Abstract
“Craft” is the most important keyword on analyzing Luo Yi-jun’s fictions. In the past, there are keywords including “Abandonment”, “Waisheng-identity”, “Hole” and so on, but even if we sum up all of those concepts, we still cannot get to the conclusion that “Luo Yi-jun’s fiction is unique”. The only solution to tackle with those concepts is to analyze how Luo crafted his fictions so well. We are going to rely on two theories to structure the framework of this thesis: “Nomad Writing” by Kailin Yang and “Hysterical Realism” by James Wood. The framework is going through issues like efficiency of Luo’s craft, difference between fictions and the aesthetic of repetitions. The name of the framework is Hysterical Nomadism. Elegy, Tangut Inn, Daughter, Kuang chao ren, Ming Dynasty and the Pandemic are the fictions we are going to analyze in this thesis. Luo usually rewrites other’s stories as culture appropriation, and pours numbers of personal experience on it to craft a fiction. This technique is named story chains or postmodern collage in the past, and we are framing it as nomad on sovereignty in this thesis, to analyze how Luo is changed in these six fictions. Hysterical Nomadism is a thesis focusing on the form but not contents. Hence, we are not emphasizing formalism, but the mixture of analyzing the form and the contents. The framework of this thesis is to observe how well-crafted between intentions and skills. On the other hand, we learned that literary criticism is also a craft between intentions and skills. A nomad, a communication, a democracy. Let us begin with Luo Yi-jun.