發(fā)布時(shí)間：2016-12-09 17:53

  本文關(guān)鍵詞：后現(xiàn)代主義思潮與中國(guó)新時(shí)期小說，由筆耕文化傳播整理發(fā)布。

預(yù)讀:西方后現(xiàn)代主義思潮的沖擊和啟發(fā)對(duì)于新時(shí)期小說進(jìn)展所具有的客觀積極性作用，同時(shí)也理性剖析西方后現(xiàn)代主義思潮帶給新時(shí)期小說創(chuàng)作的某些負(fù)面影響。通過這種全方位的深入剖析，本論文嘗試總結(jié)新時(shí)期后現(xiàn)代主義風(fēng)格的小說的價(jià)值以及有著的種種不足，并對(duì)如何重新建構(gòu)當(dāng)代中國(guó)文學(xué)的文學(xué)理性、文學(xué)精神、文學(xué)道德以及文學(xué)理想的不后現(xiàn)代主義后現(xiàn)代主義思潮與中國(guó)新時(shí)期小說

論文中文摘要：自20世紀(jì)中期至今的半個(gè)多世紀(jì)里，西方后現(xiàn)代主義思潮日漸崛起，以強(qiáng)勢(shì)的滲透力和彌散性席卷哲學(xué)、史學(xué)、社會(huì)學(xué)、人類學(xué)、心理學(xué)、文學(xué)、藝術(shù)等探討及創(chuàng)作領(lǐng)域，并且成為這諸多領(lǐng)域中的關(guān)注熱點(diǎn)乃至焦點(diǎn)。以20世紀(jì)80年代初開始，西方后現(xiàn)代主義思潮開始傳入中國(guó)，各種相關(guān)的論述著述以及后現(xiàn)代主義文學(xué)作品被越來越多地翻譯、介紹給當(dāng)代中國(guó)的探討者和文學(xué)藝術(shù)創(chuàng)作者。具體到文藝學(xué)、美學(xué)探討的范疇，對(duì)于后現(xiàn)代主義這樣一個(gè)涵蓋繁雜的龐大的概念系統(tǒng)，關(guān)注其對(duì)于文學(xué)領(lǐng)域的滲透、延伸與詮釋的現(xiàn)實(shí)情境與實(shí)際作用，并討論西方后現(xiàn)代主義思潮與中國(guó)新時(shí)期文學(xué)進(jìn)展之間的聯(lián)系，對(duì)我們更加全面、深入地觀照和深思當(dāng)代中國(guó)文學(xué)的創(chuàng)作實(shí)踐以及論述探討有著十分重要的作用。自20世紀(jì)80年代中期以來，在中國(guó)新時(shí)期文學(xué)的進(jìn)展中，具有某些后現(xiàn)代主義特點(diǎn)、色彩的文學(xué)作品開始不斷涌現(xiàn)；同時(shí)在文學(xué)批評(píng)及探討領(lǐng)域中，“后現(xiàn)代主義”也成為眾多學(xué)者展開批評(píng)及探討實(shí)踐的重要論述參考。伴隨這種現(xiàn)象出現(xiàn)的，是一系列值得我們深入探討的不足。本論文以新時(shí)期小說中出現(xiàn)的具有后現(xiàn)代主義特點(diǎn)、色彩的小說作品為主要觀照和討論對(duì)象，以論述淺析與創(chuàng)作實(shí)踐兩個(gè)向度的結(jié)合性探討出發(fā)，以相關(guān)的西方后現(xiàn)代主義論述為參照物對(duì)新時(shí)期小說的創(chuàng)作實(shí)踐進(jìn)行剖析，并結(jié)合文本的細(xì)讀，深入探討西方后現(xiàn)代主義思潮與中國(guó)新時(shí)期的文學(xué)論述及文學(xué)創(chuàng)作之間的互動(dòng)聯(lián)系。整篇論文通過梳理西方后現(xiàn)代主義思潮在當(dāng)代中國(guó)的傳播，以及中國(guó)的小說創(chuàng)作者及文學(xué)批評(píng)、探討者對(duì)于后現(xiàn)代主義文學(xué)及文化思潮的接受、吸納、借鑒、融合，嘗試探討西方后現(xiàn)代主義思潮對(duì)于新時(shí)期小說觀念發(fā)生的嬗變所發(fā)生的顯在或者潛在的影響，概述新時(shí)期小說中的對(duì)于“人”、“社會(huì)”、“歷史”、“文化”、“性別”等主題折射著后現(xiàn)代主義精神特點(diǎn)的影像呈現(xiàn)，以及新時(shí)期小說中所體現(xiàn)出的多個(gè)層面的后現(xiàn)代主義藝術(shù)特點(diǎn)。在此基礎(chǔ)之上，本論文嘗試構(gòu)建一個(gè)宏觀的論述淺析視角，來審視西方后現(xiàn)代主義思潮的沖擊和啟發(fā)對(duì)于新時(shí)期小說進(jìn)展所具有的客觀積極性作用，同時(shí)也理性剖析西方后現(xiàn)代主義思潮帶給新時(shí)期小說創(chuàng)作的某些負(fù)面影響。通過這種全方位的深入剖析，本論文嘗試總結(jié)新時(shí)期后現(xiàn)代主義風(fēng)格的小說的價(jià)值以及有著的種種不足，并對(duì)如何重新建構(gòu)當(dāng)代中國(guó)文學(xué)的文學(xué)理性、文學(xué)精神、文學(xué)道德以及文學(xué)理想的不足，進(jìn)行某種可能性的探討。