The exploration and breakthroughs in the narrative art of pioneer novels are reflected in what aspects?

As the pioneer of artistic exploration, the pioneer novel expands the function and expressive power of the novel as much as possible, and its unique narrative strategy is the soul of its creative skills, such as Ge Fei's "narrative vacancy", Yu Hua's simple narrative structure and internalized narrative mode and the creation of the structure of the supra-temporal space and time, etc., and the constant change of the pioneer novel is the embodiment of the spirit of artistic exploration. The constant change of pioneer novels is the embodiment of the spirit of artistic exploration, which will never stop, and which will certainly turn the rotten into the marvelous.

The pioneers will always exist, including those who have a sense of pioneering. Individual writing, whether mainstream or marginal, can have a pioneering consciousness and a pioneering posture, because in art there is never a person who is satisfied with the status quo, and will continue to challenge their own limits throughout their lives. This kind of challenging attitude and spirit of exploration is the pioneer. {Pioneer novels are a literary phenomenon with distinctive characteristics of the times in China's specific historical and cultural context. As a pioneer in artistic exploration, the pioneer novel expands the function and expressive power of the novel as much as possible. The creation of pioneer novels is the artistic expression of the writer's aesthetic ideals of freedom, resistance, exploration and innovation, the writer's personal integrity in going against the secular trend, and the constant discovery of the prospects of the possibilities of human destiny and life existence. Therefore, all our literary and artistic creations will always need new techniques and methods. For pioneering techniques can activate our present and future literary and artistic creations, and all great and outstanding works use pioneering techniques in part.

The unique narrative strategy of pioneering novels is the soul of their creative techniques, which reveals the heart-wrenching artistic creation of pioneering novels. For example, Ge Fei's "narrative vacancy", Yu Hua's simple narrative structure and internalized narrative style, and the creation of a super-temporal structure, etc. Reviewing and summarizing these representative pioneering novels, we can see that they have been very successful. Reviewing and summarizing the artistic exploration and creative techniques of these representative pioneering writers is still of positive significance to us.

The "Narrative Vacancy" of Ge Fei's Novels

Any writer's writing, whether it is pioneering or traditional, is not just some empty concepts and linguistic laws, but must contain the writer's alertness to the details of the life here and now. As Ge Fei said, "Writers must rely on a variety of techniques to maintain the interest and patience of their readers. For example, while long story writers often try to 'delay' the climax of a story as it occurs, contemporary writers do not use this method, but allow the stories to occur one after another, that is to say, to lead up to a major plot through a secondary plot." {2}

Vacancy, as a common device in Grievous' narrative, expresses Grievous' understanding of the state of existence. With the help of vacancies, Ge Fei not only accomplishes a kind of depiction and revelation of modern life in his novels - today is a broken, contradictory and incomplete world, with vacancies everywhere, and vacancies are a true depiction of our existence. Our attempts to fill them are often counterproductive, as in The Lost Boat, in which the guard tries to complete the story by shooting Xiao, but leaves people with a permanent and irreparable vacancy. Second, many of Ge Fei's novels involve the deviation and misalignment of historical reality and narrative discourse. Grievous seems to be interested in the roles that people play in many events, the motives of the roles, the contingencies and potential associations of the events, and how all these elements look in the narrative. The elegant syntax of the language constitutes a deliberate quest in the novel, where history appears as a jumble and the quest always lacks a result or a riddle.

