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上世纪80年代,文学从红色眩惑中开始了审美苏醒,韩少功将文化寻根的内涵概括为三个方面,其中一个方面就是“一种审美意识中潜在历史因素的苏醒”。正是从那时起,中国当代文学开始了审美现代性的自觉,小说中,以个性化为主要特征的感性世界成为颠覆社会乌托邦工程的核心力量。然而遗憾的是,这种反抗没有持续下来。进入90年代,文学艺术现代性的根源随商品时代的全面开启而多元化了。在新的文化运演中,在文化格局的前现代性所导致的审美疑团依然阴云不散的时候,随着文化产业化的兴起,消费与传媒改写了文学接受的序列,当代作家身不由己地进入一次新的审美蒙蔽。在针对蒙蔽的审美启蒙运动中——文学的“寻根”行动和先锋试验是那场运动的主要构成——个性化与想象力曾是审美现代性得以实现的关键元素。但是,细读曾经经历过那场审美革命的作家的近期小说,就能发现,在对付商品时代发生的文学的新的审美蒙蔽时,想象力和个性化不是充分安全的审美元素,甚而至于是罪魁祸首。
In the 1980s, literature began to wake up from the red dizzy. Han Shaogong summarized the connotation of cultural roots into three aspects. One of them is “the awakening of a potential historical element in aesthetic consciousness.” It is from this time that Chinese contemporary literature started the conscious of the modernity of aesthetics. In the novel, the perceptual world characterized by individualization became the core force in subverting the social utopian project. Regrettably, however, this resistance did not last. Into the 90’s, the origin of the modernity of literature and art diversified with the full opening of the commodity era. In the new cultural performance, when the aesthetic doubt caused by the pre-modernity of cultural patterns is still overcast, with the rise of cultural industrialization, consumption and the media have rewritten the sequence of literary acceptance. Contemporary writers can not help Into a new aesthetic blindfold. In the blinded aesthetic Enlightenment, the “root-seeking” and vanguard experiments of literature are the main components of that movement - individuality and imagination were the key elements in the realization of aesthetic modernity. However, reading the recent novels of writers who had gone through that aesthetic revolution can find that imagination and personalization are not fully safe aesthetic elements when it comes to confronting the new aesthetic of literature in the commodity age, The culprit.