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丁永强在《上海文论》(91.5)题为“城市与城市文学”一文中,把新时期的城市文学分为以下几种流派, 1.书摊派。这是城市通俗小说流派,虽非正宗,但读者面广。 2.怀旧派。一种是京华的三教九流(以邓友梅为代表),一种是上海的高等艺人(以程乃珊为代表),另一种是小巷文学(以陆文夫为代表)。 3.改革派,以《乔厂长上任记》为标本。随着改革的深化,充满乐观主义的小说逐渐被更现实、更深沉的写实小说所取代。 4.全景派。从宏图角度,多方位、多层次、多侧面地反映都市的林林总总,是一部巨大的城市交响曲。
Ding Yongqiang in the “Shanghai Literary Theory” (91.5) entitled “Urban and Urban Literature,” a text, the new era of urban literature is divided into the following schools, 1. Book stalls. This is the genre of urban popular novels, though not authentic, but readers wide range. Nostalgic school One is Jinghua nine streams (represented by Deng Youmei), one is Shanghai’s high artistes (represented by Cheng Nai Shan), and the other is alley literature (represented by Lu Wenfu). 3 reformist, “Joe director appointment” as a specimen. As the reform deepens, optimistic novels are gradually replaced by more realistic and deeper realistic novels. 4. Panorama School. From a macro point of view, multi-directional, multi-level, multi-sided reflection of the city’s numerous, is a huge city symphony.