How does the narrative mode of China's novels change?

From the narrative time, narrative angle and narrative structure. Time series. 1898- 1927 is a book research center. 1898- 19 16 "new novelists" such as Liang Qichao and Lin Shu, 19 17- 1927 novelists of the may 4th movement1902-/kloc. 1912-191617-1921,192/. Plot time: political novels are suddenly together, detective novels make readers tremble before and after (see dead body flashback), romantic novels are upside down (readers once knew the origin of *, so it turned out to be another way) and so on. ), and the May 4th novel theorists are indifferent to narrative (few people talk about it, whether flashback or interpolation, this grammar is taken for granted, but this writing method has always been related to the novelist's subjective emotions and politics. For example, the narrative angle of Diary of a Madman 2 is equivalent to Genette's "Focus" classical Chinese novels (Tang legends to Ming and Qing novels), in which restricted narrative is adopted (1 first person, two biographies of historical figures, and the characters are omniscient, such as Liu Yichuan); From the layout point of view, the new novelist tries to limit the narrative to one person (the old traveler's travel notes come first, the clever things come last, and then become omniscient. Find out), record the first-person narrative of what you have seen and heard (Wu (sound) "The strange situation witnessed in the past 20 years"). During the May 4th Movement, the first-person narrative was favored because of its lyricism, and diary novels and epistolary novels became popular (Ding Ling's Diary of Ms. Safi and Lu Yin's Old Friends by the Sea), but the first-person narrative became too fanatical and monotonous, while the third-person narrative was purely objective (Lu Xun's Medicine) and pursued realism. Alienation and irony, poetry. Narrative structure: the writer's structural consciousness when creating. What is the center of the plot, character and background? The dichotomy of the novel, local customs and historical sites give way to characters and plots, the writer highlights the creative intention of personnel and political significance, and the scenery is consciously forgotten. (In the past, literati paid attention to local conditions and customs. From the Chronicle of Jingchu in the Southern Dynasties, there were also new novelists, but they didn't shine. They just expressed their views and didn't appreciate the beauty, just to increase the realism of the novel. Hu Shi also said that China's novels lacked the technique of landscape description-many idioms in parallel prose poems naturally poured in when writing landscapes. The frozen section of the Yellow River in Lao Can's travels is better, see below), and the new novels that focus on the inner ("characters") are highlighted, such as the weakening of plot function in political novels, the shift of structural focus of the May 4th novels (not focusing on plot originality but close to life, "I" has personality and psychology), monologue and poetry (the May 4th writers highlight the "artistic conception" outside the story when conceiving). Chapter VII Historical Biography and Poetic Sao Tradition 2 19-245 emphasizes: 1 The reason why China writers are keen to introduce historical biography and poetic Sao into novels 2. Historical biography and poetic Sao affect the development of China's novels, while poetic Sao affects the concrete expression of China's novels. The novel itself is a history book, such as Romance of the Three Kingdoms and Water Margin. It often appears in novels: "There are poems as evidence". May 4th writer, a personal lyricist, has many short stories and translated fairy tales. Zhao's Andersen's Fairy Tales is Bing Xin's. Use poetry.