On the Narrative Characteristics of Avant-garde Novels and The Teacher Benefit

The narrative features of avant-garde novels are as follows:

Culturally, it is manifested in avoiding and resisting ideology, and completely dissolving all ideologies.

Subversion of the old literary concept of truth, on the one hand, gives up the pursuit of historical truth and historical essence, on the other hand, gives up the true reflection of reality, and the text only has the function of self-reference.

1, meta-novel.

Avant-garde novelists widely use "metafiction". Meta-fiction is also called meta-narrative and meta-fiction. Through the writer's conscious exposure of the fictional process of the novel, it produces alienation effect, and then makes the receiver understand that the novel is fictional and cannot be regarded as reality. In this way, fiction gains ontological meaning in the novel.

2. Comic imitation.

Avant-garde novelists subvert the traditional narrative mode in various ways. The most commonly used way is parody.

The so-called "parody" means deliberately imitating the narrative style of traditional novels at first, and then subverting this style in the writing process. Among avant-garde novelists, Yu Hua is the most striking parody writer. His Errors by the River, Bloody Plum Blossoms and Classical Love are all representative works in this field.

3. Vacancy.

Another way for avant-garde novels to subvert the narrative mode of traditional novels is to deliberately set up "gaps" in the novels. Deliberately setting gaps (not omitting) interrupts the time chain of novels. After the time chain is interrupted, the causal chain is also broken, and the meaning of the novel cannot be integrated. Gefei's novel The Lost Ship is a typical example of deliberately setting up a "vacancy".

4. Language games.

Avant-garde novelists subvert the traditional narrative mode of novels by conducting anti-narrative experiments through pure language games. Avant-garde novelists attach great importance to the language experiment of novels, but Sun Ganlu is the most extreme in the language experiment.

His works, such as Letter from the Messenger, Visiting a Dream, and Let a Woman Riddle, completely cut off the relationship between the signifier and the signified. There is nothing wrong with every sentence and paragraph, but the whole novel has no story and no content, just the random collocation of those sentences and paragraphs, only the self-reference and mutual reference of signifiers.