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一20世纪80年代中国文学观念的一个重要转变,就是提出了“人的文学”,或者说“人性”的文学观念。这种文学观念的提出,在当时的文化背景下的确具有振聋发聩的意义。但随后的文学实践,却常常令人对“文学是人学”和“文学应当表现人性”之类响亮的口号所包含的意义感到困惑。从“伤痕文学”开始表现的“人性”逐渐向两极蜕变和分化:一极在世俗化的过程中走向了肉体的狂欢和物质欲望的无厌追逐,而另一极则在对传统的反叛和自我认同中走向了荒诞和孤独。启蒙主义的人性观念遇到了挑战,人们不得不重新审视文学所要表现的“人”及其“性”是怎么回事。
An important shift in the concept of Chinese literature in the 1980s was the proposition of “human literature,” or literary notion of “human nature.” The proposition of this literary concept did indeed have the significance of enlightening in the context of the time. Subsequent literary practice, however, often puzzles people for the implications of such loud slogans as “literature is humanity” and “literature should manifest humanity.” The “human nature” manifested from “Scar Literature” gradually transformed and polarized into two poles: the one pole pursued the frenzied pursuit of physical carnality and material desires in the process of secularization, while the other extreme turned to the tradition of rebellion and Self-identity to the absurd and lonely. The concept of enlightenment’s humanity has encountered challenges, and people have to re-examine the “human” and “nature” of the literature.