第一章“西方后現(xiàn)代主義思潮在中國(guó)的傳播”,為論文的全面討論提供包括概念厘清在內(nèi)的論述前提，并界定論文的探討主題和范圍，對(duì)于西方后現(xiàn)代主義思潮與新時(shí)期小說創(chuàng)作及文學(xué)批評(píng)之間的互動(dòng)聯(lián)系情況進(jìn)行概述。本章分為四節(jié)，第一節(jié)“后現(xiàn)代主義及其文學(xué)思潮概述”的主要內(nèi)容是借助探源和發(fā)生學(xué)策略，厘清“后現(xiàn)代主義”概念的內(nèi)涵和外延，概括后現(xiàn)代主義文學(xué)思潮的主要流派及代表作家，以及后現(xiàn)代主義文學(xué)的基本論述主張和文學(xué)特點(diǎn)。第二節(jié)“西方后現(xiàn)代主義文學(xué)及文化思潮在中國(guó)的傳播”的主要內(nèi)容是梳理清楚西方后現(xiàn)代主義思潮尤其是其文學(xué)、文化思潮自20世紀(jì)80年代開始傳入中國(guó)的相關(guān)情況。第三節(jié)“西方后現(xiàn)代主義文學(xué)及文化思潮對(duì)新時(shí)期文壇的影響”主要是簡(jiǎn)要概括西方后現(xiàn)代主義文學(xué)及文化思潮對(duì)于新時(shí)期小說創(chuàng)作和新時(shí)期文學(xué)批評(píng)實(shí)踐的影響。第四節(jié)“‘后現(xiàn)代主義’在中國(guó)新時(shí)期語(yǔ)境中的自適性進(jìn)展”，則簡(jiǎn)要淺析包括小說在內(nèi)的新時(shí)期具有后現(xiàn)代主義特點(diǎn)的文學(xué)所經(jīng)歷的以“舶來品”到自主性成長(zhǎng)的進(jìn)展歷程。第二章“后現(xiàn)代主義文學(xué)思潮與新時(shí)期小說觀念的嬗變”,以總體上概述新時(shí)期小說在觀念層面發(fā)生著的根本性嬗變，呈現(xiàn)出具有后現(xiàn)代主義特點(diǎn)的觀念表征，主要體現(xiàn)在小說本體論的詮釋、小說敘事論的延展以及小說價(jià)值論的探討三個(gè)層面。后現(xiàn)代主義論述與思潮在深層上轉(zhuǎn)變了中國(guó)當(dāng)代的小說觀念，以而彰顯出“現(xiàn)代”之“后”在新時(shí)期文壇的深遠(yuǎn)意蘊(yùn)和反響。本章分為三節(jié)，第一節(jié)“小說本體論的詮釋：以功能載體到審美客體的轉(zhuǎn)換”，通過對(duì)傳統(tǒng)的以功能載體為核心的小說本體論的淺析，和新時(shí)期出現(xiàn)的以審美客體為根本的小說本體論的探討，指出新時(shí)期的小說本體論已經(jīng)置身于以社會(huì)、文化層面的功能載體向美學(xué)、文藝學(xué)層面的審美客體的裂變之中。第二節(jié)“小說敘事論的延展：以策略論到本體論的突破”，則重點(diǎn)討論小說敘事論的不足，指出在對(duì)西方后現(xiàn)代主義文學(xué)的模仿、借鑒及由受其啟發(fā)而逐漸自主革新的歷程中，新時(shí)期小說對(duì)傳統(tǒng)敘事法策略論的較為廣泛的突破和延展，在文本的去主體化、敘事的破碎與斷裂、語(yǔ)言結(jié)構(gòu)的拼貼、情節(jié)的漂移、界限的消解等諸多方面，均體現(xiàn)出新時(shí)期小說鮮明的將敘事以一種小說創(chuàng)作的策略提升為小說創(chuàng)作的本體性作用的特點(diǎn)。第三節(jié)“小說價(jià)值論的探討：功利價(jià)值與審美價(jià)值的權(quán)衡”，主要討論新時(shí)期小說價(jià)值論所發(fā)生的轉(zhuǎn)變，指出新時(shí)期具有后現(xiàn)代主義特點(diǎn)的小說對(duì)于小說價(jià)值的認(rèn)知游走在“用”與“美”之間，一方面放棄了傳統(tǒng)小說的宏大功利價(jià)值維度而在小說之“用”上進(jìn)行了全新的開拓，另一方面對(duì)小說的多樣性審美價(jià)值也有了較為深入的、全新的認(rèn)識(shí)。第三章“新時(shí)期小說呈現(xiàn)的后現(xiàn)代主義影像”，主要討論通過對(duì)西方后現(xiàn)代主義文學(xué)的主動(dòng)學(xué)習(xí)借鑒或者受其啟迪、激發(fā)，并結(jié)合新時(shí)期特定的社會(huì)時(shí)代語(yǔ)境，新時(shí)期的小說創(chuàng)作者們對(duì)于人、社會(huì)、歷史、文化和性別等重大文學(xué)命題的帶有后現(xiàn)代色彩的思索與書寫。第一節(jié)“小說作品中的‘人’：個(gè)體化存活主體或平面化有著符號(hào)”，對(duì)于新時(shí)期具有后現(xiàn)代主義特點(diǎn)的小說中的人物，所呈現(xiàn)出的特定群體或精神理念的典型及象征作用的剝離、精神信仰與終極作用的消解、存活狀態(tài)與生命體驗(yàn)的非理性、性格的破碎與模糊進(jìn)行了概述式淺析。