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“成长发展小说”这一独特的体裁产生于18世纪的德语文学。它以个体的成长发展为核心,将主人公的成长历程与时代的生活全景图交织在一起。由于中国缺乏西方浪漫主义的文化传统,个体长时期内无法在主流价值序列中占据超越群体的优先地位,这一特性导致了对展现个体心理情感和精神成长发展的轻视。70后作家路内的“追随三部曲”描摹了路小路及其小伙伴曲折的成长历程,与“成长发展小说”的许多特性相吻合。但那些人物的生活貌似丰富,实则单调,一味自我复制,沦为没有真正成长的发展。在这个意义上,“追随三部曲”只能被视为准“成长发展小说”。这一特性展示了路内在内的众多新生代作家共同的精神征候,而如何摆脱流行的虚无主义价值观的拘囿成了他们呈现新的创作风貌的关键。
The unique genre of “Growth and Development Novel” comes from German literature in the 18th century. It is the individual’s growth and development as the core, the protagonist’s growth process and the life of the panorama intertwined. Due to China’s lack of cultural tradition of Western romanticism, individuals can not take precedence over groups in the mainstream value sequence over a long period of time. This trait has led to the slightest contempt of individual psychology, emotion and spiritual growth. The “Follow the Trilogy” in the post-1970 writers’ plot traced the tortuous course of the road and its companion, which is consistent with many of the features of “Growth and Development Fiction.” However, the life of those characters looks rich, but in fact monotonous, blindly self-copying, reduced to no real growth. In this sense, “follow the trilogy ” can only be regarded as “growth and development novel ”. This feature shows the common spiritual signs of many new generation writers within the road, and how to get out of the customary nihilistic values has become the key to their new creative style.