叙述的力量——论新时期小说流派的更迭与叙述方式的演变  

The Power of Narration

作　　者：张朝丽[1] 

机构地区：[1]天津商学院理学院,天津300400

出　　处：《海南师范学院学报（社会科学版）》2006年第6期44-49,共6页

基　　金：天津市哲学社会科学研究规划资助项目"八十年代与九十年代中国小说创作之比较"成果。项目号:TJ03-YW2009

摘　　要：20世纪八、九十年代,小说成为一种鲜活生命力的艺术形式,随着“先锋派小说”、“意识流小说”、“新感觉小说”、“新写实小说”等小说流派的出现,小说的叙述方式也在不断演变。从刘索拉、马原、余华的叙述方式的革命,到王蒙小说内心独白、时序颠倒的叙述流动,到莫言感觉化、体验化的叙述狂欢,到方方、池莉、刘震云叙述低调的感伤……小说叙述结构的辐射、叙述语言的弹性和张力,叙述线条的多样性、叙述节奏的复合性,形成了一种强大的力量,使小说的审美格局在不断变化,反映社会生活的深度和广度也在不断扩展。Fiction became an artistic form with fresh life vitality in the 1980s and 1990s, and with the emergence of such schools of fiction as ＂avant-garde fiction＂, fiction of the stream of consciousness, ＂fiction of new perception＂, ＂fiction of neo-realism＂, etc. fiction has witnessed constant changes in the mode of its narration. From the revolution in the mode of narration on the part of Liu Su-la, Ma Yuan and Yu Hua through the fluidity of narration marked by soliloquy and confused temporal order in the novels of Wang Meng to the perceptible ecstasy of narration learned and obtained in life on the part of Mao Yan to the melancholy of low-key narration by Fang Fang, Shi Li and Liu Zhen-yun… The radiation of fiction in its narrative structure, the elasticity and tension of its language of narration, the diversity of its narrative modes and the complexity of its narrative rhythm all combine to constitute a strong power, thus having led to incessant changes in the aesthetic pattern of fiction as well as to the constant expansion of fiction in terms of its depth and width of portraying social life.

关 键 词：新时期小说 小说流派 叙述方式 叙述的力量 

分 类 号：I206.7[文学—中国文学]