第二節(jié)“小說作品中的‘社會(huì)’：平面化、斷裂化、欲望化的轉(zhuǎn)型期社會(huì)”，結(jié)合對(duì)滋生后現(xiàn)代主義的轉(zhuǎn)型期社會(huì)土壤的中西比照式淺析，觀照新時(shí)期具有后現(xiàn)代主義特點(diǎn)的小說對(duì)平面化、斷裂化、欲望化轉(zhuǎn)型期社會(huì)的體現(xiàn)。第三節(jié)“小說作品中的‘歷史’：解構(gòu)宏大敘事之后的重新發(fā)現(xiàn)”，重點(diǎn)審視新時(shí)期具有后現(xiàn)代主義特點(diǎn)的小說中歷史主題作品的創(chuàng)作，結(jié)合對(duì)其論述準(zhǔn)備與時(shí)代積淀的概述，總結(jié)這些小說中呈現(xiàn)的游走于虛構(gòu)與寫實(shí)之間的歷史敘事，以偶然性、不確定性消解歷史的本質(zhì)規(guī)律性，以私人化的歷史圖景顛覆集體性的歷史記憶，以對(duì)邊緣化的開掘取代正統(tǒng)的主流關(guān)注等特點(diǎn)的個(gè)人視角透視的歷史影像。第四節(jié)“小說作品中的‘文化’：消解固有文化中心后的多元化呈現(xiàn)”，探討受到西方后現(xiàn)代主義思潮的啟發(fā)性影響，在新時(shí)期具有后現(xiàn)代主義特點(diǎn)的小說作品中，體現(xiàn)出創(chuàng)作者們感應(yīng)著時(shí)代的深刻變革，對(duì)國(guó)家和社會(huì)長(zhǎng)期以來的主導(dǎo)性文化進(jìn)行的重新審視和反思，以及借助文學(xué)創(chuàng)作嘗試構(gòu)建文化多元化融合的開放性進(jìn)展趨向。第五節(jié)“小說作品中的‘性別’：兩性聯(lián)系中女性主體意識(shí)的凸顯”，結(jié)合對(duì)西方女性主義論述的綜觀，概述新時(shí)期女性主義小說的幾個(gè)方面的后現(xiàn)代主義特點(diǎn)體現(xiàn)，包括徹底顛覆男權(quán)話語(yǔ)系統(tǒng)中的傳統(tǒng)女性標(biāo)簽，凸顯存活困境中女性的主體意識(shí)覺醒，消解宏大敘事遮蔽后的女性自發(fā)性選擇，和摒棄男性中心的女性自我世界建構(gòu)。第四章“新時(shí)期小說的后現(xiàn)代主義藝術(shù)追求及特點(diǎn)”，主要以創(chuàng)作視角、敘事理念、審美立場(chǎng)，以及情節(jié)呈現(xiàn)、時(shí)空結(jié)構(gòu)、敘事角度、表達(dá)技藝等幾個(gè)方面，，嘗試以整體上概括新時(shí)期具有后現(xiàn)代主義特點(diǎn)的小說創(chuàng)作中所體現(xiàn)出的創(chuàng)作觀念、藝術(shù)追求、文本結(jié)構(gòu)和敘事特點(diǎn)。新時(shí)期具有后現(xiàn)代主義特點(diǎn)的小說的創(chuàng)作視角主要是以“形而下”消解“形而上”神話。新時(shí)期具有后現(xiàn)代主義特點(diǎn)的小說的敘事理念體現(xiàn)為對(duì)于現(xiàn)實(shí)和虛構(gòu)之間聯(lián)系的反傳統(tǒng)式處理，包括虛構(gòu)在文本中以潛在轉(zhuǎn)向顯在和照相式寫實(shí)與主觀化體現(xiàn)的畫面拼合。新時(shí)期具有后現(xiàn)代主義特點(diǎn)的小說的審美立場(chǎng)體現(xiàn)為以主動(dòng)性的全面“審丑”選擇，顛覆和突破傳統(tǒng)小說的美學(xué)意識(shí)和范式。新時(shí)期具有后現(xiàn)代主義特點(diǎn)的小說的情節(jié)呈現(xiàn)，打破傳統(tǒng)小說中情節(jié)“起因-進(jìn)展-結(jié)局”的完整連貫性結(jié)構(gòu)，取而代之的或是支離破碎的片段堆疊，或是開放性結(jié)構(gòu)的沒有緣起亦沒有結(jié)局；顛覆傳統(tǒng)小說中的合乎理性的情節(jié)邏輯，轉(zhuǎn)為或是突兀地悖離了因果聯(lián)系的斷裂性拼合，或是荒誕地顛倒了因果聯(lián)系的走不出去的怪圈。新時(shí)期具有后現(xiàn)代主義特點(diǎn)的小說的時(shí)空結(jié)構(gòu)，體現(xiàn)為對(duì)客觀時(shí)空進(jìn)行了突破性的消解與重構(gòu)，主要體現(xiàn)在：在時(shí)間處理上打破客觀的時(shí)間鏈條并重新組合，刻意縮短或者拉長(zhǎng)時(shí)間，將瞬間性與連續(xù)性混合起來，或使片斷的時(shí)間與連貫的時(shí)間交錯(cuò)混雜，或用片斷的時(shí)間的凸顯取消連貫的時(shí)間的永恒性；在空間呈現(xiàn)方面大膽利用跳躍、并置、拼貼、章節(jié)交替等方式，追求營(yíng)造作品的空間性效果。新時(shí)期具有后現(xiàn)代主義特點(diǎn)的小說的敘事角度，主要體現(xiàn)在對(duì)敘述者的設(shè)置及其講述的構(gòu)建都呈現(xiàn)出多樣性和不

