1920年代的“硬写”与“自我”重构——以丁玲作品中的作家形象为例  

The“Hard Writing”and “Self”of Reconstruction in 1920s:Taking the Author's Image in DING Ling's Works as an Example

作　　者：杨洋 YANG Yang(School of Arts,Beijing Normal University,Beijing 100875,China)

机构地区：[1]北京师范大学文学院,北京100875

出　　处：《宜宾学院学报》2018年第2期2-11,共10页Journal of Yibin University

摘　　要：1920年代文学青年的室内"硬写"表达了以"写作"谋生的一般性创作焦虑;体现了在"五四"落潮后这一特定的时代语境下,随着文学领域的日渐独立化、专业化和狭小化,作家对文学如何实现自我安放、如何介入现实人生的关切和思考;反思了对文学与人生的关系这一命题。丁玲1928年至1931年间的作品,描写了一系列青年作家的室内生活及"硬写"的焦虑。重审丁玲笔下作家的"硬写"现象,将有助于我们更具体、微观地把握1920年代的"硬写"赖以产生的时代语境以及作家在"自我"重构中对文学与人生的关系这一命题的思考。In 1920s,the“hard writing”indoor of literary youth reflected a general writing anxiety of making a living by“writing”;it embodied the writers’thinking of how to achieve self placement,how to intervene the reality of life with the field of literature is independent,professional,narrow,in May 4th the specific context of the times after ebb tide;and it went further to rethink the proposition of the relationship between literature and life.From 1928 to 1931,DING Ling’s works described a series of young writers’indoor life and their“anxiety of hard writing”.Reflecting DING Ling’s“hard writing”phenomenon will help one to think more specifically and get a micro grasp of“hard writing”in 1920s with historical context and the writer’s proposition on the relationship between literature and life in“self”reconstruction.

关 键 词：1920年代 文学青年 丁玲 “硬写” “自我” 

分 类 号：I206.6[文学—中国文学]