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本来,现代散文就有着深厚的幽默传统,除了鲁迅以外,以梁实秋、林语堂、钱钟书、王力为主的四十年代散文,随着新时期艺术思想的解放,得到了广泛的认同,对于许多作家来说,无异于是—种发现。再加上,台湾香港幽默散文的大量传入,余光中、李敖、柏杨等幽默作家散文风靡一时。获得了空前广泛的读者群。年轻的读者好像发现了新大陆一样发现了和抒情的美化不同的艺术境界。如果抒情散文的美学原则是美化对象和自我情感的话,幽默散文则在某种程度上,是不怕“丑”化对象和自我的。如果把抒情的诗化叫作“审美散文”的话,粗浅地说,幽默散文则可以称作“审丑散文”仅短短的十年时间,幽默的、“审丑”的、非诗化的、非美化的散文就取得了长足的发展,不但有了大量的艺术探险者,而且从各方面,涌现出了一批具有影响力的幽默散文家。小说家中有贾平凹、王小波,诗人中有刘程亮、舒婷、韩东、于坚,理论家中有孙绍振等等。取得成就的幽默散文作家和小说家诗人比有一点很特别。他们很少单纯以散文为专业,往往在进入幽默
Originally, modern prose had a profound sense of humor. Apart from Lu Xun, the essays of the 1940s, mainly based on Liang Shiqiu, Lin Yutang, Qian Zhongshu and Wang Li, were widely accepted with the liberation of artistic ideas in the new era. To many writers it is tantamount to discovery. In addition, a large number of humorous prose essays in Hong Kong, Taiwan, Yu Guangzhong, Li Ao, Bo Yang and other humorist essays all the rage. Received an unprecedented wide readership. Young readers seem to find the same as the New World discovered and lyrical beautification of the different art realm. If the aesthetic principle of lyrical prose is to beautify the object and the emotion of the ego, the prose of humor is, to a certain extent, not afraid of the “ugly” object and the ego. If lyric poetry is called “aesthetic essay ”, then, crudely speaking, a humorous essay can be called a “ugly essay ” just a short period of ten years, humorous, " The non-poetic and non-beautified essays have made considerable progress. Not only have there been a large number of art explorers, but also a number of influential humor essayists emerged from all aspects. There are novelists Jia Pingwa, Wang Xiaobo, there are poets Liu Chengliang, Shu Ting, Han Dong, Yu Jian, theorists have Sun Shaozhen and so on. Humorous prose writers and novelist poets who make a difference are a bit more special. They rarely specialize in essays, often in humor