預(yù)讀:mpact on the fields ofPhilosophy, History, Sociology, Anthropology, Psychology, Literature, Architectureand Art in respect of research and creation with its strong penetration anddiffusivity, and Postmodernism has already became an hot issue or even the focusof the above fields. Ever since the begin后現(xiàn)代主義后現(xiàn)代主義思潮與中國(guó)新時(shí)期小說(2)

定性，包括敘述者對(duì)于“作者”的符號(hào)化指涉與解構(gòu)，運(yùn)用第二人稱敘事發(fā)掘敘述者與敘述接受者的主體間性，第一人稱敘述者的多樣化設(shè)置。對(duì)于新時(shí)期具有后現(xiàn)代主義特點(diǎn)的小說的表達(dá)技藝，則主要淺析了其對(duì)于反諷、戲仿及互文性的運(yùn)用。第五章“后現(xiàn)代主義視角對(duì)于新時(shí)期小說進(jìn)展的價(jià)值”，主要審視西方后現(xiàn)代主義思潮的沖擊和啟發(fā)對(duì)于新時(shí)期小說進(jìn)展所具有的客觀積極性作用。首先是催生了新時(shí)期具有后現(xiàn)代主義特點(diǎn)的小說的開放性多元價(jià)值取向與多元化抒寫：一方面，西方后現(xiàn)代主義思想引發(fā)了以二元向多元的思維方式轉(zhuǎn)變，新時(shí)期具有后現(xiàn)代主義特點(diǎn)的小說創(chuàng)作者以開放性的多元價(jià)值取向呈現(xiàn)突破固有的統(tǒng)一性價(jià)值判斷方式；另一方面也促使多元化的創(chuàng)作格局漸生。其次是新時(shí)期文學(xué)中反思性思維的形成及讀者視域的開拓：在西方后現(xiàn)代主義思潮的啟發(fā)下，新時(shí)期小說開始逐漸重視讀者的主體性地位，和讀者對(duì)于作品作用生成所發(fā)揮的效用，以及在文學(xué)創(chuàng)作活動(dòng)的作者-作品-讀者的有機(jī)構(gòu)成中，互動(dòng)性的反思性思維的萌生。第六章“新時(shí)期小說的后現(xiàn)代追求之反思”，著重理性剖析了西方后現(xiàn)代主義思潮帶給新時(shí)期小說創(chuàng)作的某些負(fù)面影響。第一節(jié)淺析新時(shí)期小說的創(chuàng)作在后現(xiàn)代主義的滲透影響下，呈現(xiàn)出三種追求與相應(yīng)的困境：不斷求“新”與繁華易失、審美純化及“審丑”化與態(tài)度漠然、世俗化與“拜物教”。第二節(jié)側(cè)重于審視新時(shí)期小說的創(chuàng)作中出現(xiàn)的缺乏節(jié)制甚至過于泛濫的“非理性”傾向，并提出需要深思文學(xué)中理性重建的不足。第三節(jié)重點(diǎn)審視、觀照后現(xiàn)代主義的解構(gòu)思想對(duì)于新時(shí)期小說創(chuàng)作所產(chǎn)生的消極影響。結(jié)語(yǔ)“文學(xué)理想的可能性建構(gòu)”，基于全文對(duì)新時(shí)期具有后現(xiàn)代主義特點(diǎn)的小說創(chuàng)作“解構(gòu)性”實(shí)踐的全面觀照，以及對(duì)其積極作用及負(fù)面效應(yīng)的辨析，筆者嘗試對(duì)于如何重新建構(gòu)當(dāng)代中國(guó)文學(xué)的文學(xué)理性、文學(xué)精神、文學(xué)道德、文學(xué)理想的不足，進(jìn)行某種可能性的探討。

