| Summary: | 碩士 === 淡江大學 === 中國文學系 === 88 === Abstract：
After the Great Cultural Revolution of October 1976, Deng Xiaoping alleged for innovation and opening(gaige kaifang ) in 1978. Mainland China again turned to its journey of modernization. What most obviously indicated in contemporary Chinese literature is no more but the reference and Avant-garde literature of “lateral transplantation” from Western Modernism and Post Modernism. The thesis mainly focuses on the study on such novelists of Avant-garde school as Su Tong, Yu Hua, and Ge Fei, attempting to explore the historical imply and political unconsciousness behind it.
The thesis first of all tackles on from contemporary cultural context, exploring the reborn modernism in a new age(xin shiqi), and the post-modernism trend approaching right after it, where Avant-garde novel is laid in a keen and irresistible Western discourse thinking trend. In accompany with the review of the Avant-garde thoughts of the May Fourth Movement, how the Avant-garde cultural emotion of a new age differs from the modernism of enlightenment of the May Fourth Movement can be figured out. The Avant-garde novels of Su Tong, Yu Hua, and Ge Fei merge the art technique of modernism and post modernism; on one hand, it is provided with the derision and obscurity of modernism; on the other hand, fiction and metaphor are also provided, to demonstrate their negativity about the Cultural Revolution. Being Avant-garde novelists as contemporary “opposing parties”, with formality experiment as their text politic, they reveal the rejection and confrontation of Cultural Revolution/Mao Nightmare.
For the thesis in an integral structure, it can be divided into 3 parts, the first part concludes, from the novels of Ge Fei and Yu Hua, the historical narrative time concept and cultural sensibility, how they demonstrate fiction history by means events of desire, death, time, memory narrative, to be interwoven with historical silhouette of Cultural Revolution in their text. This kind of marginal narrative products the rejection about mainstream history, reflecting a kind of revolution intent, which is the maximum significance of Avant-garde narrative of Ge Fei, etc. Then, from the family history/national history of Su Tong, Yu Hua, hometown legend and national allegory can be discussed and analyzed one by one. Among which, the history of hometown (sex), bloody history, jointly depicts the imagination of Su Tong, etc. about the southern scene, to concentrate their imagination about the history of Communist China before foundation, conveying a sense of rejection modern condition through fiction.
The second part starts to analyze from the repeated appearing father/son themes in the text of such authors as Su Tong, etc. The conflict between a rebellious son and father has been the beloved narrative theme of these “avant-garde rebellious sons” in contemporary literature field. The thesis attempts to, from the trick and derision about father/son image of Su Tong, Yu Hua, and Ge Fei, describe the schizophrenia style writing of overturning “the son kills the father” to “the father kills the son”. These forms do not serve only as the best examples of rebellion of patriarchy, but also interpret the lack of major entity consciousness of contemporary culture, just manifesting the keen post modernity of avant-garde text, and the approach of “lower case” age.
The last part respectively combines the history, family and father/son narrative formality significance of such 3 people as Su Tong, Yu Hua, and Ge Fei, and develops a kind of regionally incurred metaphor significance — a theory of “degenerating writing in southern style”. In combination of the southern grotesque discussion in William Faulkner style, through analogue and inference of the southern narrative of Su Tong, etc. in collection of madness, desire, degeneracy, and violence, it finally demonstrates what mentioned by Fredric Jameson “text is the symbolic behavior of a society”. The beaten Suchou youth under the pen of Su Tong; the violence narrative of Yu Hua with nostalgia of Zhejiang; the hovering rainy season in lake area of the south with Ge Fei; all symbolizing the rise of a kind of southern consciousness. They do not only mean a kind of post modernism nostalgia, but further a kind of ritual to resist Mao nightmare through deformed rhetoric.
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