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作 者:操乐鹏 CAO Le-peng(Zhejiang University of Finance and Economics,Hangzhou,Zhejiang 310000)
机构地区:[1]浙江财经大学人文与传播学院,浙江杭州310000
出 处:《汕头大学学报(人文社会科学版)》2020年第12期25-31,94,共8页Journal of Shantou University(Humanities and Social Sciences Edition)
摘 要:现代作家吴组缃、卞之琳、孙犁、汪曾祺在新时期的文学活动常交织着幽微隐曲的晚年心态,自矜与自嘲并存,狭隘和开明互现。他们均对伤痕文学、反思文学浅薄的思想深度和机械的艺术手法不屑一顾,对先锋文学的过度炫技和拙劣蹈袭颇多“挑剔”和“责难”。是类不合群的微弱声音恰恰构成了新时期小说接受史的珍贵侧影和重要剖面,内蕴着针砭及纠偏的先见之明。此外,卞之琳立足于对西方文学、文论的内化吸收重构现实主义;孙犁、汪曾祺从创作实践和审美感知出发,也对现实主义理论进行修补和重倡。他们在新时期的小说批评与理论重构,亦书写着现代作家在当代的五四遗风。As modern writers,Wu Zuxiang,Bian Zhilin,Sun Li,and Wang Zengqi’s literary activity accompanied with delicate mentality of the old age,which involved boast and self-abased,narrow and enlightened views.They all disdained the shallow thoughts and mechanical artistic techniques of Shang Hen Literature and Reflection Literature.They dissatisfied with excessive imitation and artistic techniques of Pioneer Literature.These faint and unsocial voices constituted the precious silhouette and important profile of the acceptance history of the novel in the new period,which includes acupuncture and rectification.In addition,Bian Zhilin absorbed and reconstructed realism based on the western literature and literary theory.Sun Li and Wang Zengqi also repaired and reinforced the theory of realism started from the practice of creation and aesthetic perception.Their novel criticism and theoretical reconstruction in the new era also highlight the modern May Fourth legacy of modern writers.
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