【English Abstract】 The past half century has witnessed the gradual rising of the thought ofPostmodernism in the western countries, which has great impact on the fields ofPhilosophy, History, Sociology, Anthropology, Psychology, Literature, Architectureand Art in respect of research and creation with its strong penetration anddiffusivity, and Postmodernism has already became an hot issue or even the focusof the above fields. Ever since the beginning of 1980s, the thought ofPostmodernism started to be introduced into China from the western countries, andall kinds of related theories and works, as well as pterary writings ofPostmodernism, were translated and presented to researchers and creators of worksof pterature and art of modern China. In the specific fields of Literature and Art, inregard to the huge concept system of Postmodernism which includescomprehensive contents, attentions should be paid to the actuapty and significanceof its infiltration, extension and interpretation to the field of Literature, discussionsshould be made in term of the relation of Postmodernist thought and thedevelopment of Literature in the new period of modern China, so that we can havemore comprehensive and deeper observation and understanding on the creation andresearch of Chinese modern Literature in the new period. From mid-1980s, thisnew period of Chinese Literature has been witnessing the constant appearance ofpteral works with some postmodernist features and colors; at the same time,Postmodernism has become an significant theoretical reference for numerousscholars to express their comments and carry on their study. With the occurrence ofthis phenomenon, large numbers of issues are worthy of discussion come into oursight.This paper takes postmodernist features and colors in fictions of the newperiod as main reflecting and discussing objects, and starts from combinations of the two dimensions of theoretical analysis and creative practice. Using the Westernpostmodern theories as a new reference in the analysis of creative practices offictions in the new period, with a close reading of the text, this paper makes anin-depth exploration of the interactive relationship between WesternPostmodernism and Chinese pterary theory and pterary creations in the newperiod.The entire paper combs the spread of Western Postmodernism incontemporary China, as well as Chinese novel creators, pterary critics andresearchers’accepting, absorbing, learning and integrating of the postmodernistpterary and cultural thought, attempts to explore the Western Postmodernismtrends’present or potential impact on fiction evolution in the new period, andoverviews the mirrored presentation of the new period fictions’reflection ofpo

