LI Yueguang

Abstract：In the 1990s， the creation of Lin Bai， an important representative writer for "private writing" and "female writing，" is paid literary world attention for its unique personality and cultural impact . Before 2000， Lin Bai's works are focused on describing the personal growth of women， exquisitely depicting their unique experience in mental and physical aspects and， since 2001， her creative vision changes from the female personal experience to the underlying folk life， while changing her narrative methods at the same time.

Key Words：Lin Bai， creative characteristics， transformation

中圖分類號： 文獻(xiàn)標(biāo)識碼：A 文獻(xiàn)編號：1674-3520（2014）-01-0218-02

I. THE MAIN CHARACTERISTICS OF LIN BAIS CREATIVE VISION

As noted in the Contemporary Chinese Literature， Lin Bai establishes her narrative style and personal vision as following：

Her novels usually depict feminine imagines that are isolated from vulgar and disorder social life through a female narrators words of great sense of approval by poetic and lyrical style of writing. That these perfect feminine images contradict and conflict with the masculine-centered social reality produces a strong sense of mood style.

Lin Bais creation has coherence. Her thinking and writing on the self consciousness of female fate built the female image on the basis of the male power culture deconstruction.

For Lin Bai， loneliness is a special kind of artistic perspective to explore the human survival predicament and spiritual home. In the female world that she created， loneliness is not only the environment of survival and living status， but also a kind of source of existence and life attitude， because loneliness causes the individual and social differences.

Lin Bais narratives of female individual life history， the writing of the female body， the secret emotions and experience of writing， have an innermost internal logic. This narrative logic is the own logic of her life. In the 1980s， the comparative literature professor， Ann Rosalind Jones， put forward：

How， then， are the Institutions and signifying practices （speech， writing， images， myths， and rituals） of such a culture to be resisted？ …… That resistance does take place in the form of jouissance， that is， in the direct reexperience of the physical pleasures of infancy and of later sexuality.

Lin Bai keeps stripping the deepest personal memories out of the collective memory， exaggerating the consciousness of women， showing female fighting instincts and the female self expression， and looking for female discourse.

The consciousness of women in Lin Bai's works is mainly on the description of female love and sexual psychology. Lin Bai constructs the text with the unique female perspective and consciousness， showing the personalized experience and caring to a unique female desire in the native state. The novel illustrates the revolt against the male social， deepening the females experience to the extreme in the spiritual dimension， and trying to establish a pure female discourse by writing. From content to form， the gender consciousness of female writers is strongly highlighted， leading to a certain combination of the female consciousness and literature consciousness.

Overall， Lin Bais works present the female themselves from the aspects， such as the sense of loneliness， physical awareness， female friendship etc. Moreover， the books mine the personal experience and illustrate women's private lives. Her books are of great open and innovative significance to the development of the consciousness in female literature.

II. THE STYLE TRANSFORMATION

From Shuoba， fangjian， there are some changes in Lin Bai's creative vision， which pays more attention to women's survival circumstances in real life. The vision is no longer confined to the town， but gradually moving towards a broader view – the country. But generally speaking， the changes of the narrative approach and the material choice do not affect the resolute position and the consciousness demands of women. The Chinese literature professor Jin Siyan defines women novelists write as following：

Another group of women novelists write mainly in colloquial language （sirenhuayu）. The writing style is fragmented， “postponed” （in Derridas sense） about the most intimate personal experiences， a monologue of the “I” enclosing itself within its private world.

The cross-textual novel Zhen Huang Ji， allegorically thoughtful Wanwu huakai， and creatively intertextuality open writing "gossip between women"， generally can be seen that it is a complete transformation process， indicating that Lin Bai will have new pursuits and changes in the creation. Lin Bai comes out from the creation like a whisper， she gets vaster worlds to run， to write with her unique sharp vision.

In recent years， Lin Bai changes her style from talking about herself， indulging in the individual， to focusing on others and showing their ordinary life. The consciousness is from intellectual elite to the public， from the sexual antagonism， males dictatorship to the harmonious development of the original ecological bisexual. Lin Bai's ideas and vision have changed significantly. In Wanwu huakai， Lin Bai has changed female consciousness from the self-expression in the world of anxiety， to opening her heart to the outside world. For the first time， she listens to the voice of the world as an "other person".

From the female secret room to the folk world， Lin Bai has completed a transformation， although not suddenly. That is the result of external and internal factors interacting， an inevitable phenomenon of the writer's personal appearance in the growing process， which provides a new possibility for the development of female literature.

A. Reasons

Lin Bais early works reflect women's characteristic life experiences and personal memories. In recent years there have been great changes in Lin Bai's creative vision， from the women's self attentions to a realistic attitude， the transformation reflects the dilemmas in current literary creation， and the writer's personal efforts solve them.

