相较于新时期的其他小说,《受戒》无疑是较难归类和定位的。《受戒》的异质性不仅体现在叙述视角的多样性上,还体现在其远离政治经济意识形态的话语方式。汪曾祺打破了因果对应的传统叙事逻辑,淡化了情节,将读者注意点从情节引导到艺术氛围的营造上。该作品发表时出现了读者接受困境,从接受美学的视角观照,可以探究出20世纪80年代初的艺术标准和审美经验的特点。 Compared with other novels in the new era, “ordination” is undoubtedly more difficult to categorize and locate. The heterogeneity of “ordination” is not only manifested in the diversity of narrative perspectives but also in the way of discourse away from the political-economic ideology. Wang Zengqi broke the traditional narrative logic corresponding to causality, played down the plot, and guided readers’ attention from the plot to the creation of artistic atmosphere. At the time of this publication, there appeared readers’ distress, and from the perspective of accepting aesthetics, we could explore the characteristics of artistic standards and aesthetic experience in the early 1980s.