預(yù)讀:”focuses on the issue of narrativetheory, points out that i上一頁(yè) 1 2 3 4 5 6 下一頁(yè)后現(xiàn)代主義后現(xiàn)代主義思潮與中國(guó)新時(shí)期小說(3)

stmodernism spiritual characteristic in themes about“human”,“society”,“history”,“culture”and“gender”. On this basis, the paper tries to construct amacro theoretical analysis perspective in order to examine the impact of WesternPostmodernism trends and inspirits the objective and positive significance for thenew period fictions, and at the main time, makes a rational analysis of WesternPostmodernism trends’negative impacts on the new period fiction creations.Through a full range of in-depth analysis, the paper attempts to summarize thevalues and existing problems of the new period fictions with postmodernistfeatures, and to make possible discussions about how to reconstruct modernChinese pterature’s pterary rationapty, pterary spirit, and pterary virtue as well aspterary ideal.The first chapter“The Dissemination of Postmodernism in China”providestheoretical premises including concept clarification for comprehensive discussionof the paper, and defines the paper’s subject and scope and overviews interactiverelationships among Western Postmodernism trends, the new period fiction creation and pterary criticism. This chapter is divided into four sections. The maincontents of the first section“Overview of the Postmodernism and Its LiteraryTrends”is to clarify the connotation and extension of the concept of“postmodernism”, summarizes the postmodernism pterary trends’major schoolsand representative writers and postmodernism pterature’s basic theory of ideas andpterary features by the help of origin explorations and occurrence methods. Themain content of the second section“Western Postmodernism Literature andLiterary Trends’Spread in China”is to comb information about how westernPostmodernism trends, especially its pterary and cultural trends, were introducedto China since 1980s. The third section“Impacts of Western PostmodernismLiterature and Cultural Trends on New Period Literary World”is a brief summaryof Western Postmodernism pterature and cultural trends’impacts on the new periodfiction creations and pterary criticism practices. The fourth section“Postmodernism’s Self-adaptive Development in Chinese New Period Context”isa brief analysis of the development process of the new period pteratures withpostmodernist features, including fictions, from“imports”to autonomous growth.The second chapter“Evolutions of Postmodernism Literature andTransmutations of Concept of the New Period Fictions”generally overviews thefundamental transmutations of the new period fictions taking place in the conceptlevel, showing the concept characterization of Postmodernism which mainlyreflected in three levels, including interpretation of the novel ontology, extensionof the novel narrative and discussion of the novel axiology. Postmodernism theoryand trends deeply changed the modern Chinese novel concept and highpghted thefar-reaching imppcation and repercussions of the“post”of“modernism”onChinese pterary world. This chapter is divided into three sections. The first section“Interpretation of Novel Ontology: Conversion From the Function Carrier to theAesthetic Object”discuses the new period novel ontology based on aesthetic object, points out that the new period novel ontology is under the exposure of fission froma function carrier in social and cultural dimension to a aesthetic object in aestheticsand pterature dimension. The second section“Extension of Narrative Theory:Breakthrough from Methodology to Ontology”focuses on the issue of narrativetheory, points out that i

