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中国现代文学史上,都市话语并不占据主流。五四之初,思想启蒙大潮来袭,许多作家还来不及思考和表现都市及其代表的现代文明。20世纪20年代中后期开始,都市话语登堂入室,经由通俗言情小说、社会剖析小说、新感觉派小说的推动,从“空间背景”走向“日常生活”。新中国成立后,都市话语被局限在工业化建设和工商业改造领域,担负着意识形态规训使命。进入新时期,改革小说实现从“改造”到“改革”的话语位移,都市开始在作家笔下变得多姿多彩,个性化、多元化成为其主基调。当然,在市场经济和大众文化裹挟下,都市话语也存在欲望化、平面化等不足,亟须打通繁复人性与意义诠释之间的界墙,循着既有的多元化之路,把都市人生及故事讲深入,讲生动。
In the history of Chinese modern literature, urban discourse does not occupy the mainstream. At the beginning of the May Fourth Movement, many writers still had time to think and reflect the modern civilization of the city and its representatives. Beginning from the mid and late 1920s, urban discourse came into the room, moving from “space background ” to “daily life ” through the promotion of popular romance novels, social analysis novels and new sensational novels. After the founding of New China, urban discourse was confined to the field of industrialization and industrial and commercial reconstruction, and assumed the mission of ideological discipline. In the new era, the reform of the novel realizes the discourse shift from “reform ” to “reform ” and the city begins to become colorful, individualized and pluralistic under the writer’s writing. Of course, under the coercion of the market economy and mass culture, urban discourse also has its own limitations such as desire and flattening. It is imperative to get through the boundary between the complex humanity and the interpretation of meaning. Following the existing pluralism, urban life And the story speaks in depth, vivid.