On one hand， this concerns the writer's personal growth experience. Literature is the essence of life， it is worthwhile when the literature reflects the author's special life. Because of her early growth experience， Lin Bai grows to be a closed minded， extremely strong and self-conscious writer. She has a very clearly feminist writing position， and fully immerses herself in her awkward and redundant world. However， for this reason， she was shocked when she saw clearly this awkward world for the first time， yet found a different and unforeseen world. She gives up her sense of superiority but decides to listen to this world； she becomes tireless in duplicating those trivial things， and shows a strong interest in them. Therefore， Lin Bais style transformation is due to her personal life experience. Only a person exposed to broad life experiences can be shocked when she realizes her narrow minded world.

On the other hand， when Lin Bai writes the stories of women， she protests the despair. Basically， Lin Bai's characters are ordinary people， withstanding the huge pressures of life. At the beginning， Lin Bai's works are full of anxiety and sincere solicitude to the present life. Her personal experience and imagination which， once connected， with real life are greatly shocking. The moment when Lin Bai found such a colorful world in folk， she unfortunately did not know， or knew little how to react. She was very surprised to find this world； therefore she changes naturally after this discovery.

B. Meanings

In the diverse twenty-first century， Lin Bai slowly descended from the proudly fly， from the Boli chong to Wanwu huakai， then to Funv xianliao lu. From the individualized talk to the wide and real world， Lin Bai began to placate the life， more and more content of social life can be seen in her works， the proportion of individual discourse gradually reduced. Lin Bai is saved by her own efforts to find a path to outside the road.

In fact， from the beginning， Lin Bai has been seeking redemption， that is one of the important themes for female personalized writing. In Lin Bai's novels， the heroines save themselves through a variety of ways， or rely on men's love in married life， or rely on same-sex love from the women's sisters etc.， but they go nowhere in reality. Therefore， to some extent， writing is a way to save oneself.

Lin Bai brings her new life through the works transformation to their new life， subverting the past feminist writing mode， it not only has great significance for future creations， but also brings some degree of impact to the long and silent female literary world， providing a new possibility for the development of contemporary female literature.

III： CONCLUSION

From the unique experience of a female individual， Lin Bai relentlessly pursues the reality and freedom of life， which fills her literary narration not only with the politics and social significance of sexual relationships， but also with the unique poetic values and aesthetic charm. In the entire process of literary creation， Lin Bai has always been fixating on the survival of oneself and others. In her early stages， she mainly focuses on the expression of the lonely female existence and quest for salvation. Recently， she begins to show an Others world. Thus， her changes in the novels are rooted in her incessant thinking about the survival of this proposition.

Lin Bai has always been adhering not only to her creative style， but also to her continuous efforts of self transcendence. Arrogantly flying is a kind of freedom， as expressed in Wanwu huakai：

My lump remembers more things than I do， it flies over the sky of Wangzha ， seeing pigs and dogs， dragonflies and ants， ground canola and pumpkin on my bed ...... all the people and things are flying. Everything is flying.

However， the lonely heart continues to increase the physical exhaustion. Therefore， Lin Bai chooses to fall alight， landing on the folk earth， integrating the women's individual experiences into the folk world， leading to the release of passion for the potential energy， showing a unique spirit. Her creative practices really inherit and expand the female writing， injecting new vigor and vitality to the contemporary female literature.

REFERENCES

[1]The Development of Contemporary Novels； Major Novelists and Their Works （1989-2000） ， Contemporary Chinese Literature， http：//jpkc.zju.edu.cn/k/404/English/2/7/5-3.html， 12/12/2013.

[2]Ann Rosalind Jones. Writing the Body： Toward an Understanding of l'écriture feminine， Feminist Studies 7 （Summer1981）. Rpt. in Feminist Criticism： Essays on Women， Literature and Theory， eds. Elaine Showalter （New York： Pantheon， 1985）. Feminist Criticism and Social Change， ed. Judith Newton and Deborah Rosenfelt （Methuen， 1986）； Feminisms： An Anthology of Literary Theory and Criticism， ed. Robyn Warhol and Diane Herndl （Rutgers University Press， 1991）.

[3]Jin Siyan. Womens Writing in Present-Day China. Translated from the French original by Philip Liddell. China Perspectives. 2003.

[4]Lin Bai. Wanwu huakai. Beijing. Renmin wenxue chubanshe. 2003.

[5]Cheng Guanwei. Zitai xiezuo de zhongjie yu wuzitai xiezuo de fuxian. Wenyi zhengming. 2005（2）， p. 42.