Taking the representative of Yu Hua before 1990s as an example, this paper discusses the main features of avant-garde novels (high score for help).

There are indeed many factors of China traditional culture in Yu Hua's avant-garde novels. However, it is not easy to clarify the complex relationship between them. Although we can salvage a few words about traditional culture from the writing resources and spirit of Yu Hua's avant-garde novels, we always feel that it is in the traditional culture and literature to find their convergence with avant-garde novels, which makes the discussion of avant-garde somewhat detached. Therefore, to fundamentally understand the relationship between Yu Hua's avant-garde novels and tradition, we must discuss the pioneer itself. Only when we demonstrate the pioneer's biography itself from the standpoint of writing.

The system is unified and all problems can be solved. Here, it needs to be further clarified that the author has no intention (in fact, he can't do anything) to shake the conclusion in the history of literature that the avant-garde rebelled against the tradition, but just wants to make a detailed investigation on the tradition of the avant-garde, and distinguish orthodoxy from heresy, center and edge from the tradition recognized by the tradition, so as to provide theoretical support for discussing the avant-garde tradition and its stance in writing. Here, the author just wants to provide a new research idea and observation method, rather than subverting the existing framework of literary history.

(A) against orthodoxy: based on the traditional writing position

Pioneer is famous for its rebellion and heterogeneity, which is reflected in its resistance to tradition. However, as mentioned above, while the pioneers rebelled against tradition, their texts also appeared cracks in different degrees, that is, the ubiquitous shadow of tradition subverted the myth of the pioneers rebelled against tradition again and again. Therefore, it is necessary for us to make a detailed analysis of the above traditions.

Mr. Chen Sihe once pointed out that there are big and small traditions. "Great tradition is the elite culture of intellectuals in the upper class, and its background is the ideological control ability of state power, so it often relies on power to present itself (in the traditional society of China, it includes the imperial examination system, rigid imperial examination system, ethics education, etc.). ), and it is spread through school education and regular publishing institutions. Small tradition refers to the popular cultural tradition among the people (especially in rural areas), and its activity background is often the marginal zone where the state power cannot be completely controlled or the control power is relatively weak. As far as cultural form is concerned, it deliberately avoids the mindset of political ideology, looks at reality from a folk perspective, and pays more attention to the life of the lower class, especially the rural clan society. " Here, the big tradition and small tradition put forward by Mr. Chen Sihe are actually the orthodox and marginal cultural traditions to be discussed in this paper. Compared with the orthodox mainstream position, the edge is in a suppressed position in most cases. However, when a society experiences value anomie and cultural transformation, the repressed marginal culture will wait for an opportunity to rebel against orthodoxy. Therefore, in China's cultural tradition, rebelling against orthodoxy is also a glorious tradition.

China traditional culture is a complex full of contradictions and struggles. There are contradictions and struggles between Confucianism and law, Confucianism and Taoism, Confucianism and Mohism, Neo-Confucianism and Mind Studies, and scholar-bureaucrat culture and folk culture. However, it is these contradictions and struggles that promote the development and renewal of China culture. Those unyielding souls left their mark on the mottled ancient China cultural and historical picture with their own blood and tears-the rebellious tradition. Zhuangzi, a cynic, "criticized the society and attacked the powerful with the words" Today's party is only exempt from punishment "and" those who steal the hook are punished, and those who steal the country are kings ",which made a brilliant contribution to the intellectuals' criticism of politics.

Pen ",and Tao Yuanming, who abandoned his official position and retired to seclusion, Ruan Ji, who pretended to be crazy and avoided the world, and Li Bai, who said," Alas, how can I solemnly bow and scrape to high officials? "all showed the rebellious tendency of the literati to stay away from Confucianism. As for Wang Chong's "questioning Confucius" and "stabbing Mencius" in Lun Heng, Huang Zongxi's criticism of feudal kings, and his advocacy and expectation of "no monarch" in Waiting for an Interview, all these are valuable evidences for ancient thinkers to advocate critical spirit, question authority and resist orthodoxy. "And those who enjoy themselves in troubled times, those celebrities who have fallen under the influence of' crazy Zen style'", "rebelled against ethics with shocking lifestyles. "Therefore, resisting orthodoxy is an integral part of China's cultural tradition. In the cultural transformation in the new period, this tradition is more inherited by avant-garde writers.

Let's take a look at Yu Hua in Pioneer Wave. His writing position is not so much against tradition as against orthodoxy. Only his resistance made him a pioneer, and it was precisely because of his resistance that he fell into rebellion against orthodoxy.

