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在“十七年”文学的语境中,宏伟叙事占据主流地位,作家的语调中洋溢着一种俯瞰红尘的豪情。文学作为时代的传声筒,其政治表达与社会教化功能极度膨胀,文学的审美意义被抑制,被遮蔽,经世致用与匡救时弊的动机成为驱动作家创作的核心动力。一直到上世纪80年代初期,在政治、社会与文化主潮的裹胁下,不少作家依然亦步亦趋地紧跟主流话语,习惯以“我们”的名义指点江山,自信地以真理在握的姿态,站在真善美的光环下,激烈抨击形形色色的假恶丑。这是一个简单明了的年代,价值中立的缺乏使文学陷入了二元对立的怪圈,非此即彼,是非分明,不管是叙事还是抒情文体,专断的表达作为文学的成规,很少遭遇到有力的挑战。即使北岛在《回答》中宣告的“我不相信”,那种舍我其谁的决绝中,依然闪现着一种你死我活的战争思维。在当时的小说或诗歌中,小说家和诗人都急切地阐明自己的立场,自以为是的议论和大而无当的宣言横行无阻,常常突兀地中断了叙述语流和抒情进程。在这样的文学生态中,社会历史与文学形式的丰富性、复杂性与矛盾性,都没有得到足够的重视。
In the context of the “Seventeen Years” literature, the grand narrative occupies the mainstream position, and the writer’s tone is filled with a pride of overlooking the Red Earth. Literature, as the soundtrain of the times, has been extremely inflated by its political expression and social enlightenment. The aesthetic significance of literature is suppressed, and the motives of using the world and salvging the evil are becoming the core driving force for the writers’ creation. Until the early 1980s, under the threat of the tide of politics, society and culture, many writers still kept pace with the mainstream discourse in a bid and pointed themselves to the “us” Under the aura of truth, goodness and beauty, she attacked all kinds of fake and evil ugly. This is an era of simplicity and simplicity. The lack of value neutrality has left literature in a vicious circle of dualism, which is not clear, whether it is narrative or lyric style. Arbitrariness is seldom encountered as a literary convention The challenge Even North Island’s “I do not believe” proclamation of “answering”, the kind of decision to sacrifice myself, is still a kind of war mentality that you live on. In his novels or poems at the time, both novelists and poets eagerly stated their position. Arguments of self-righteousness and transgressing declarations were unobtrusive and abruptly interrupted the narrative language flow and the lyrical process. In such literary ecology, the richness, complexity and contradiction of social history and literary form have not been given enough attention.