掉在地上的都要捡起来——评徐则臣长篇新作《耶路撒冷》  

Pick Up Everything Dropped on the Ground:A Commentary on Xu Zechen's New Full Length Novel Jerusalem

作　　者：李惠[1] 陈树萍[1] 

机构地区：[1]淮阴师范学院文学院,江苏淮阴223300

出　　处：《南京师范大学文学院学报》2015年第1期108-112,共5页Journal of School of Chinese Language and Culture Nanjing Normal University

基　　金：江苏省高校教师"青蓝工程";江苏省首届高校优秀中青年教师境外研修计划;江苏省"333"人才工程

摘　　要：《耶路撒冷》以独特的结构形式和丰富的意义空间阐释"我"与"我们",借助出走与回归,原罪与救赎的原型模式,书写出独属于"我们这一代"("70后")的心灵史诗。通过对初平阳等人精神褶皱的层层展示,《耶路撒冷》表现出当下"70后"写作的一种新突破:充满历史反省精神的个体私语写作。在将大历史、大社会处理成氤氲的精神背景之时,徐则臣向个体精神世界的内在痛苦发掘意味着新的写作维度。徐则臣的个体精神私语始终与外部世界血脉相通,以内在之"我"沉淀着这个民族的精神之痛。Jerusalem elucidates ＂I＂and ＂we＂with its unique structure and rich space of significance. It represents the epic of the soul which belongs only to ＂our generation＂（ the ＂post 1970s＂） with the prototype pattern of running away and coming back,original sin and salvation. By unfolding and displaying the spiritual course of Chu Pingyang and others,this novel represents a breakthrough of the current ＂post 1970s＂writing：it is a personal private writing full of the spirit of historical retrospection. While treating the grand history and society as the vague spiritual background,the author＇s exploring to the internal pain in the individual spiritual world indicates a new dimension of writing. Xu Zechen＇s private speech of individual spirit has always been connected to the outside world,and sediments the spiritual pain of the nation with the internal ＂I＂.

关 键 词：《耶路撒冷》 70后 历史反省精神 个体私语写作 

分 类 号：I206.7[文学—中国文学]