On The Narrative Ethics Of Chinese Non-fiction Novels In The New Centur

The concept of "Nonfiction" was born in the United States in the 1960 s,which is a way for writers to respond to the absurd and chaotic reality.It experienced the process of transformation from "new news reporting" to "nonfiction",gradually changed from news matrix to the field of literature,and quickly became the focus.After a debate,non-fiction literature broke the prejudice of professional critics,was accepted by the mainstream of literature,and won many awards.In 1980,Dong Dingshan will be the concept of "non-fiction" formally introduced the Chinese mainland,but in the twenty years after the twentieth century,long imprisoned Chinese literature is immersed in the fictional experiment boom,for the new idea,plus the attitude of disdain,more make the literary idea is buried in the corner of the attention.After entering the new century,the creation concept of "non-fiction" was gradually noticed by some important literary journals and magazines,which led the creation attempt of "non-fiction" literature.Especially after the "nonfiction" column was opened in People’s Literature in 2001,nonfiction writing rode the trend and entered an explosive period,and attracted more and more attention of mainstream criticism.This paper takes the non-fiction novels since the new century as the research object to explore the narrative ethics of this literary form,that is,the relationship between narrative skills and ethical expression.Chapter one examines the ethics of the choice of narrative perspectives.Narrative perspective is an important bearing element of the ethics of literary works.The "non-fiction" nature of non-fiction novels requires the authenticity of events,which limits the choice of narrative perspective.For realistic events occurring late,the author needs to provide a presence through the "first person".In the first-person protagonist narrative,the inner perspective of the experienced self can restore the scene and seek the resonance of the reader;the external perspective of the narrated self can respond to the past and soothe the injured mind.In the first-person bystander narration,the remote external perspective can facilitate the transmission of the value.It is rare to use a holistic perspective,which is more convenient to convey the author’s ethical judgment,while neutral knowledge can make hidden ethical implications.Chapter two explores the setting ethics of narrative time.Related to the narrative time is the narrative structure adopted by the novel.The setting mode of the narrative time determines the structure and organization form of the novel.Therefore,this chapter combines the narrative time with the structure to explore the hidden narrative mechanism behind the time setting.The first is to establish a "contradiction-resolution mechanism" within the novel through sequential narration writing.The second is to establish a "causal-explanation mechanism" within the novel through flashback writing.The results are placed at the beginning of the novel without explanation,and suspense is set to attract readers to consciously find the reasons in the following content,and the preset of the causal relationship between times is buried in advance,so as to promote readers to identify with the causal relationship set by the author.The third is by establishing double narrative structure,between two clues have a can be used as a frame of reference,form a contrast in this paper,reflects the author’s subjective emotions,can also be one of them as another theme line,to form a "theme-juxtaposition" mode,to better convey the author’s ethical ideas.Chapter three explores the construction ethics of the narrative space.The spatial shift of novel writing and research is the general trend in recent years,and the spatial factors and spatial characteristics are paid more and more attention in literature.This chapter covers several forms of non-fiction writers’ use of spatial narrative skills.The most basic function of the first space juxtaposition technique is to be used to build the space in the work.In addition,it can also be used as a way of space arrangement to form a contrast through the juxtaposition of different Spaces,so as to better highlight the characteristics of the main space and express the author’s ethical judgment.The second is the spatial representation technique,which explores the ideology of the builders contained in the private space and public space in nonfiction novels,and how it subtly affects the subjective will of the inhabitants.The third way is the spatial deformation technique,which studies how the author makes the objective space in the literary works under the action of subjective will.In addition,the author’s emotional tendency can be seen from the spatial change,so as to infer the author’s value attitude.