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作为中国当代讽喻写作的代表,阎连科近年来的小说创作有日趋极端之势,其最新的长篇小说《日熄》在这方面表现明显。极强的理念预设和想象的逻辑的耦合,使得他的小说在远离现实的同时,越来越呈现出概念化、模式化的倾向,以至于出现有情节无细节,有讽喻无意趣的悖论,文学写作的边界问题随之也被提出。就阎连科的创作实践而言,小说边界问题的提出,是多重因素作用下的结果,不仅与作者一贯以来的创作风格和讽喻写作的文体特征有关,更是当前时代文化症候的表证。他既不能很好地处理想象与写实的辩证关系,又常常想以奇取胜,奇崛的情节背后显现出来的其实是表象的简单叠加。
As a representative of the contemporary Chinese allegory writing, Yan Lianke’s writing in recent years has become more and more extreme. His latest novel, “Going Out”, has shown remarkable achievements in this respect. The combination of strong presuppositions of ideas and the logic of imagination made his novels appear more and more conceptualized and modeled even away from reality, so that there appear paradoxes of plotless detail and allegory no interest The question of the boundary of literary writing was also raised. As far as YAN Lianke’s writing practice is concerned, the issue of the borderline of the novel is a result of multiple factors. It is not only related to the writer’s consistent style of writing and the stylistic features of allegory writing, but also a symptom of the current cultural symptom. He neither handled well the dialectical relationship between imagination and realism, but also often wondered with surprises. What emerged behind the spectacular plot was a simple superposition of appearances.