认同、反抗与回归:王朔创作与精英文化形态考辩  

Identification,Resistance and Return:A Study of Wang Shuo's Creation and Elite Cultural Form

作　　者：汤凯伟 Tang Kaiwei(Zhejiang Normal University,Jinhua 321004,P.R.China)

机构地区：[1]浙江师范大学人文学院,浙江金华321004

出　　处：《江西科技师范大学学报》2022年第4期102-108,共7页Journal of Jiangxi Science & Technology Normal University

摘　　要：王朔与精英文化是认同、反抗与超越的关系。王朔的早期作品《等待》《海鸥的故事》和《长长的鱼线》“伤痕”明显,带有明显的认同精英文化的特征;从《空中小姐》到《橡皮人》,这些作品看似与前期创作是断裂的,但其实质仍是“伤痕”的延续,是写作“伤痕”的精英们对新时期巨变的环境做出的自觉/不自觉的应对。而从《顽主》到《玩的就是心跳》,创作的主要内容变成了对边缘青年的偏爱和对知识分子的调侃,可以视为王朔对精英文化的自觉反抗。经历了九十年代的“痞子风波”和“人文精神大讨论”之后,王朔在新世纪超越了认同和反抗的立场,重新发现了自身的启蒙主义立场。the relationship between Wang Shuo and elite culture is identification,resistance and transcendence.Wang Shuo's early works"Waiting","Story of the Seagull"and"Long Fishing Line"had obvious scars,with obvious characteristics of identifying with elite culture.From"Stewardess"to"Rubber Man",these works seemed to be broken with the previous creation,but their essence was still the continuation of"scar".It was the conscious/involuntary response of the elites who wrote"scars"to the changing environment of the new era.From"Stubborn Master"to"All Needed is a Heart Beat",the main content of Wang Shuo's creation had become his preference for marginal youth and ridicule of intellectuals,which could be regarded as his conscious resistance to elite culture.After experiencing the"ruffian disturbance"and"humanistic spirit discussion"in the 1990s,Wang Shuo went beyond the position of identification and resistance in the new century,and rediscovered his own position of enlightenment.

关 键 词：王朔 精英文化 文学批评 

分 类 号：I206.7[文学—中国文学]