Narrative Structure and Internalized Narrative Mode of Yu Hua's Novels

Yu Hua's novels have left behind the complexity of language and structure, and the elaboration of storyline, and emphasized the pursuit of the proposition of suffering, the concern for the protagonist himself, and the details of the real heart. It should be said that the pioneering nature of the narrative structure is reflected in the fact that he breaks through the original "cause-passing-development-climax-ending" vein, and makes a very light touch on the "climax". Climax" is extremely downplayed. For example, Yu Hua's The Story of Xu San Guan's Selling Blood is very simple in its narrative structure, which is always about two people and a family developing over a long period of time in a repeating plot. The simplicity of the narrative structure is also applied to Alive. The time span of the novel covers almost a hundred years of Chinese history, but Yu Hua does not pay much attention to the historical events, and only takes Fugui's life as the main narrative line, so that readers can pay more attention to the way and process of the character's "living" sufferings. The "repetition" of the narrative is also a major feature compared with traditional works, which is also the pioneering nature of the narrative style. In addition to the special tool of "repetition", internalized narrative is also Yu Hua's usual psychological narrative technique, that is, it does not directly penetrate into the inner world of the characters to copy their psychological activities, but rather rips open the hidden and complex psychological state of the characters through a series of external words and deeds. Compared with the above two works, the narrative structure of Shouting in the Drizzle has changed, mainly in the free alternation of two narrative perspectives. One is Sun Guanglin's limited point of view, which constitutes the main part of the novel's narrative through the retelling of past experiences by "I" standing in the time dimension of the present. The second is a hidden omniscient perspective, which comes out silently when "I" am unable to narrate on the spot, and completes the supplementation of the whole event and the promotion of the plot. It is because I am the main narrator of the novel, and because I narrate the story through memories, which are fractured and fragmented. In my opinion, this makes the memories seem very real and tense. In this way, the narrative line remains simple and clear even though the narrative freely travels through the three dimensions of time: the past, the present, and the future. In addition, this is also the nourishment Yu Hua draws from his beloved classical music. These repetitive plots are like the melodies and weaves in music, which in their repetition form a reinforcement and sublimation of the narrative theme over and over again. In Xu Sanguan's The Story of Selling Blood, Xu Sanguan sells blood twelve times in one ****, and although the reason for each sale is different, the process of selling blood is amazingly consistent-from drinking water before selling blood to bribing the head of the blood, to going to the Victory Hotel to eat pig's liver and drink yellow wine after the sale of blood, the repetition of this plot, which is characterized by a certain kind of strong ritualization, not only makes Xu Sanguan's blood-selling worthwhile, but also makes the story of the blood-sellers more interesting and more interesting. San Guan's value of selling blood is not only constantly strengthened, but also the tragic power of the whole novel, highlighting the extraordinary courage and resilience qualities demonstrated by the Chinese underclass civilians in the process of rescuing their sufferings and in their quest for the will to survive. Like Fugui in Alive, the repetition of the deaths of his children and his wife is like a knife cutting his heart little by little, while Yu Hua strengthens Fugui's pain and grief through repetition, showing people the cruelty of the world little by little. Still talking about Xu Sanguan's Story of Selling Blood {3}, in Shouting in the Drizzle, the theme of suffering is likewise expressed through internalized narrative. Within Sun Guanglin's young mind, the central expression form is fear and trembling. The novel begins by showing the character's inner state: "In 1965, a child began to have an unnameable fear of the night. I recall that drizzly night when I was already asleep, so small I was placed on the bed like a toy. ...... A woman's weeping cry came from a distance, hoarse and sudden in the darkness of the night, which had been so silent and unearthly in the first place, and made my childhood in this moment of recollection tremble." The novel opens with an interiorized narrative that pushes Sun Guanglin into an abyss of fear and despair. Powerless to grasp it, yet compelled to do so, without the ability to protect himself and unable to gain the strength to do so from his family and friendship, he can only move toward loneliness and into deeper trembling in his loneliness over and over again.

Transcendental creative structure, time is everything

The novel is ephemeral, and the environmental time within the novel is also an ephemeral lapse. The novelist begins the story, moves forward with all the elements, and finally finishes the story. The reader also a novel begins to read, and visualization and reflection progresses ephemerally. It is evident that the novel begins with the inertia of time. Time is the secret weapon of the novel and plays an extraordinary role in it. {4}The question of time and space in the novel has been long debated. Because there are two kinds of spatio-temporal relations in front of the novel: one is the spatio-temporal relation of the objective material world faced by the artist, and the other is the subjectivized spatio-temporal relation made by the artist. What we know is that the novel narrative is actually a distortion of the real space-time from the very beginning, because it is impossible for the novel to summarize the real space-time in all its details. Yu Hua has the same view of time, and he believes that in the spiritual world of man, all the values provided by common sense begin to falter, and all the old things will acquire a new significance. There, the meaning inherent in time is canceled. The past events of ten years ago can be arranged after the past events of five years ago, and then lead to the past events of six years ago. These same three past events, when recalled again in another contextual time, will be recombined, thus demonstrating their new meanings. This structure of the novel is mainly manifested in Yu Hua's Shouting in the Drizzle, as well as in such essays as The World is Like Smoke, A Kind of Past, and Dedicated to the Maiden Yang Liu. Yu Hua realized the importance of time as a structure, and at the same time, he also realized that time also plays a structural role in traditional novels, so he gave a deeper meaning to the time structure, that is, "fate". So he thinks that the world gives the destiny to man and nature. The destiny of people, houses, streets, trees, rivers, etc. are all in the world set in the river of time, but also in a kind of destiny set, can not go back and can not be changed, all if and when, which reflects the structure of time in the world, which is the law. So we see time in Yu Hua's works, and more often than not we are pulled by a meditative sense of destiny. The reading of the novel takes place in the midst of this pull.

The techniques of literary art are divided into pioneer and avant-garde, while the change and development of a certain technique also shows pioneer and avant-garde in the same way. Pioneering and sophisticated creative techniques such as irony, metamorphosis, labyrinth, and meta-narrative all underwent complex technical changes before being used as pioneering devices. Pioneering novels must have a set of pioneering strategies, a set of counter-conventional techniques, because without counter-conventional techniques, the purpose of pioneering cannot be achieved. The most important thing about the development of pioneering novels is that they are tirelessly fighting against themselves, and if they can't insist on changing themselves at any time, their pioneering nature will certainly be doubted. Therefore, the denial and refinement of the self has contributed to the pioneering novel's constant exploration of pioneering artistic techniques, and this exploration is never-ending.