1、 Introduction

The new realism literature of the Silver Age in Russia is closely linked to social life, reflecting the examination and reflection on modernity. Yevgeny Zamyatin, as a representative of neorealism, explored the diverse presentation of visual elements in novel narratives and emphasized the importance of vision in the construction of the artistic world. Zamiyajing's novels are characterized by visual imagery, using techniques such as focusing, exaggeration, and repeated reinforcement to make visual images the main characters that attract attention. The research focuses on the visual extension of characters' psychological states and the psychological projection of specific images, analyzing how Zamyatin uses "subjective lenses" to create infectious transformations and portrayals. The research material is Zamyatin's novels before 1917, exploring the fragmentation and deformation of physical space under the influence of psychological states and the reflection of natural objects on characters' situations.

2、 Microscope: Zamyatin's New Realist Literary View

The new realism of Russian Silver Age literature emerged in the late 19th and early 20th centuries, against the backdrop of a profound shift in social concepts. Neorealism focuses on the irrational mental states of marginalized groups and ordinary people, exploring the dark corners behind human behavior and psychological states. Zamiyajing's new realism creation emphasizes elements such as marginalized groups, subconsciousness, and irrationality. The selection of themes avoids the rapidly developing urban life of industrialization and turns to rural and border areas to obtain vivid image prototypes and diverse plot materials. In terms of technique and style, Zamyatin regards neorealism as a combination of realism and symbolism, using realistic materials but expressing them in a symbolic way. He used the analogy of "microscope" to describe the stylistic tendencies of neorealism, emphasizing bold exaggeration, distortion, and fictional fantasies, as well as absolute fidelity and intuitive presentation of subjective impressions. In terms of language style, Zamyatin advocates concision and simplification, portraying personality traits through the intuitive and outward expressions of characters' words and deeds, using novel and appropriate metaphors and metaphors, as well as changes in onomatopoeia and rhythm to match the characteristics of the described objects.

3、 Writing Heart with Eyes: Disordered Spatial Perception

Zamiyajing's novel creation mainly relies on third person narrative, but in "Three Days" and "Eyes", first person and second person narrative are used respectively, presenting events and the appearance of the human world through non omniscient and animal perspectives. Researchers believe that Zamyatin's novels use a "monophonic" narrative, and the narrator's task is similar to that of a life painter, only depicting what individuals see. However, there is an implicit subject switching in this narrative, where the implicit subject of the narrative language occasionally shifts from the narrator to the focused character, forming two identities of "narrator" and "perceiver". The inner experiences and emotions of the characters present become the focus of the narrative, and their subjective impressions are directly transformed into the external material world.

4、 Jing Yu Qing Yu: Parallel Mythical Thinking and Psychology

In Zamyatin's novels, the characters' psychology is closely connected to the material world, reflecting their inner state through the symbolic meaning of natural objects and embodying the pantheistic ideology of animism. In 'The Belly', the analogy between female tears and summer rainfall showcases the rhythm and confrontation of folk poetry style, as well as mythological thinking. The use of natural imagery corresponds to folk oral literature and conforms to the general pattern of psychological parallelism, that is, the comparison between natural landscapes and human life scenarios. In Zamyatin's works, lifeless scenery becomes the subject of narrative observation, while characters become the objects of scrutiny, such as the "gaze" of the sky and moon in "One Person". In 'The Girl', moonlight participates in the plot in physical form, adding a mysterious atmosphere and reflecting the protagonist's conflicting psychology. Zamiyajing's narrative style is unified with primitive and naive character characteristics, condensing intangible things into visual images, and rooted in the pantheistic worldview of folk beliefs, which has become a prominent feature in his works.

5、 Conclusion

Zamiyajing's early novels constructed an artistic world through individual perspectives and mythological thinking, with subtle integration of characters and environment, and organic collaboration of elements. 'One Person' foreshadows the spatial presentation and character relationships in 'We', 'Girl' delves into the situation of women, and 'Stomach' explores marriage and childbirth. Zamiyajing inherits the style of Gogol and others, using metaphors and metaphors, stylishly simulating dialect slang, and non temporal relationships to dominate the narrative. He pays attention to psychological details, connects the plot with visual images, uses interruption and omission to leave blank space, and invites readers to create together. The connection between literature and painting, the analogy between neorealism and impressionism, the pursuit of narrative coherence and intuition, and dialogue with theatrical and film art. Incorporating Freudian psychoanalysis, externalizing psychology through visual presentation, and using mythological storytelling to reveal the connection between humans and the world.