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  本文關鍵詞：20世紀80年代中國小說體式之爭鋒　出處：《學術交流》2017年07期 　論文類型：期刊論文

  更多相關文章： 小說體式 詩化小說 先鋒小說 堅持小說的故事性

【摘要】：80年代,特別是其中期,中國小說文體處于急劇的變化之中。這一變化主要有兩股推動力量:一是可以上承三四十年代的散文化與詩化的傾向,一是先鋒派小說。小說文體的變化,集中表現(xiàn)在兩點上:一是超脫于情節(jié)模式之外,一是模糊以至避免現(xiàn)實主義的"實指性"。前者表現(xiàn)為線性敘述的中斷,情節(jié)小說、非性格人物的出現(xiàn)以及與之相應的對于塑造典型人物及寫出典型環(huán)境興趣的降低乃至漠視;后者則有莫言式的寫感覺、馬原式的設置敘述圈套和殘雪式的寫夢囈。而情節(jié)模式的棄置與"實指性"的模糊這兩個方面,又是相互聯(lián)系著的。先鋒小說是一股形式主義的,亦即以藝術為本位的文學潮流。當先鋒小說家在體式試驗上愈益沿著象牙之塔新奇而精致的階梯向著迷迷糊糊的云霧中上升時,就丟棄了腳下廣袤的閱讀空間。小說家們一心想當精神貴族,忘記了小說的本質恰恰是平民的。雖然在新時期小說體式的爭鋒中,散文化、詩化是上揚的,其勢力獲得急劇的擴展,但仍然存在堅持故事性、為小說結構的嚴密性辯護的另一種傾向。王安憶反對筆記體小說,對詩化小說也不滿意。她認為小說創(chuàng)作走向精神的深刻宏大,靠邏輯。
[Abstract]:In 80s, especially in its middle period, the style of Chinese novels was in the process of dramatic changes. This change was mainly driven by two forces: one was the tendency to carry on the prose culture and poeticization of the 1930s and 40s. The first is the avant-garde novel. The change of the novel style is focused on two aspects: one is that the novel is detached from the plot mode, the other is the ambiguity and avoiding the realism, the former is the interruption of linear narration. Plot novels, the appearance of non-character characters and the corresponding decline or even neglect of the interest in creating typical characters and writing typical environment; The latter has the feeling of writing in Mo Yan style, the setting up of Ma Yuan type of narrative trap and the writing of dream balderness in the form of snow, while the abandonment of plot pattern and the ambiguity of "real signifying" are two aspects. The vanguard novel is formalistic. That is the literary trend based on art as the vanguard novelist ascends increasingly along the novel and delicate steps of the ivory tower to the misty clouds in the style experiment. They abandoned the vast reading space under their feet. Novelists wanted to be spiritual nobility, forgetting that the nature of the novel is precisely the common people. Although in the new period of novel style contention, prose culture, poetic is rising. But there is still another tendency to insist on the story and defend the strictness of the structure of the novel. Wang Anyi is opposed to the note-taking novel. She is not satisfied with the poetic novel. She thinks that the creation of the novel moves towards the profound and grand spirit and relies on logic.
【作者單位】： 蘇州大學文學院;
【分類號】：I207.42
【正文快照】： 一80年代,特別是其中期,小說文體處于急劇的變化之中,這一變化主要有兩股推動力量:一是可以上承三四十年代的散文化與詩化的傾向,一是先鋒派小說。小說文體的變化,集中表現(xiàn)在兩點上:一是超脫于情節(jié)模式之外,一是模糊以至避免現(xiàn)實主義的“實指性”。前者表現(xiàn)為線性敘述的中斷,

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本文編號：1410120