預(yù)讀:has made wider breakthrough and extension of the traditionalnarrative methodology and reflected distinctive characteristic of the promotion ofnarrative from a writing method to the creative ontological significance on theaspect of text de-subjectivapzation, narrative collage crushing and fracture,la后現(xiàn)代主義后現(xiàn)代主義思潮與中國(guó)新時(shí)期小說(4)

n the process of imitating, learning from the westernpostmodernism pterature and independent innovation by its inspirations, the newperiod fiction has made wider breakthrough and extension of the traditionalnarrative methodology and reflected distinctive characteristic of the promotion ofnarrative from a writing method to the creative ontological significance on theaspect of text de-subjectivapzation, narrative collage crushing and fracture,language structure collage, plot drift, and digestion boundaries. The third section“Discussion of the Novel Axiology: Trade-off of Utiptarian Value and AestheticValue”mainly discusses the changes of novel axiology in the new period, pointsout that new period novel with postmodernist features’cognition to the novel valuewalks between“use”and”beauty”; on one hand, it has new extensions on“use”byabandoning traditional novel’s macro utiptarian value dimensions, on the otherhand, it has a deep and new understanding of the divers aesthetic value of thenovel.The third chapter“Postmodernist Image in the New Period Fictions”mainlydiscusses the new period novel writers’initiative learning, enpghtenment andinspiration of the Western Postmodernism pterature, combination of specific socialcontext in the new period, and thinking and writing about the postmodernity ofmajor pterary propositions related with human, society, history, culture and gender.The first section“’Human’in Works of Fictions: Individual Survival Subjects orPlanar Existing Symbol”has a summarized analysis on the symbopc peepng ofspecific group or spiritual concept, digestion of spiritual bepefs and the ultimatemeaning, irrationapty of survival status and pfe experience, fragmentation and illegibipty of the character which are all presented by characters in new periodnovels with postmodernist features. The second section“Society’in Works ofFictions: Planar, Fractured and Orectic Transforming Society”takes contrastinganalysis of the transitional social soil breeding postmodernism, reflects theprojection of the planar, fractured and orectic transforming society in new periodfictions with postmodernist features. The third section“’History’in Works ofFictions: Deconstruction the Re-discovery after Grand Narratives”focuses oncreations of historical themed fictions with postmodernist features, overviews theirtheoretical preparation and era heritage, summarize their historical narrativewalking between fiction and reapty, draws historical images through personalperspective, such as uses the accidental and non-rational uncertainty to digest thenatural regularity of history, uses personal history picture to subvert the collectivehistorical memory, uses marginapzation digging to replace the orthodoxmainstream attention. The fourth section“’Culture’in Works of Fictions:Diversified Show Dispelpng the Dominant Cultural Centre”explores by theinspiring influence of western postmodernism, the new period fictions withpostmodernist features reflect the opening development trends that the writers arere-examining and rethinking the national and social long-term major culture alongwith the profound changes of the era, and trying to build a plurapstic culture fusionby pterary creations. The fifth section“’Gender’in Works of Fictions: Highpght ofFemale Consciousness in Gender Relations”surveys the western feminist theory,overviews several aspects of postmodernist presentations in new period feministnovels including revolutionizes the traditional female tags in the Mascup

預(yù)讀:ent structure in traditionalfiction plots and chooses to use fragmented cpps or opening structures withoutorigin or outcome; overturns the reasonable plot and logic and turns to fracturedcombination which is abruptly against causal relationships, or strange circleswhich paradoxically reverse the cau后現(xiàn)代主義后現(xiàn)代主義思潮與中國(guó)新時(shí)期小說(5)

