从先锋文学看元小说在当代中国的兴起、发展和流变  

The Rise and Development of Metafiction in Contemporary China:With an Eye on Avant-garde Fiction

作　　者：李琳[1] 李瑾[2] 

机构地区：[1]北京科技大学,北京100083 [2]山东经济学院,济南250014

出　　处：《当代外语研究》2012年第7期72-75,78,共4页Contemporary Foreign Language Studies

摘　　要：上世纪六十年代以来,元小说在西方尤其是美国,获得长足发展,成为西方后现代主义时期占主导地位的小说形态,元小说批评也随之兴盛。八十年代之后,中西文化交流、学术交流日益频繁,元小说在中国也悄然出现。以马原、格非、余华等为代表的许多先锋派作品运用了元小说叙事策略,具有明显的元小说特征,引发了中国小说叙事艺术的变革,使中国当代文学创作与世界文学潮流趋于同步。由于过于注重"文字游戏"和创作技巧,忽视对创作主题的探索,元小说常常为读者和批评家所诟病,因此,许多先锋派作家在反思之后开始转变创作风格,轰轰烈烈的元小说实验也随之渐趋平淡。Since 1960s,metafiction entered into its full-fledged development in the western world,especially in the US,and became the dominant fictional genre in the postmodernist period.Since 1980s,the cultural and academic exchanges between China and western world have been increasingly frequent,which readily prepared for the emergence and growth of Chinese metafiction.Represented by novels of Ma Yuan,Ge Fei and Yu Hua,Chinese metafiction are usually named Avant-garde stories or experimental stories,which have reformed the art of Chinese narrative fiction,and meanwhile helped to push Chinese contemporary literature to merge into the international literary trend.Using the western metafiction theories,this study examines metafiction in China,analyses its artistic features and problems,and predicts its future.

关 键 词：中国元小说 后现代主义 先锋派 

分 类 号：I247.5[文学—中国文学]