In the cultural tradition of China. For example, his novella "Gone Like Smoke" subverts the highest moral ethics in China's cultural system and reverses all the virtues of "filial piety": a "fortune teller" in his nineties lives on his son's life to prolong his life and rapes a young girl to make up for the yang; A crying woman in her sixties and her sixteen-year-old grandson are lying in bed, still pregnant; There is also a shameless father who betrayed his six daughters for profit, and the soul of his youngest daughter who committed suicide was also betrayed by him. "This novel world is full of parents depriving their children of their right to survive and strangling the present with the past." In addition, in "198"

In six years and past and punishment, the mark of history is all cool behavior and death penalty. History, the most authoritative text in China culture, has been stripped of its lofty aura in Yu Hua's works, thus revealing the true colors of blind killing. As a result, orthodoxy was exposed, ridiculed, authority dismantled and subverted. However, Yu Hua, the pioneer, contacted the tradition in his writing position with his resolute attitude against orthodoxy.

(B) adhere to the edge: the struggle strategy to serve the war of resistance.

As mentioned above, it is a pioneer's bounden duty to resist orthodoxy, and it is this kind of resistance that has been brought into China's cultural tradition that provides theoretical support for this paper to demonstrate the tradition of Yu Hua's avant-garde novels. Of course, we also need to examine the weapons used by Yu Hua when he rebelled against orthodoxy. As mentioned above, due to the strong intervention of western discourse, young avant-garde writers tend to "say what they have to say" when choosing to resist weapons. Therefore, in Yu Hua's avant-garde novels, western-style text strategies such as cold narration, dreamy style, meaning of language and symbolization of characters can be seen everywhere. However, these western discourses have only methodological reference significance for local pioneers, but have no ontological reference value. As Mr. Wang Furen said, "China's modernist literature can only be sublimated from the real life feelings of China writers" and "will not be directly produced under the influence of western literary works." Therefore, it is the local cultural tradition that really has an important influence on the writer's creation and forms a reference significance for the construction of his text meaning. Even Yu Hua, as an avant-garde novelist, said frankly, "I have lived in China for nearly forty years, and my grandparents are buried here. This is the fundamental force that affects my writing. It can be said that the tradition of China has given me life and growth, while western literature has taught me the way to work. " [5] Over the years, western discourse, as a working method, has gradually eroded its frontier and become mediocre due to its pioneering experiments and repeated discourse patterns. On the contrary, China's traditional culture, which has been deeply integrated into Yu Hua's creative blood and become a part of his life, has been accompanied by his growth. Then, we can understand why such localized and folk classic texts as Living and Xu Sanguan Selling Blood were written by Yu Hua, a pioneer writer who regarded tradition as his enemy. Of course, we can see the traditional ink from the two iconic texts, Alive and Xu Sanguan Selling Blood, which is generally recognized by critics, but what we see from avant-garde novels is not pure avant-garde. As mentioned above, the pioneer's own tradition makes Yu Hua's turn not abrupt and unexpected at all, but seems to have been brewing for a long time. In other words, the pioneer's cracking began from within the pioneer. Because of his strong desire for self-expression, Yu Hua used some western-style discourse strategies in avant-garde novels, which led to the colorful text form. But through this layer of discourse fog, we can still smell some traditional breath to support our literary imagination. Yu Hua is not "what he said must be the West". As mentioned above, Yu Hua will also choose traditional words to fight against tradition. Of course, he chose the marginal discourse in the tradition to oppose the orthodox discourse in the tradition, so as to show his vanguard posture and effectively coordinate his resistance and conversion. For example, in his famous novel A Reality, he used China's traditional theory of evil nature to effectively subvert and ridicule the orthodox theory of good nature. In a series of novels, such as Errors by the River, he used wuyue's rationality to confront the sensibility of Confucianism in the Central Plains. In addition, his "Smoke" and "April 3 Incident" also have obvious attempts to use mysticism to counter "Monsters without Words". Here, the traditional marginal culture became the stronghold of Yu Hua's resistance and gained publicity. Therefore, if Yu Hua's avant-garde novels are anti-unification writing, then western discourse and traditional marginal discourse are the two major discourse resources serving this writing position. However, due to the limitation and virtual representation of the former in text operation, its effect is mostly a mere formality and will inevitably disappear, while the localization and existence of the latter will inevitably make it a powerful resource. Therefore, to some extent, Yu Hua's "personal position" and "folk position" in Living and Xu Sanguan's "Selling Blood" are also evidences for the reuse of traditional marginal words. Yu Hua resisted orthodoxy by sticking to the edge, and the edge he chose was undoubtedly a part of the tradition, which provided theoretical support for this paper to demonstrate the tradition of Yu Hua's avant-garde novels. But he chose the edge, which also means his resistance to tradition, which constitutes the pioneer posture that Yu Hua is relished. Therefore, between orthodoxy and fringe, between resistance and conversion, Yu Hua seems determined to use his novels as a pioneer to interpret this value.