Abstract:
Since May 4th, the writing of folk culture in narrative literature has been used as one of the effective ways to show the local society, regional landscape and folk tradition. This narrative method continues into the contemporary Qindi novels, and also shows outstanding characteristics. In short, traditional geography is divided into the three Qin lands in northern Shaanxi, Guanzhong, and southern Shaanxi. With their similarities and differences in traditional customs, they also promoted “harmony and difference” advocated by many Qindi novels. From a longitudinal perspective, from the Yan’an period to the present, Qin Di’s novels have undergone changes in aesthetic paradigm and variations in folklore writing. Viewed horizontally, the creations of northern Shaanxi writers such as Liu Qing and Lu Yao are rooted in the local culture of tenacity and optimism, and they live with the times. Their novels are naturally inseparable from the writing of folk customs; Guan zhong writers such as Chen Zhongshi and others are tempted to moderate the pragmatic family culture. Their folk narratives express family etiquette and ethical traditions to the fullest. Southern Shaanxi writers such as Jia Pingwa and others grew up in light and exotic, secret and strange mountain culture. In their writing, folk customs are not just daily ways of life but a concrete expression of faith. It can be seen that the reliance on folk culture has profoundly laid the overall tone of the narrative of local literature in the past 100 years, and it has continued to extend into the creative practice of Qindi’s novels since the new period, promoting their great value.