nediscourse system, highpghts women’s main consciousness in survival ppght,digests women’s spontaneous choice obscured by grand narrative, abandons themale-centered women self-world construction.The fourth chapter“Postmodernist Features of the New Period Fictions”tries to generally summarize the new period fictions with postmodernist features’creative concept, pterary pursuit, text structure and narrative feature from theaspects of creative perspective, narrative concept, aesthetic position, plotpresentation, spatial and temporal structure, narrative point and presentation skills.Creative perspective of the new period fictions with postmodernist features isbased on "physical" taking place the "metaphysical" myth. Narrative concept of thenew period fictions with postmodernist features performs as anti-traditionalprocessing of the relationship between reapty and fiction, including transferringfiction from potential to present and combining screens of Photographic-stylereapsm and subjective performance. Aesthetic stance of the new period fictionswith postmodernist features performs as subversion and breakthrough of aestheticawareness and paradigm of traditional fictions by initiative "Ugpness" in aestheticchoosing. Presentation of plot in the new period fictions with postmodernistfeatures breaks the“causes-development-ending”coherent structure in traditionalfiction plots and chooses to use fragmented cpps or opening structures withoutorigin or outcome; overturns the reasonable plot and logic and turns to fracturedcombination which is abruptly against causal relationships, or strange circleswhich paradoxically reverse the causal relationships and can never get out of.Spatial and temporal structure of the new period fictions with postmodernistfeatures performs as the groundbreaking deconstruction and reconstruction ofobjective time and space, mainly including: breaks and rebuild the chain of time,combines instant and continuum, intentionally shortens or extends the time,interlaces fragmental time with consistent time, highpghts the fragmental time tocancels the eternity of the coherent time, boldly uses jumping, apposition, collage,chapter alternation in space presentation to create the space effect. Narrative pointof the new period fictions with postmodernist features mainly performs as diversityand uncertainty on the setting of the narrator and narrative structure, mainly including narrator’s symbopc referent and deconstruction of the“author”, usingsecond person narrative to explore the connection between the narrator and thenarratee and divers set of the first person narrator. Presentation skill of the newperiod fictions with postmodernist features mainly performs as the analysis of theuse of irony, parody and intertextuapty.The fifth chapter“The Value of the Postmodernist Perspective to theDevelopment of the New Period Fictions”will mainly focus on the actual positiveimportance that the impact and inspiration of the western Postmodernist thoughthave on the development of fiction in the new period. First, the diversifieddescription of fictions with postmodernist features in overturn and deconstructionin the new period: on the one hand, Postmodernist thought triggers thetransformation of the model of thinking, from duapty to plurapty, and the authorsof the new period fictions with postmodernist features break the single pattern oflanguage with their open, multiple levels of preference of value; on the other hand,it also promotes the gradua

預(yù)讀:ons in the new period. To reapze the rational reconstructionof pterature, that one possible way is that maybe we should look for the originalobpgation and real meaning of pterature and art, on the basis of returning to theclassical rationapty.                【關(guān)鍵詞】 后現(xiàn)代主義思潮；      新時(shí)期小說后現(xiàn)代主義后現(xiàn)代主義思潮與中國(guó)新時(shí)期小說(6)

l appearance of a divergent pattern of writing. Second,the formation of reflective thinking and the broadening of the view of readers: withthe inspiration of the western Postmodernist thought, authors of the new periodfictions with postmodernist features start to give weight to the subjective role ofreaders, the effect that readers have on the significance of their works, and theemergence of interactive reflective thinking in the creation activity of pterature,which follows the pattern of author-works-reader.The sixth chapter“The Introspection to the Postmodernist Style of the NewPeriod Fictions”will rationally analyze some certain negative effects that thePostmodernist thought of the western countries has on the writing of fictions in thenew period. The first part of this chapter will focus on the analysis of the threeaspirations of fictions in the new period and their respective dilemmas, which areresulted from the infiltration and influence of Postmodernism, i.e. constant pursuing of“newness”and the lost of flourishing scene, purified aesthetic taste,"Ugpness" in aesthetic choosing and indifferent attitude, secularization and“fetishism”. The second part pays attention to the examination of the immoderateor even inundant preference of irrationapty in the new period, and argues that thereis a need to think about the rational reconstruction of pterature. The third partmainly discusses the negative influences of Deconstructionism to the fictions in thenew period.The conclusion“The Possible Construction of Literary Ideal”tries to thinkabout the solution upon which some sort of discussion on possibipty will be made,regarding the question of how to reconstruct the ideal, spirit, and virtue of pterature,with the comprehensive examination and observation on the influence ofPostmodernism on fictions in the new period. To reapze the rational reconstructionof pterature, that one possible way is that maybe we should look for the originalobpgation and real meaning of pterature and art, on the basis of returning to theclassical rationapty.

【關(guān)鍵詞】 后現(xiàn)代主義思潮； 新時(shí)期小說； 后現(xiàn)代主義特點(diǎn)； 文學(xué)理想；
【Key words】 Postmodernism； the New Period Fictions； Postmodernist Features； Ideal of Literature；

  本文關(guān)鍵詞：后現(xiàn)代主義思潮與中國(guó)新時(shí)期小說，由筆耕文化傳播整理發(fā)布。

本文編號(hào)：208761