Shishkin's "Letter of Time and Space" is an important work in contemporary literature, which is often analyzed from a postmodern perspective in academia. However, the novel also exhibits anti postmodern characteristics, such as a monistic worldview and a re humanized protagonist. These characteristics are consistent with performative theory, which, as an important part of postmodernism, has been insufficiently studied in academia. The domestic academic community has not followed up on the introduction of performationism, ignoring its Russian origins and cross-cultural characteristics. The purpose of this paper is to analyze performativism and its Russian origin, update the critical strategy, and point out how Time and Space Letters can guide people to return to their true life through epistolary form, foam text form, and beyond action to revive the subject. The novel also achieves an aesthetic effect of compulsory trust, prompting readers to rediscover their conscience through compromise and complete moral performance. At the same time, the novel proposes the ethical community of smell and the principle of giving, providing aesthetic and philosophical support for building a common system of human values. This article also explores Shishkin's reflections on the fate of humanity, as well as the commonalities between his novel ideas and Chinese Qi theory, filling the Chinese dimension for performativity, enhancing its universal meaning of life, and promoting the interaction between theory and practice.

Performance Theory and Shishkin's Creation in the Postmodern Trend

In the 1990s, postmodernism receded and the trend of postmodernism emerged, characterized by the construction of constructive relationships between actors, the creation of optimistic attitudes, and the emphasis on faith or transcendence. As one of the postmodern theoretical practices, performationism was proposed by Eichmann, emphasizing that love replaces evil as the determining factor, and has aesthetic characteristics such as double framing, personality theology, explicit and opaque subjects. Performance oriented aesthetics constrains the audience's imagination and acceptance path through aesthetic means, belonging to the category of "forced aesthetics". Performances are cutting-edge, comprehensive, and Russian in nature, closely related to the performative nature of Russian literature. Shishkin's novels have a high degree of compatibility with performativity. His works focus on the common destiny of humanity, conveying values such as trust, love, conscience, and peace, and have a distinct sense of author manipulation, which is in line with performativity. As a representative work of Shishkin, "The Letter of Time and Space" showcases the aesthetic effect of performationism, manipulating readers to experience metaphysical illusions such as beauty, love, and transcendence produced by the enclosed space constructed by the double frame.

The outer frame of epistolary body with virtual reality and the foam text form of coexistence and isolation

Explored the application of performative aesthetics and narrative strategies in Shishkin's "Letter to Time and Space". Escherman proposed that closed performative novels achieve semantic richness and narrative flexibility through frames that are both restrictive and deceptive, providing readers with a way to understand the work while revealing the untrustworthy falsehoods of performativity. Shishkin adopts the letter style as the frame, conforming to the pursuit of authenticity in the post truth era. By alternately presenting male and female chapters, using historical materials and documentary style techniques, he enhances the historical and documentary sense of the novel, and improves its credibility. At the same time, the novel breaks the credible truth through impossible narratives, such as characters living in different time and space, knowing far beyond what they should know, and seeing things that are illogical, inheriting the Russian literary and religious traditions, using Christian symbols and imagery from the Bible to enhance the sense of mystery and destiny. In addition, the chapter also discusses the minimalist style of performativism and the foam text form, pointing out that the chapters and character relationships of the Chrono Temporal Letters form an objective closed isolation due to the separation of time and space, but they are connected by creating multiple shared films through six types of contact points, forming the foam form of the text. The characteristics of the foam text, which is pluralistic and integrated and protects the subject, are interlinked with performativism, and enhance the credibility of emotion and form. Shishkin uses the first person cohesive perspective and second person dialogic function of epistolary to promote the integration of readers' and narrators' perspectives, and enhance their trust in the narrator and what is said. Finally, the chapter points out that the foam text is particularly credible because it can be explained. Hishkin has set up six types of contact points in his Letters in Time and Space to form a letter exchange of mutual verification, mutual interpretation and complementation in form, so that readers can follow its guidance when watching the performance of each chapter to deduce a different causal relationship between the foam text, and illusion the two monologues of Sasha and Varoga into the same scene and concomitant performance.

The explicit internal framework that urgently needs to be broken through and the main action of sublimation and transcendence

Escherman proposed a post structuralist binary semiotic view that leads to the invisibility and untouchability of human reality, advocating the use of a closed and fixed explicit semiotic view to restore transcendental production. The explicit symbol view is based on Gans' primitive human model, emphasizing the anthropological "extension" of intuitiveness and primitive traceability, as well as the agency and transcendence of the human subject. In Shishkin's "Letter of Time and Space", the explicit symbol serves as a projection of the protagonist's psychology, reflecting the author's viewpoint and forming an explicit inner frame. The Valojia suicide scene is a manifestation of explicit framing, revealing the limitations of language and the high imitation of symbols, subverting the sacred status of language. Shishkin opposes the dualism of disembodied nature and advocates intuitive phenomenology, which is similar to the performative semiotic view and serves as a warning to modern people. Escherman summarized five methods for performative subjects to break through the inner box, with Valojia becoming an opaque subject, resisting the torrent of discourse through "desire", and maintaining himself as he is. Valojia's nose and sense of smell are well-developed, activating embodied moral mechanisms and building an odor ethical community. Shishkin guides readers' likes and dislikes through scent, establishing the moral authority of Valoja. Valojia is intoxicated by the fragrance and nauseous by the smell, reflecting the moral consensus of the theory of Qi. He sensed the energy of life through his nose, realizing that the intangible can be felt by giving, and that humans exist by giving. He began to give warmth, love, tenderness, and understanding to others, reaching the realm of "becoming an adult with love". The protagonist in "Time and Space Letters" has no verbal communication, but communicates by imitating the other person's posture and perspective, completing a journey of reconciliation with family and friends, and embracing life. In the novel, "hu" and "xue" are independent sentences and paragraphs, with a strong rhythm that follows the rhythm of the heart to uplift readers. The gradually cooling female chapters intersect with the gradually warming male chapters, creating a misty atmosphere in the novel and condensing a new life pointing towards an optimistic future at the end. The main characters follow the prophecy of Binli and board the tram that returns to Eden, symbolizing their return to the letter shaped outer frame of love and romance. The two frames are closed to form the complete event. If readers follow the logic of the event and believe that the protagonist will meet, it means that trust triumphs over cognition, and they identify with the plot elements and the protagonist's views of "Time and Space Letter", gaining identity, beauty, and transcendent experience. Compulsory performationism is based on fully considering reader acceptance, advocating for mutual respect and responsibility between authors and readers to cultivate a sense of civilized communication among the subjects. However, due to its emphasis on the creator's meaning and neglect of the performer's sense that the author and the character share, the author has become a ghost that cannot be discussed in detail. We can use Vinogradov's theory of author image, Booth's theory of implicit authorship, Chinese literary theory, and Fenggu theory to fill the theoretical gaps and dimensions, jointly construct the theory of author mask, and seek mutual learning and development between Chinese and foreign literary theories.