镜像时代的消失或来临——先锋派叙事策略与现实的关系散论  

Is Image Era Disappearing or Appearing——Discussion on the Relationship between the Narrative Strategy and the Reality of the Avant Garde

作　　者：柯贞金[1] 

机构地区：[1]广东轻工职业技术学院,广东广州510300

出　　处：《广东农工商职业技术学院学报》2015年第2期56-60,共5页Journal of Guangdong Agriculture Industry Business Polytechnic

摘　　要：20世纪80年代中期以后和90年代先锋派在文学与现实的关系处理上,具有布希亚类像时代的"类像"特征,文艺成为"语言(符号)自足"的世界文学语言系统,取消与生活语言系统之间的相互"参证",超越传统反映论。如格非的"埃舍尔圆圈"概念、孙甘露的文本自足实验、余华的个性化"现实感觉"等。先锋派的叙事策略成因一是源于现实环境,特定时代的历史规定,社会形态的变更迫使现代艺术家更新表达手段;二是文学的自律性和艺术的自主性,文学本是一个无限敞开的领域,应对可能的文学"物化"面对现实"无限"的困窘,以确证文艺自由独立之身。Since the mid 80＇s and 90＇s, the avant-garde dealt with the relationship between nterature anu reality in such a way as the ＂like＂ feature of the Image Era, in which literature and art became ＂the language （symbol） self-sufficient＂ world literary language system, cancelling the mutual ＂reference＂ between the living and the language system and transcending the traditional theory of reflection, such as Gefei＇s ＂Escher circle＂ concept, Sun Ganlu＇s ＂text self-sufficient experiment＂ and Yu Hua＇s personalized ＂sense of reality＂. The Avant garde narrative strategy was firstly derived from the realistic environment, in which the specific provisions of the social history and the morphological changes forced the modem artists to update their means of expression; secondly, the forming of the avant-garde narrative strategy was attributed to the self-discipline of literature and the autonomy of art. Literature, as an infinite open field, is supposed to deal with the possible literary ＂materialization＂ and cope with the unlimited embarrassment in reality to confirm the freedom and independence of literature and art.

关 键 词：镜像时代 叙事策略 先锋派 文学自律 

分 类 号：I206.7[文学—中国文学]