constitutes an occasional textual symptom,limiting the depth of Liu Shaotang’s thinking about vernacular culture and weakening the strength of the novel’s modernity critique.The concluding remarks conclude the text by pointing out the folk position of Liu Shaotang’s choice of legendary narrative and affirming the writer’s efforts to link’vernacular literature’ with ’popular literature’.