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马华文学作为中国汉语世界里的一种话语生产,其与中国意象的纠葛历来备受议论,因此建构马华文学史必定无法逃脱“中国性”之议题(关于“中国性”的界定,至今尚未有统一的定论)~([1])。从侨民文学发轫起来的马华文学,“中国性”很自然地成为其最突出的特征,尽管某个时期南洋文艺蔚然成风,打出提倡本土性的旗帜,企图稀释中国意象泛滥的运用,但是到了20世纪60年代末至整个70年代,挪用中国意象的创作风潮再度兴起,并与现代主义结合,形成这个年代的重要创作现象。现代主义作为一个包含着庞杂内容的文学思潮关
As a production of discourse in the Chinese-Chinese world, MCA literature has been widely discussed in the context of Chinese imagery. Therefore, it is inevitable that the history of the MCA literature can not escape the definition of “Chineseness” (Definition of “Chineseness” , So far there is no unified conclusion) ~ ([1]). Although Chinese literature and art from the diaspora literary theory became the most prominent feature of its own, although the art of the South Sea became popular in a certain period, playing the banner of advocating local identity and attempting to dilute the use of the proliferation of Chinese images, From the late 1960s to the entire 1970s, the creative wave of embezzlement of Chinese images rose again and combined with modernism to form the important creative phenomenon of this era. Modernism as a Literary Trend with Complex Content