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作 者:向春霞
出 处:《城市学刊》2015年第5期114-121,共8页Journal of Urban Studies
摘 要:从《曾在天涯》、《因为女人》、《沧浪之水》到《活着之上》,恍如近20来年的社会变迁自自然然的变成了一部记录片。阎真刀锋犀利地将道德墙内墙外的人物脑海所思做开颅处理,无论美丑善异都无处藏身;他又象鲁迅那样,将那片道德高地里糜烂的病灶毫无保留地撕裂开来,又并入史册。The social changes of almost 20 years had grown up to be a documentary film naturely by Yanzhen's serial works from "Ever it should be in the end of the world", "Because of women", "Water of Chuanglang" to "Life on". Thoughts of characters being inside or outside of the moral walls are analyzed by Yanzhen's sharp language, as a craniotomy by a sharp blade. Regardless of beauty and ugliness, good and evil, all are nowhere to conceal. Liking Luxun, erosion of the lesion in the moral high ground is tored without reservation, and it is written into the annals of history.
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